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Regional Reviews: Phoenix Spring Awakening Also see Gil's reviews of Next to Normal and The Secret Garden
Before starring in and originating two lead roles in the back-to-back Broadway musicals Almost Famous and Back to the Future, Likes appeared in numerous shows in the Valley, including several when he was a teen at Greasepaint Youth Theatre. Greasepaint, which also houses Scottsdale Community Players who present adult productions, has proven to be a second home for the now grown-up Likes who has appeared in superb productions of Next to Normal and Rent there in between his Broadway shows. It's nice to see that he keeps coming back home and in partnership with Scottsdale Community Players offers Phoenix audiences excellent musical productions with casts featuring actors who've appeared on and off Broadway as well as many talented local actors. While Likes has updated some aspects of Spring Awakening to modern times, the script hasn't changed so it's still clearly set in 19th-century Germany and follows a group of teenagers as they navigate the confusing and often painful journey from adolescence to adulthood. In a rigid, repressive society where adults refuse to educate or support them, the young characters are left to make sense of their desires, questions and fears on their own. The consequences are sometimes tragic, as the lack of communication and compassion between generations leads to devastating outcomes. Fueled by the explosive rock score, with music by Duncan Sheik and lyrics by Steven Sater (who also wrote the book), the story remains a deeply affecting look at youth, shame, and the desperate need to be heard in a world where parents refuse to listen or offer any substantial advice. The score uses pop and rock music and modern language and phrases to show that, while the play is set in the 19th century, the teens in the show struggle with many of the same issues faced by modern day youth. On Broadway, and in just about every other production of the show I've seen, the cast, clad in 19th century German outfits, would pull out hand held mics to sing the songs as a way of showing the connection between the past and present and how teenage angst is still present. While Likes' changes downplay some of the interesting juxtaposition of having the modern songs sung by a cast clothed in 1800s German garb and set in a setting from centuries ago, it still works fairly well. However, some of the changes, including a brief addition at the end, make the connection between the past and the present too obvious; you don't have to hit us on the head to get the point across. Fortunately, Likes' staging makes great use of the large space and also uses the two side exit doors for powerful moments and makes the presentation of a folded shirt during a very emotional scene quite moving. During his time on Broadway, Likes became friends with Sater, and a short video segment with Sater talking about the show opens the production. Sater also gave Likes his blessing to make the updates for his production. The cast is excellent, including Likes as Melchior, the intellectual and defiant school boy. He brings a strong sense of both confidence and vulnerability in a performance that is thoughtful and commanding. Melchior is a character who is both enlightened and flawed, and Likes' depiction works well to show the characters's many sides. Likes' strong singing voice shines throughout. As Wendla, the young teenage girl who is curious and eager to understand the world around her, Jessie Jo Aka instills an aching innocence as well as strength. Her character's trajectory, from the naïve questions she asks to the heartbreaking consequences she faces, are handled with sensitivity and depth, while her bright voice soars with a rich clarity. As Moritz, the overwhelmed and anxious schoolboy, Carson Stewart is very good. His descent into hopelessness is realistically portrayed and quite devastating, and Stewart brings raw energy and fragility to every insecure moment the character has. Stewart doesn't play the role with the jerky movements I've seen other actors use and is more subdued, which is a refreshing change but still effective. Ilse, the free-spirited runaway who represents an alternative path outside of societal expectations, is played by Johnna Watson with passion and poignancy. Her presence and her act two solos linger like a bittersweet echo of what might have been if the teenagers in the show, who are trapped by their societal norms, had also found a way out. Stephanie Likes and Caleb Reese portray all of the Adult Women and Adult Men in the show, respectively, using different accents and body language to skillfully transition between roles, creating an oppressive yet nuanced world of authority figures, sometimes cruel, sometimes helpful, but almost all heartbreakingly out of touch. The supporting cast features Desmond Woodward, Micah J. Lawrence, Christian Johannsen, Mia Cherise Hall, Eric Liu, Breagh Watson and Josh Ransford, all of whom get moments to shine with singing voices filled with intense emotion. Likes also incorporates a movement ensemble (Claire Likes, Angelica Santana, Andrew Matcuk, and Owen Donsker) which fleshes out the fellow students and friends of the main characters and adds some lovely touches that comment on the lyrics and actions of the characters in the show. Brach Drew's expressive choreography is both original and a nice homage to Bill T. Jones' striking, Tony winning moves. Under Alan Plado's music direction, the orchestra is fantastic, delivering Sheik's pulsating music with energy and precision and underscoring each emotional beat with force and beauty. Dale Nakagawa's lighting is superb and Pete Bish's sound ensures every line and lyric are crystal clear. Scottsdale Community Players' Spring Awakening is raw, relevant, and deeply moving. It respects the source material while reimagining it just enough to speak clearly to a modern audience. The sad realization is that this musical will almost always be a powerful reminder that the questions of youth are timeless, and the need to be seen and understood from individuals on the cusp of adulthood will never go away. Spring Awakening runs through April 13, 2025, at Scottsdale Community Players, Greasepaint Youth Theatre, 7020 E. 2nd Street, Scottsdale AZ. For tickets and information, please call 480-949-7529 or visit www.greasepaint.org. Director: Casey Likes Cast: |
