Review: Spring Awakening // North Wexford Musical Theatre

North Wexford Musical Theatre - Spring Awakening

Date of Adjudication: Friday 6th September

My first show of the season and expectations were high as I hit the road for Gorey to see North Wexford Musical Theatre’s ‘Spring Awakening’. This award-winning group, still in its relative infancy, has quickly established itself as quite the theatrical force in the vibrant South East region. The air of anticipation in Gorey Little Theatre was quite electric. Front of house was a hive of bustling efficiency and I was given a very warm welcome before being shown to my seat.

Based on Frank Wedekind’s controversial play, penned in 1891, ‘Spring Awakening’ is a powerful, hard-hitting, often darkly humorous commentary on repressive culture and the tragic repercussions of sexual ignorance. Over a century on from Wedekind’s play being banned for its assault on the moral senses of Victorian-era Germany, ‘Spring Awakening’ continues to shock and to resonate strongly today. Burning themes of sexual abuse, self-harm, abortion, masturbation and suicide are all presented through the eyes of disconnected teens as they navigate their lives through a minefield of authoritarian suppression and its catastrophic consequences.

Stephen Acton’s provocative production was beautifully directed throughout. He designed a minimalist set, against a blackboard backdrop which screamed “Blah, Blah, Blah” in angry, scrawled chalk – a hint of the anarchy to come. The simplicity of his design allowed for great fluidity between scenes as Mr. Acton’s exceptionally well-drilled cast arranged simple, black boxes to create various locations. I loved the originality of the branch motif - a nod to Wendla’s being “like a tree-nymph fallen from the branches”. The use of branches embedded in the set, becoming handheld microphones, Melchior’s blade and Moritz’s grave was a bold, original choice and a refreshingly clever theatrical device.

A huge part of success of this production was the way in which Roisin Currid’s excellent choreography enhanced the storytelling. Clearly there was close collaboration between Ms. Currid and Mr. Acton, as the stylised routines and fluid movement of a hugely committed cast drove the narrative in an organic and theatrically stylish manner. The ensemble was mesmerising, moving almost as one in such numbers as the beautifully staged ‘I Believe’. And then there was the joyous anarchy of the frenetic ‘Totally F*cked’ – the fully invested young cast hitting us between the eyes in an energetic, precise and angst-ridden hormonal rage.

Musical direction by Conor McCarthy was equally top-notch. His seven-piece band was incorporated into the set, inhabiting the very world they helped to conjure through their wonderful playing, in a very still and focused way. Mr. McCarthy’s meticulous attention to detail in the choral aspects of the show was evident throughout. There was a wonderfully balanced, accurate and powerful choral sound from the ensemble. Principal singing was excellent throughout and, for the most part, there was a good balance between orchestra and cast vocals.

The rebellious Melchior, unafraid to question his authoritarian elders, was played by the very talented Jordan Bass. Mr. Bass’s singing was a joy throughout. From the haunting ‘Left Behind’ to the full-on ‘Totally F*cked’, this was an excellent vocal performance. Mr. Bass really showed his acting chops too as the show progressed. His struggles to come to terms with having beaten Wendla, his grief at Moritz’s death and his distraught reaction to discovering Wendla’s grave, were poignant and powerful. Mr. Bass’s distinctly Irish accent did feel like a rather incongruous choice. It may well have been a directorial decision but, for me, it jarred at times as it lacked consistency with Mr. Bass’s singing accent and with the more neutral accents around him.

Initially, I felt that April Kelly needed to focus more on the innocence and naivety of fourteen-year-old Wendla. However, as the show progressed, this very talented lady delivered a very polished, nuanced and emotional performance as the confused adolescent whose tragic demise stems from suppression of youthful curiosity. The beautifully sung and melodic ‘Whispering’ was a standout moment, underlining Ms. Kelly’s wonderful talent for telling a story through song. Her superb diction was crystal clear throughout and her emotional range was most impressive.

Andrew O’Grady’s sensitive portrayal of the misfit Moritz, haunted by the increasingly sexual nature of his dreams, was a highlight of the show. His distinctive hairstyle set him apart as an outsider from the start and we were totally invested in his story and the cruelty of his tragic fate. His isolated, angst-ridden ‘Don’t do Sadness’ was just heartbreaking. But my abiding memory of Mr. O’Grady’s performance wasn’t scripted at all. His reactions to each of the mourners placing flowers in his grave during his funeral scene, were just mesmerising. This scene was a theatrical triumph of direction, lighting, movement, music, ensemble acting and Mr. O’Grady’s perfectly-pitched emotional commitment.

Alex Kavanagh attached some semblance of hope to her dishevelled Ilse. Yes, she had suffered at the hands of an abusive father but Ms. Kavanagh clung to a glimmer of hope, having escaped institutionalism. Her ‘Don’t do Sadness/Blue Wind’ was a superbly sung duet with Mr. O’Grady and she led the powerful ‘The Song of Purple Summer’ with a much-needed optimism at the end of the show.

Another standout performance for me, was Grace Shesgreen’s portrayal of the abused and damaged Martha. Her carefully delivered account of her father’s abuse was intensely disturbing. Theatre resonates differently, depending on the social context of the time. Ms. Shesgreen’s powerful performance came on the heels of shocking revelations of historic abuse of children in Irish schools and I’m sure that I wasn’t the only one who viewed her performance through that horrific lens. ‘The Dark I Know Well’ showed Ms. Shesgreen’s excellent vocals and her ability to tell her disturbing story through song.

Eimear Wolohan as Anna and Áine Kinch as Thea were both very strong in their respective roles. Their movement and blend of vocals in ‘Mama Who Bore Me (Reprise)’ were wonderful. Their playful, innocent banter with Wendla as they discussed their crushes was nicely played, creating a stark contrast to what lay ahead for their friend.

Richard O’Toole and Colin Doran, who played Georg and Otto respectively, managed to join the band as well as play their roles with aplomb. Mr. O’Toole’s keyboard playing was most impressive, as was Mr. Doran on guitar. It was a lovely touch to feature both talented men in this way. Mr. O’Toole’s scene with Fraulein Grossebustenhalter was a nice bit of comic relief.

Yet another highlight of the show, was the exceptionally well-staged and played scene between Luke Burke as Hanschen and Robert Hogan as Ernst. We knew where this was going from the very self-aware Hanschen’s ‘Achilles and Patroclus’ analogy onwards. Their chemistry was palpable – sensually and sensitively directed. Superb vocals from both rounded off two very strong portrayals.

Nicola Roche and Rónán P. Byrne as Adult Woman and Adult Man, played the myriad, often despicable, authoritarian figures. Ms. Roche’s abridged version of the facts of life for Wendla (“…she must love her husband with her whole heart”) was humorous yet tragic as the consequences of Wendla knowing no different played out. Ms. Roche was at her best as Frau Bergman, dealing with the doctor’s crushing ‘diagnosis’. I found Mr. Byrne difficult to understand in his opening schoolhouse scene. However, this was short-lived and he proceeded to skilfully jump from character to character with superb changes of physicality, voice, accent and superb diction to convincingly play a multitude of roles. His mouthed “She’s pregnant” provided a much-needed release for us all before the trauma that would befall Wendla.

The ensemble in this show was exceptional. From their very first lean forward to listen to Frau Bergman talk birds and bees to Wendla, we knew that this was an extremely committed and focused group, working together, often as one, in a stylish, theatrical manner. They rarely left the stage and the subtlety from every single performer as they observed, reacted and interacted, never taking focus from where it was meant to be, was simply breathtaking at times. Of course, these things don’t happen by accident. What appears simple in performance often requires the most work in rehearsal.

Stage manager, Nigel May, had a relatively quiet night. Cast orchestrated the smooth transitions from scene to scene, ensuring fluidity and pace throughout. A low fog machine, concealed under the upstage rostrum, was used very effectively in the graveyard scene.

The superb lighting design and, in particular, the meticulous timing of its operation, was a joy to behold. Indeed, the lighting in this show was as much a part of the dramatic action as any cast member. LED batons, built into the set, were used most effectively, as was the strobe in ‘Totally F*cked’. There was beautiful isolation of Melchior and Wendla in ‘The Word of Your Body’ with the ensemble almost silhouetted in the background. Haze was used to create suitably ethereal mood, when required. What must have taken days of collaboration between director and designer were so evident and paid off greatly.

Sound was generally very good, with clear dialogue and good cueing throughout. The choral sound was warm and full, with superb balance across all vocal parts. Some minor issues with Mr. Byrne’s mic were quickly rectified. The few sound effects were suitable and well-timed. Occasionally, in higher octane numbers, the band had a tendency to overwhelm soloists but, generally, the balance between music and vocals was well handled in what can be a challenging show dynamically.

Costumes were simple and true to the Victorian era with good attention to the boys’ school uniforms, the girls’ dresses and various changes for the adults. Braces and ties might have been a nice addition for the band to blend into the space even more.

Make up and hair were well presented with Moritz’s distinctive hairstyle setting him apart from the outset.

This was a theatrical feast of a show from North Wexford Musical Theatre. They are to be applauded for their talent, originality and the bravery of their choices in bringing this wonderful production to the Gorey stage. It was a privilege and a pleasure to attend. Bravo all!

Pat McElwain

Gilbert Adjudicator 2024/2025

Some photos kindly provided by the society - Photography by Darragh Carroll