MANILA, Philippines - Nowadays, if we want to be shocked, surprised or made to laugh uncomfortably, we turn to films, and secondly, television. Theater has been relegated to safe, effete entertainment; and we tend to forget the immediacy of live performing and the much more substantial challenge theater artists risk each and every time they take to the stage. On stage, it’s so much easier to fall flat on your face; as there is no second take, no “curing” with technology. And that’s why I’m so excited to write about the ongoing Atlantis production of the Tony Award-winning musical Spring Awakening at the Carlos P. Romulo Auditorium at the RCBC Building.
Directed by Chari Arespacochaga, the emo alt-rock musical is loosely based on the 1981 play of Frank Wedekind, with book and lyrics by Steven Sater and music by Duncan Sheik. Before you think “era” and stuffy history, know that in his time, Wedekind’s plays were repeatedly banned, and only censored versions were staged. It may be set in Freud’s Germany, but Spring Awakening still strikes a controversial chord in today’s world as it tackles puberty, abortion, masturbation, child abuse, repression, homosexuality, and teenage suicide — and yes, all in one play! The angst, the emotional turmoil are all there, and while the setting of a German boarding school does provide some “distancing,” one can’t help but be swept along as the raw nerves and tragic situations are exposed, and yet leavened with humor, wit and laughter.
There’s a platform placed on the center stage, and it’s here that all the action takes place. The musicians are right there on the stage as well (center back), and the claustrophobic atmosphere that reflects the repression of one’s knowledge and feelings during the onset of puberty is highlighted by having members of the audience sit on both wings of the stage itself. The acting and singing are topnotch. Joaquin Valdes (Melchior) and Kelly Lati (Wendla) assess the lead roles with utter conviction, and Jett Pangan and Cheska Iñigo as the regimental and oppressive adults are highly convincing. Among the support cast, it was interesting to note that Sitti, an established concert artist with her bossa music, was ready to expand her range, and showcase her love for theater and music.
Be forewarned that as can be expected of a Wedekind play, there are controversial scenes of a mature nature — and while they are treated in rock musical format, one can’t help but notice the audience squirm, react; and for some, be disturbed or offended. And that is precisely what I loved about this play. It brings back and exemplifies the essence of theater — using the immediacy of what transpires live on stage to challenge, confront, surprise, and make us uncomfortable, while still being entertaining, and giving us food for thought.
The adaptation runs until Oct. 18, so if you’re looking for something different, theater that exhilarates and soars, book your ticket now. And it was great to note that come Dec. 4 to 13 Atlantis will be reprising their Puttnam Spelling Bee production —- a priceless comedy that’s a laugh a minute, and everyone should catch — even if again and again! In the meantime, forget the rude awakening this company got from Mother Nature (two weekends that were typhoon-stricken), and enjoy the post-theater discussion a play like Spring Awakening can incite.