Review: Spring Awakening

Helsinki City Theatre’s Main Stage wakes up to a fierce spring

AN EMOTIONAL MUSICAL IS A TICKET TO YOUTH


The youth musical Spring Awakening, which deals with tough topics, had its Finnish premiere in February on the Main Stage of the Helsinki City Theatre.
The spring awakened by director Neil Hardwick blows fresh winds into the world of musicals, and the performance beats to the beat of the hearts of its skilled creators.

A young girl in her white petticoat, like a wounded angel, shines in the spotlight of the stage, singing emotionally “a mother will not help her daughter”.
Helsinki City Theatre’s new musical has begun with a delicate scene in which Wendla begs her mother to tell her how children are actually made. Her mother refuses, embarrassed, and this seemingly insignificant episode seals Wendla’s fate.
Director Neil Hardwick strikes an emotional nerve from the start. He has created a cast for his youth musical that glows with such a can-do spirit that it draws even an adult viewer into a journey into the painful world of youth.
The musical depicts the awakening of young people in the spring of life, on the threshold of adulthood, when hormones are pounding through the skin from within, the body is a battlefield of confused sensations and blood rushes restlessly in the veins.
In that world, volcanic eruptions of emotions, earthquakes, icy cold and scorching sunshine alternate daily.
It is the reality of the young people in the musical, which includes incest, abortion, suicide and finding and denying one’s own sexuality.


“I’m empty
and full”


Frank Wedekind’s classic play had to wait for several generations to be reborn, adapted by Steven Sater and Duncan Sheikh .
When it was published in 1891, the play received a harsh reception, and its performance was repeatedly banned.
The play was a sensation of its time with its frank talk about sexuality, double standards and tormenting teachers.
The years have passed, but the transition to adulthood should not be any easier.
Fortunately, most parents have grown out of stork fairy tales and even know how to patch up the emotional wounds of the grumpy.
Still, for many, it is still difficult to meet a young person, even though acting as a listening ear is one of the most important tasks of an adult.
In the musical, problems are told by their real names, but with style and skill. The language of music works better than spoken in painful matters.
“I’m empty and full, but don’t understand, I’m a closed window broken.”
Is it possible to put a young person’s confusion into words more beautifully?
Translator Sami Parkkinen knows how to do it.
The emotional story is guaranteed to touch the entire audience, from young people to old women.


Music
Export the story

The masters of the acclaimed and controversial musical know how to captivate the audience. They also get music with rough ballads and rough rock to carry the story smoothly forward.
The musical beats to the heartbeat of its skilled creators.
The melodies of the songs are not very easy to catch, but the frenzy of the performers does catch the sweater. Like, for example, a boisterous statement from behind the Middle Finger.
I also remember Mariko’s mood in the song Tumma tuuli.
The proposal is partly double-staffed. I saw Sara Meller’s endearing interpretation as Wendla, who thirsts for knowledge and life, and who falls in love with the handsome Melchior, played by Tuukka Leppänen .
Leppänen performs his part wonderfully, including amazingly agile jumps.

Petrus Kähkönen has mastered the world of Moritz, which is crumbling under pressure.
Leena Rapola and Oskari Katajisto fit perfectly into the diverse roles of adults.


The world of light
ignite

In addition to severe growing pains, the musical contains liberating humour and high-flown action.
Choreographer Harri Kuorelahti has created such steps that even the audience will not want to stay in their skin. Kuorelahti charges the dance numbers with pain, confusion and budding delight. The young people fill in the fast-paced patterns in an excellent way.
Conductor Lasse Hirvi holds the baton skillfully, which can be heard in the orchestra’s playing.

Jyrki Seppä’s handsome set design does not change during the performance, but the atmosphere is alive and gives rise to new states of mind.

Maija Pekkanen’s outfits, Little House on the Prairie dresses and boys’ breeches create a stark contrast to the events.
About twenty seats are sold on the stage, among the performers, where the people sitting are guaranteed to slip more intimately into the story. And it certainly doesn’t matter at all if Mariko Pajalahti happens to sit next to you.

Antti Rehtijärvi’s lighting design is incendiary.
Sparkling lamps twinkle on the stage of the Helsinki City Theatre in an unforgettable way.