The Watering Hole Collective presents Spring Awakening

Music by Duncan Sheik

Book and Lyrics by Steven Sater

Based on the play by Frank Wedekind

Direction by Claire Greenberg and Mac Welch

Lighting Design by Ryan Burkle

Sound Design by Claudia Jenkins

Costume Design by D’Mariel Jones

Construction Coordinator Travis Walters

Costume Assistant Morgan Eden

Asst Stage Manager Jude Baramore

Assistant Director Cas Kampfschulte

Intimacy Director Bradley Atuba

Stage Manager Jenny Dang

Music and Vocal Direction by Olivia De Guzman

Movement Direction by Emily Bernet

The Band

Conductor Olivia De Guzman

Keyboard Cody Dry

Guitar/Bass Jesse Ramirez

Percussion Michael Ptacin

The Cast

Emma Colwell

Emma De La Paz

Brianna Woods

Deirdre Wolf

Kennedy Eagleton

Ella Schrach-McPhee

Sarah Comley Caldwell

Esteban Vilchez

Dominic Pecikonis

Matty Rafanelli

Max Rose

Jonah Taylor

Jeff Burleson

My thoughts on Spring Awakening or…children will listen

I can’t think of another musical that portrays the joys and sorrows of teenagers as honestly as Spring Awakening. Duncan Sheik’s rock score and Steven Sater’s sharp lyrics capture all the rebelliousness, the sexual exploration, and the need to connect with peers that dominate most teenage lives and, although the story is set in Germany in 1891, its message and plea for honesty and understanding and the dire consequences of not receiving compassionate, truthful support resonate just as strongly today.

Directors Claire Greenberg and Mac Welch stage this Spring Awakening almost in the round giving it an immediacy and intimacy that make the story and characters more poignant than in other productions I have seen. The characters are often no more than a foot or so from the audience and you can actually feel the floor vibrate as the actors execute Movement Director Emily Bernet’s choreography to the ear candy pouring out of Music and Vocal Director and Conductor Olivia De Guzman’s sensational band that includes Cody Dry on keyboard, Jesse Ramirez on guitar/bass, and Michael Ptacin providing percussion.

The set is minimal, using mostly pews/benches in the performance area that once served as a church sanctuary (the symbolism and irony of that also heightens this Spring Awakening’s impact). Ryan Burkle’s skillful lighting eliminates the need for additional scenery. The mostly muted color costumes designed by D’Mariel Jones both suggest the era and aid in defining the characters.

This cast is filled with very strong actor/vocalists that make the production both moving and thrilling. Esteban Vilchez, who is having quite a year on DFW stages, proves once again that he is a powerhouse performer. As Moritz, a character who literally feels the weight of the world on his shoulders, Vilchez succeeds in getting all the angst of the character across without ever being melodramatic and his vocals always soar.

Edward Michael Escamilla in the central role of Melchior gives an outstanding performance. Escamilla, looking like Darren Criss in his “Glee” hey day, gets to the soul of the headstrong, charismatic character and his every move, every expression rings true. Escamilla knows how to “act” a song and brings authenticity to the complex character of Melchior.

Emma Colwell is Wendla, Melchior’s love interest and friend since childhood. Colwell is just about perfection in this part. She’s youthful, curious, and believably naive. Colwell has a lovely soft soprano that gives Wendla an appealing innocence and her scenes with Escamilla express all the excitement and apprehension of a young woman exploring her sexuality for the first time.

Also exploring their sexuality are Dominic Pecikonis as Ernst and Matty Rafanelli as Hanschen. These skilled actors, both of whom are also excellent vocalists, have a scene in which their sexual feelings for each other are brought out in a tender, yet fairly graphic manner. it’s a beautiful scene of sexual awakening that goes from awkward first kiss to “I want you now” lust.

Emma De La Paz is a wonderful Ilse. She brings a free spirit “flower child” vibe to the character that is endearing and her vocals, especially on “Blue Wind, ” are first rate.

Brianna Woods brings genuine pathos to the heartbreaking role of Martha, who is being sexually and physically abused by her father. Woods, Deidre Wolf as Anna, Kennedy Eagleton as Thea, and Ella Shrack-McPhee as Marianna complete the female ensemble and are all gifted performers and awesome singers. Indeed, the entire supporting and featured cast of Spring Awakening is superb.

Max Rose as Georg and Jonah Taylor as Otto complete the male ensemble. Georg has a thing for his older piano teacher, while Otto admits disturbing dreams about his own mother, making these two complex young men. Both Rose and Taylor have impressive stage presence and great voices.

I want to give special kudos to Sarah Comley Caldwell and Jeff Burleson who play all the adult roles in the musical. These two are true chameleons and make all their countless characters distinct and exciting to watch.

Spring Awakening is not a happy musical, but it is a powerful one that fearlessly addresses tough topics including teen suicide. The Watering Hole Collective is sponsoring a talk back after every performance to discuss the themes of the play and to offer information on resources available to help prevent tragedies like the ones portrayed.

Spring Awakening is a production you do not want to miss. The directors choosing to make the show almost immersive gives the musical a visceral excitement. The cast is beyond stellar, and the group numbers are soul stirring. Congratulations to The Watering Hole Collective and its founders Laura Payne, Claire Greenberg, and Mac Welch on a spectacular inaugural production. To use the title of one of the best songs in the show, dont be “Totally F*cked,” get your tickets to Spring Awakening.