An intimate theatrical awakening
By Brontë H. Lacsamana, Reporter
Theater Review
Spring Awakening
Presented by
The Sandbox Collective
Feb. 13 to March 22
The Black Box, Proscenium Theater
Rockwell, Makati City
IT IS ONLY fitting that a striking and intimate musical introduced Filipino theatergoers to the dark yet cozy silence of the brand-new Black Box of the Proscenium Theater in Rockwell, Makati.
The Sandbox Collective’s staging of Spring Awakening, which began on Feb. 13, is the inaugural production of the humble setup, located at the 6th floor of Proscenium. There, Duncan Sheik’s music and Steven Sater’s book and lyrics resonated with audiences, who also enjoyed decent leg room and satisfyingly crisp acoustics.
Spring Awakening premiered two decades ago Off-Broadway, but this staging directed by Andrei Nikolai Pamintuan effortlessly recreates the oppressive milieu of late 19th century Germany. It’s a coming-of-age for teens exploring their sexuality in an unforgiving environment, and it manages to strike a chord with Filipinos in the present day.
A memorable set piece that exemplifies this is the lower half of a large oak tree hanging from the ceiling, where the leads, Melchior and Wendla, meet and dream of a better world. It may be a peculiar choice to have it suspended in the air rather than on ground where the actors can actually lean on it, but it gives the impression that all the characters are underground, adding to their suffocation.
The production is filled with these interesting set pieces. Designed by Wika Nadera, the gray backdrop, the stony atmosphere with sharp corners, and the small, dimly lit cave where the band plays the music all add to the emotions of the musical. The most affecting piece would have to be the cross-shaped structure that descends from the ceiling, on which Melchior and Wendla play out their first sexual encounter — an ironic choice that calls out the role of religion in the lives of the oppressed youth.
Ejay Yatco directs the music to deliver a good gut punch, some songs heavy when needed and others more tenderly performed. The restrained emotion is perfect for songs like “Mama Who Bore Me,” whereas the outright aggression in “Totally Fucked” is cathartic to hear.
Another aspect worth mentioning is the costuming by Raven Ong. The dark boarding school attire worn by the boys contrast well with the innocent-looking floral dresses worn by the girls, offering a glimpse into the rigid educational environment that aims to mold capable men and the one-dimensional standard of purity forced onto women.
The cast that we saw on the evening of Feb. 21 was splendid. Sheena Belarmino as the doe-eyed Wendla was enthralling onstage, and she paired perfectly with the tough energy and rare vulnerability displayed by Alex Diaz as Melchior.
Diaz shone the most in the scenes where he would clash with authority, bringing out the defiance that would make the audience root for these teens. Alongside him, Nic Chien’s take on Moritz stands out, too, as his voice and movements embody the fragile, frantic psyche that slowly cracks over the course of the play. By the time he finally gives in under the weight of the trauma, the tortured neurosis he brings to the ensemble descends into a haunting calm that would characterize the rest of the tragedy that plays out.
Even the choreography (by Nunoy Van Den Burgh) allows these actors to carry out their characters’ personal trajectories all within the framework of Spring Awakening as written. The frenetic energy of their bodies, filled with stomps and agitated movements, offers just enough space for each actor to inject their take on inner turmoil. The lighting by D Cortezano is strong as well, very subtle in the quiet moments to emphasize silhouettes and very striking in others as flashes of light dance along with the emotions of the cast.
Both adult actors, who play an array of adult characters, delivered. We saw Ana Abad Santos’ version, which vacillated reliably between humorous and grounded. Opposite her, Audie Gemora was the picture of authority in all of his roles, comical at times but mainly severe as a representation of how the rigid system should be. The ensemble was commendable, fully cohesive in energy as they were propelled by the rock music and choreography.
Ultimately, this staging of Spring Awakening drives home the consequences of systemic repression, unwavering in its bleakness that it leaves one yearning for a more hopeful ending. It’s a cautionary tale movingly told in the right environment.
Tickets to Spring Awakening are available via Ticket2Me.
