So. Much. Awesome!
This was my second time seeing Deaf West Theater's production of Spring Awakening, and when it starts its national tour, I have no doubt that I'll go see it again. Yes, it's that good.
Spring Awakening already tells a story of communication - or lack thereof - between coming-of-age teens and their parents, etc. in ultra-conservative, 1890's Germany. That, alone, makes for a powerful story, which is masterfully told by the entire cast. (It's worth noting that this production marks the Broadway debut of each and every cast member. Impressive! The show also features the first-ever actress in a wheelchair. I love seeing such inclusivity!)
If you understand the history of the Deaf community, the story of communication becomes even more powerful. At roughly the same time as the play is set, a group of hearing educators set out to ban the use of signed language among deaf students, insisting, instead, that they be taught using oralism. A debate still exists regarding the best way to educate children who are deaf, and parents of deaf children (most of them who are hearing themselves; 90% of deaf children are born to hearing parents) struggle to know what is best. Even when children learn American Sign Language in school, their parents often do not, crating a communication void in the home. Many facets of everyday life are challenging for people who are Deaf in a very hearing world.
With that in mind, so many elements of the story take on a deeper meaning. In an early scene, Moritz Stiefel (Deaf) is called out by the teacher to recite lines in Latin. He attempts to voice the lines and is mocked by the teacher. Inexcusably, this still happens today. Later, when Stiefel tries to talk to his father about his struggle in school, he is chastised and told he's a disappointment. To me, this underscores the ongoing lack of understanding that often exists between Deaf students and hearing parents. The character Wendla has no idea where babies come from. Deaf children also often struggle to learn important life lessons, largely due to the communication gap in the home. I could go on, but who likes a spoiler? ;-)
The production beautifully blends spoken and signed language throughout. Each Deaf character has a spoken-language actor as a counterpart. The stage is small, but the space is expertly used. Overall, the production is visually stunning.
I suspect many (most?) among the hearing audience members come to the show without a knowledge of Deaf history, but are curious to see how Deaf actors are integrated into a musical. While I wish I felt like more people understood this production on a deeper, Deaf culture-related level, that the production has done as well as it has shows how Deaf West Theater is accomplishing its mission of building bridges between the Deaf and hearing worlds. Bravo! I am proud to support Deaf West Theater, and consider myself lucky to have such an amazing theater company here in my hometown of Los Angeles.