The Little Theatre, Adelaide University, Dec 2 to 11
In their theatre debut, Gin and Vodka Productions have tackled a challenging piece with the controversial musical adaption of the 1891 German play Spring Awakening. Luckily, both company and cast are up to task.
Despite some initial confusion regarding seat allocations in the theatre, Spring Awakening is a polished production featuring a young but extraordinarily talented cast. With co-directors Vince Fusco and Josh Penley in the male leads of Melchior Gabor and Moritz Stiefel, and impressive newcomer Ashleigh Hauschild as the female lead Wendla Bergmann, the show tackles a raft of sensitive topics including masturbation, rape, sexual and physical abuse and suicide.
Directorial self-inclusion is always a risky business but the production does not suffer for it. With much collective talent, both Penley and Fusco excel in their respective roles though are noticeably older than their cast. The two should be commended for some outstanding choices, having surrounded themselves with a brilliant group of young actors.
With few exceptions, accents and characterisation are maintained throughout - impressive given the varying levels of experience within the group and the often challenging subject matter. The quality performances belie their youth, which lends much authenticity to the angst of the piece. The show features some wonderful harmonies; the final number wows with the full cast showcasing their vocal talents.
Hauschild shines in the role of Wendla with a beautiful voice and flawless performance. Scenes between Fusco and Hauschild reveal the acting talent of both, their interactions are genuine and heartfelt. All four supporting females stand out and Jeff Lang deserves special mention for masterful performances in the roles of Teacher, Herr Stiefel, Herr Gabor and a suitably shifty backyard abortionist.
Adelaide University’s Little Theatre is a well-sized venue for the show, intimate but able to accommodate the full cast on stage. Split over two levels, the set is used to great effect with actors appearing on the mezzanine and amongst the audience. Minimal use of props is equally effective; they aren’t required with such quality performances to focus on.
The onstage live orchestra are excellent, although the light from their music stands can be distracting at ground level. The musicians’ closeness to both cast and audience also requires greater projection from some of the un-miked actors. Sadly is often difficult to hear solo vocals, particularly in the case of the supporting males.
A professional and well-directed piece packed with solid performances from all, this is an impressive first effort from Fusco and Penley and bodes well for the future of Gin and Vodka and their latest foray in live theatre!
Nicole Russo
3 Dec 2010
