Lush music, tender acting make for emotional 'Awakening'

At one point in the touring production of “Spring Awakening,” I couldn't help but think that this is one show that will never make the rounds of high school musical stages.

It shouldn't, of course. Not with its jarring nudity, graphic scenes of simulated sex and the kind of lyrics that would give Cee Lo Green pause.

Still, teens and parents would be wise to heed the message of this Tony Award-winning show, a sexually charged cautionary tale of what happens when raging hormones collide with needless naiveté and life-altering ignorance.

“Spring Awakening,” energetically directed by Lucy Skilbeck at Chicago's Oriental Theatre, was inspired by Frank Wedekind's controversial 1891 play. The story and costumes reflect repressive 19th century Germany; the rock score by writer/lyricist Steven Sater and composer Duncan Sheik is rooted firmly in the modern day.

At first, it's a tad unsettling: You've got teenage school boys in knickers pulling microphones out of their blazers and belting out lyrics you could never print in a newspaper. The staging — particularly during rock anthems oozing with teen angst — sometimes seems a tad forced. But it all comes together brilliantly, largely thanks to a gorgeous, unforgettable score and two incredible leads.

Wendla (Elizabeth Judd) begs her mother to explain where babies come from. The teen no longer buys the stork story, but her mother is unwilling to give Wendla the knowledge she needs to understand the stirrings in her young body.

Melchior (Christopher Wood), however, has figured it all out and shares what he knows — drawings and all — with his pal, the troubled Moritz (Coby Getzug).

The teen boys and girls portrayed here struggle with their urges in all sorts of ways not usually seen on stage until Wendla and Melchior come together in an act of passion that will have tragic consequences.

Throughout, the adults are painted in large, broad strokes. In fact, a single actor and a single actress (Mark Poppleton and Paris Bradstreet) play all the adults as if they were interchangeable — and they largely are. Melchior's mother at least shows a little compassion, but she too gives in to what their society expects.

Parallels between the 19th century and our time, however, are clear throughout. When a stern school marm warns of the “creeping sensuality” of youth in her day, she could easily be bemoaning the way today's preteens dress or what they watch in shows like “Gossip Girl.”

That “creeping sensuality” is expressed, in no small part, by the lush and evocative music. Of particular note are the haunting “The Guilty Ones” and the poetic “The Word of Your Body,” about the wounding power of love. Also heartbreaking is “The Dark I Know Well,” a duet about the pain of abuse.

As Wendla, Judd exudes the sweetness and innocence necessary to make her story both moving and convincing. Her voice is beautiful, conveying yearning with every note. Wood is, likewise, a worthy Melchior. With his brooding good looks and unwavering vocals, Wood seems born to play the part of a sensitive freethinker.

And Courtney Markowitz as the outcast Ilse imbues each of her songs with an aching quality that draws us to her, making us want to know more about her life on the fringe.

Clearly, this “Spring” is not for everyone. But its memorable music and message are an awakening indeed.

<b>“Spring Awakening”</b>

★ ★ ★ ½

<b>Location: </b>Ford Center for Performing Arts Oriental Theatre, 24 W. Randolph, Chicago, (800) 775-2000 or <a href="http://www.broadwayinchicago .com" target="_blank">broadwayinchicago .com</a>

<b>Showtimes:</b> 7:30 p.m. Thursday, May 5; 8 p.m. Friday, May 6; 2 and 8 p.m. Saturday, May 7; 2 and 7:30 p.m. Sunday, May 8

<b>Running time:</b> About 2 hours, 30 minutes with intermission

<b>Parking: </b>Paid lots nearby

<b>Tickets: </b>$27-$90

<b>Rating: </b>For adults; contains nudity, profanity and strong sexual situations