Arts & Entertainment

Heat of the moment

Heady ‘Awakening’ explores teen lust in coming-of-age hit musical

Published

14 years ago

June 14, 2012

‘Spring Awakening’
Keegan Theatre
Church Street Theatre
1742 Church Street, NW
Through July 8
$40, $35 students/seniors

The cast of Keegan Theatre’s production of ‘Spring Awakening.’ (Photo by C. Stanley Photography; courtesy Keegan)

Surprisingly, it’s a plaintive ballad that haunts both acts of “Spring Awakening,” the explosive trail-breaking rock musical now onstage in an excellent production by the Keegan Theatre. “The Word of Your Body” is sung by two pairs of young lovers who are about to dive into the dangerous and mysterious world of sex. With a fascinating blend of naiveté and awareness, they sing, “O, I’m gonna be wounded. O, I’m gonna be your wound.”

In Act One, it’s sung by Melchior and Wendla; in Act Two it’s sung by Hanschen and Ernst. In an unusual twist, it’s the straight couple and not the gay couple who come to a tragic end.

“Spring Awakening” is based on a controversial play by the remarkable German playwright Frank Wedekind. Although written in 1891, the play was not performed until 1906 and has since had a long history of censorship as it deals frankly with complex issues of sexual and intellectual awakening, adolescent rebellion, sadomasochism, political and intellectual repression, suicide, abortion, sexual abuse, gender and homosexuality.

The plot centers on Melchior Gabor (Vincent Kempski), a charismatic and intelligent teen rebel, his innocent but curious girlfriend Wendla (Ali Hoxie) and his tormented best friend Mortiz Steifel (Paul Scanlan). While Melchior and his classmates (including Hanschen and Ernst) deal with oppressive schoolmasters and uncontrolled sexual yearnings, Wendla and her friends deal with parental abuse and neglect.

Indie musicians Steven Sater (book and lyrics) and Duncan Sheik (music) have turned this 1891 German drama into a contemporary rock musical with exceptional ingenuity and creativity. Sheik and Sater wisely keep most of the plot intact and keep the action in its original time period. However, as the teenagers express their inner feelings, their inner rock stars erupt, electric guitars serving as a timeless expression of teen angst. The concept works really well and the show deservedly swept the 2007 Tony Awards.

Directors Mark A. Rhea and Susan Marie Rhea handle this challenging material with great finesses and sensitivity, guiding the talented cast through their scenes with an effective blend of comedy and tragedy. The musical staging is generally fluid and eye-catching as the cast moves from the relative still of the book scenes to the explosive outbursts of the songs. Musical Director Jake Null gets great instrumental performances from a superb 10-piece band and outstanding vocal performances from powerhouse singers with exceptional range and diction.

The cast is uniformly strong, with outstanding performances from Nora Palka as Ilsa and Charlotte Akin as the Adult Women. Palka’s rich voice brings great poignancy to songs where she tells about horrible sexual abuse (“The Dark I Know Well”) and where she tries to save the suicidal Moritz (“Blue Wind”), but she also shines when she leads the cast in the moving finale (“The Song of Purple Summer”). Akin is delightful in several small roles, showing great comic flair as a busty piano teacher and a mean schoolmistress, severe earnestness as Wendla’s mother and deeply moving sensitivity as Melchior’s sympathetic mother.

There are, unfortunately, a few missteps (quite literally) in this otherwise fine production. The choreography by Kurt Boehm sometimes undermines the delicate balance between the period setting and the contemporary rock score; fluttery hand gestures, cartwheels and moves from Michael Jackson videos feel out of place. The direction of the three-member ensemble is also rather awkward. The switch from teenagers to angels of death clutters the final scene and their costuming and blocking is frequently distracting.

While most cultural venues have already slipped into more escapist summer fare, Keegan Theatre deserves a round of applause for ending their season with more challenging material. LGBT audiences will find “Spring Awakening,” with its positive portrayal of homosexuality and complex depictions of sexual politics, especially rewarding.

Related Topics:Keegan Theatre Out & About Spring Awakening

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

20 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

1 day ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

2 days ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.