Prior to that, Lea garnered a Craig Noel nomination for Outstanding Featured Performance in a Musical for her latest work in Allegiance, which finished its run at The Old Globe in San Diego in 2012. When not on tour, Lea is a coach on the Philippine version of the hit “The Voice.” Mitoy Yonting, a member of Team Lea, was named the first season winner. Lea most recently wrapped touring with Il Divo for the group’s worldwide “A Musical Affair” tour. She was also the first Asian to play Eponine in the musical Les Misérables on Broadway and returned to the beloved show as Fantine in the 2006 revival. In addition to the Tony, she has won the Olivier, Drama Desk, Outer Critics Circle and Theatre World Awards, in the field of musical theatre. Scan the biographies in the program and almost every one seems to begin with the same two words: “Broadway debut.” Those words are almost invariably followed by an exclamation point or three.Known across the world for her powerful voice and perfect pitch, Lea Salonga is a singer and actress who is best known for her Tony Award-winning role in Miss Saigon. When the performers collectively rush onstage to join in one of the explosive, stomp-the-floor expressions of hormonal angst, the first couple of rows in the orchestra seats seem to be thumping along with them.
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The musicians no doubt also take inspiration from the excitement of the new cast, clearly thrilled to be performing in a musical that speaks so immediately to audiences their own age. The band, under Kimberly Grigsby, the music director, remains powerfully engaged in the show, a benefit of both being onstage and being a tight musical unit. Sater’s vibrant score continues to impress with its deft blend of straight-up rock, folk and melodic pop that captures the mercurial moods of adolescent experience, the fury that is a mask for frustration, the tides of longing that ebb and flow uncontrollably. New to the adult male roles, Glenn Fleshler displays ample range and glimpses of real feeling when necessary.Ī scene from "Spring Awakening." Credit. Matt Doyle and Blake Daniel enact the seduction scene between the sly Hanschen and the tentative Ernst with consummate wit. Amanda Castaños, as the abused Martha, and Emma Hunton, as the outcast Ilse, lead their songs powerfully. These adolescents have adolescent bodies, too, some ample, some spindle-thin. Each of the actors has a distinctive, arresting face, and one that would look just right in a faded photograph from a century or more ago. The supporting roles have been adventurously and profitably cast. A squashed tomato under a shock of angry hair, that is. Canonico’s cheeks, and Moritz turns into a squashed tomato before our eyes. When Moritz fumes at his mistreatment by the ego-stomping adults around him, the blood rises in Mr. But he uses his wonderfully expressive face to delicious comic effect. Sara Krulwich/The New York TimesĪs the hapless Moritz, the failing student staggering under the weight of strange, hormonal fever dreams, Gerard Canonico may not have the soulful inwardness of his predecessor in the role, the Tony-winning John Gallagher Jr. Socha.Īlexandra Socha and Hunter Parrish in "Spring Awakening." Credit.
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The almost casual manner in which Wendla and Melchior move from friendly acquaintances to intimate, self-surprising young lovers is effectively drawn by Mr. But the piercing blue eyes, boyish beauty and glowing physicality convince you that he would be a magnet for the adoration of many a German schoolgirl (and the occasional German schoolboy). His singing is sweet but light, and not especially rich in expressiveness.
YOUTH CONSEQUENCES CAST SERIES
Hunter Parrish, who plays Mary-Louise Parker’s elder son in the pot-mom series “Weeds,” is a winning presence in the central role of Melchior, who initiates Wendla into the joys and terrors of sex and, not incidentally, love. Their youth is actual, not fictional, making it that much more unsettling to watch them being overcome by overheated erotic dreams and their own probing hands. These are not adults well into their 20s playing at playing adolescents and keeping us at ease as we witness their sexual exploration. It’s a daring choice that underscores the more radical aspects of both Wedekind’s play and the musical adaptation by Duncan Sheik and Steven Sater.