Review: Spring Awakening (play), Royal Conservatoire of Scotland at Glasgow Tron Theatre
- Lisa in the theatre
- 5 days ago
- 5 min read
Updated: 2 days ago
Students from the Royal Conservatoire of Scotland’s BA Performance for Deaf and Hard of Hearing Actors programme present a retelling of Frank Wedekind's riot-triggering play, modernised by award-winning playwright Anya Reiss. This RCS revival of Spring Awakening is performed in British Sign Language (BSL) and English with captions.
Spring Awakening: Written by Frank Wedekind in a new version by Anya Reiss | Directed by Andrea Ling
Review: Tron Theatre, Glasgow | 07 May 2025
Spring Awakening (play) review, RCS, Glasgow Tron 2025 ★★★☆☆
The much-censored and often banned play Spring Awakening explores the consequences of teenagers experiencing their sexual awakenings without much, if any, knowledge of reproductive biology. Originally set in nineteenth century Germany, the play notoriously has a long list of alarming content warnings.
It seems remarkable that this material was ever deemed suitable to be adapted into a musical. But it was, and a hugely successful, Tony-award winning Broadway musical at that. I had previously only seen the musical version of Spring Awakening, and although the storyline and themes are undeniably bold, at times grim and often chilling, I do think it's an excellent, thought-provoking and powerful piece of theatre.
The version of Spring Awakening performed at the Tron Theatre by the super-talented students of RCS's BA Performance for Deaf and Hard of Hearing Actors programme is not the musical, it's the play. But a modern version of the play by award-winning playwright Anya Reiss.
In this Spring Awakening the teenagers are living in the modern digital age and not only have to deal with the struggles of their 19th century counterparts, but with the added complexities of information-overload and solitude found via mobile phones and the internet. As always communication (or lack therefore) and miscommunication is at the heart of the Spring Awakening tragedy, and so staging a performance of it in BSL seems especially fitting.
What is Spring Awakening about?
When Wendla Bergmann turns fourteen she begs her mum to tell her where babies come from. Her mum is uncomfortable and brushes Wendla aside with the reassurance that babies only happen when two people are very much in love. At the same time, the boys in Wendla's class are traumatised by puberty, erotic dreams and being stuck somewhere between childhood and adulthood. They have varying levels of bodily knowledge, but behind their bravado they are just as confused and ill-informed as the girls. It's a potent mix poised for tragedy.
How does this production of Spring Awakening fare?
If anything I would expect to understand more of the Spring Awakening storyline, the character's motivations and the play's themes in the 'play version' of the story versus the musical... And I would expect the play to be even more hard-hitting. But unfortunately that's not the case.
In this production some key plot points feel rushed, and the dialogue is often confusing. Characters seemed to be answering different questions to those asked of them at times. If I hadn't known the plot so well from my previous experiences with the musical, I'm not sure I would've followed the story in its entirety.
Perhaps some of the confusion can be attributed to me relying on the captions, which did sometimes struggle to keep up with the actors.
At other times the pacing felt slow. Act one in particular took a long time to get going (after the inspired new opening scene in an art gallery - which left the audience in no doubt about the explicit nature of the play they were about to see!), and long pauses between sentences slowed some scenes almost to a halt.
Having seen their work before (in their previous production - A Christmas Carol) I know just how successful a BSL production can be for both deaf and hearing audiences. These amateur actors are all superb - nimble and skilled in their line delivery, whether that be in BSL, spoken English or both. But Spring Awakening was much more of a challenge than their delightful, concise Dickens adaptation.
It is however a courageous production with much to admire about it.
Together with Director Andrea Ling, the company have inserted welcome moments of playfulness and humour into what is undeniably a brutal play. The eight performers all have beautiful presentation skills, sharp comic timing and animated facial expressions.
So too the inclusion of the internet-age plot device is a win with lots of clever, thought-provoking elements running through the updated storyline.
Accompanying the actors on stage is some truly ambitious technology with a triplet of huge video screens broadcasting not only scenic projections and captions (essential for those of us who cannot follow BSL) but at times, live streams from mobile phones and laptops too. It's an innovative, complex setup but it all sits well within the play adding visual interest as well as a touch of authenticity to the teen's private communications.
This company and creative team too must be applauded for their fearless approach to the hard-hitting, and at times explicit, content. Surely the actors will never have to perform anything as intimate and traumatic as this again in their professional careers! It's fantastic to see an intimacy coordinator listed in the show programme.
Nevertheless, for a play with such explosive themes and powerful performances, it does lack the impact I was expecting. Act One in particular could be shortened without diluting the overall message; and the dialogue could flow better throughout.
The themes of teenage sexuality, consent and mental health are just as relevant today as when Spring Awakening was first staged and censored during the 20th century; And Anya Reiss's clever renewal of the plot for a 21st century audience is inspired. Coupled with the fascinating addition of BSL to magnify the importance of voice and the devastating impact of miscommunication, Spring Awakening the play is just as urgent and audacious as ever.
Spring Awakening (play) is at Glasgow Tron Theatre from Wed 7 - Sat 10 May 2025
Spring Awakening (musical) is at the Royal Conservatoire of Scotland from Tues 17 - Fri 20 June 2025
As always with any version of Spring Awakening, please pay careful attention to the content warnings before booking the show.
Spring Awakenings Content Warnings
Please note: parental guidance is advised for anyone under the age of 16.
Contains depictions of sexual activity, pornography, suicide, drowning and hanging.
Representations or references to assault, suicide, self-harm, abuse, pregnancy, abortion and oppression.
One short section in a scene references trans people in a derogatory way.
There will be flashing lights from lighting and video during the performance.
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