Spring Awakening at the Tampa Bay Performing Arts Center Review

I went into "Spring Awakening" knowing almost nothing about the show.

Since I spend an unhealthy portion of my (supposed) work day checking out entertainment Web sites, I usually know what's going on in shows I don't even watch. I'm pretty plugged in pop culture-wise, and I don't miss much.

However, all I knew going into "Spring Awakening" was that it had won the Tony for Best Musical and it was vaguely supposed to be the next "Rent" (which, of course, got me interested).

I'm considering maybe spending more time away from Entertainment Weekly's Web site during the day (not really) because I thoroughly enjoyed going into a show completely fresh and with no expectations.

In the middle of doing actual work last Tuesday, I got an email from our (fantastic!) ad department giving away free tickets, making for my second free show in a week.

The story is based on an on 1891 German play of the same title and deals with a group of late 19th century adolescents and the conflict they feel between their growing sexual desires and frustrations and the strict society that surrounds them.

The leader of the boys' group is Melchior, a bright and charismatic anarchist who inspires his fellow classmates. He has the biggest influence on Moritz, a kind and perpetually nervous student (and audience favorite) who becomes overwhelmed by his awakening sexual desires. Melchior also begins a sweet, tentative relationship with Wendla, which takes a dark turn in the surprisingly tragic second act. (Then again, aren't all second acts tragic?)

By the way, did I mention the whole thing is set to an alt-rock/folky score by Grammy and Tony-winning songwriter Duncan Sheik. It may seem like an odd combination of material and artist, but it works beautifully because Sheik and the rest of the "Spring Awakening" team (including book and lyrics by Tony-winner Steven Sater) never let the score lean too heavily in either direction.

Also, I don't know who made the decision about breaking the fourth wall and having the characters directly perform for the audience in the theatre (was it director Michael Mayer?), but it (mostly) works fantastically for the show.

Not only is it awesome watching the characters pull out microphones from their jacket pockets before they start rocking out, but it fits within the context of the story. The characters are so repressed and confined by their society, who can blame them for occasionally launching into their own private rock concert? The only instance in which it was distracting was when Wendla had to walk across the entire stage to get to her mike stand for "Whispering."

In fact, the show felt more like being at a rock concert at times than it did being at a Broadway musical, and I definitely mean that as a compliment.

The performances by the young cast were overall phenomenal. Christy Altomare and Kyle Riabko made for arresting leads, and the supporting cast (especially Steffi I as Ilse and Andy Mientus' Hanschen giving some much-needed comic relief in Act II's "The Word of Your Body (Reprise)") was equally engaging.

Still, the standout in the standout role is Blake Bashoff as Moritz. Bashoff scores the most laughs and the most sympathy out of any character in the play and does his best to turn this into the first "emo musical" during his songs (LOVED "Don't Do Sadness"). Mostly though, I had no idea Karl from "Lost" had this many skillz.

In fact, the only problem with the show was that, during the production in Tampa, it was sometimes hard to hear the lyrics over the band on stage. That led to my mind sort of drifting away toward the end of the first act. Fortunately, that's about the time the show decided it was time to flash some boob, which I couldn't see at all from my seats, but still — boob, you know?

The most important part is that I WANTED to be able to hear what was happening on stage, which meant I was totally engaged by the story.

Also, I may or may not have been inspired to order the soundtrack album from Amazon for my girlfriend when I got home that night.

Go see this show, even if you've heard nothing about it. Actually, maybe you should go ESPECIALLY if you've heard nothing about it.

Spring Awakening...A