In all of the raves being thrown at this show, there is no mention of the acting. None whatsoever. Singing, yes. Music, absolutely. Story, without a doubt. But acting? What acting? Certainly the lead guy and girl haven’t heard a word about acting when not singing. Some would say that is just the trend of musical theater right now. I would say that as well. I am not saying it is a good thing, but the big powerhouse voice is what musicals want because that is what the audience remembers. So, if they haven’t quite figured out the acting thing, it is forgivable, mostly. Honestly, if my leads can’t act in a fun silly show, I probably wouldn’t care at all, but in a show with this many layers, this complicated it would have been nice if the leads could act. That being said, what a phenomenal theatrical experience this show is! I imagine when Rent premiered the people who saw it felt the way I saw when I saw this show. What a change of pace for musical theater. With a rock-pop score, amazing drums, on stage seating, subtle but great choreography and a story anyone who grew up even semi repressed can relate to, this musical soars, depresses, celebrates and evokes the most random laughter and when you leave the theater you just think about how you grew up.
Lea Michele stars as Wendla, a 15 year old girl growing up in 1890 Germany under a strict roof and left to figure out life by herself and through her friends. The impressive thing here is that they all seem to be around the right age; Michele has to be at least 18 I think, due to her on stage nudity, and perhaps the others are 18 as well, but they all look 15 and it is the most effective thing about this show. Their male counterparts, led by Jonathan Groff are also dealing with their issues of being young men dealing with their own sexuality. This is basically a character study and unfortunately the most interesting character is not our lead character but his side kick, the oft tormented, Robert Smith ( the Cure, look them up) inspired hair, pre-emo, emo kid, played brilliantly by John Gallagher, Jr. His tortured walk, voice and character makes him the one character the audience really seems to be drawn to. It doesn’t hurt that he gets the lead on my favorite songs “The Bitch of living” and his big solo numbers “Don’t do sadness” and “Left Behind” are so brilliantly done. All in which he jumps and writhes his body over the stage in this unbelievable angst, making him seem like a character where everyone else appears to be there just to show us an issue.
And oh boy do we get issues. Sex, pregnancy, abuse (physical, sexual and emotional), suicide, pressure of school and living in a repressed time are all brought up in a very stark way. We also get a bit of homosexuality although that whole thing seemed to be almost an after thought. All of these issues are better when discussed in blaring rock tones, backed by an amazing band and featuring amazing drums and guitars. Songs like “All that’s known”, “The Word of your body”, “Left behind” and “The Dark I know well” are all powerful songs with powerful belting voices and rich lyrics that are genuinely moving to watch. Honestly, I am not sure what else could be said about the show. I liked every single song, with the exception of the opening and by the third song I had already forgotten that first song existed. The story does play out in a pretty familiar fashion, but that is ok with me because it was the only place the story could go to get its point across and that point is, parents talk to your kids about the things they will face in life. Don’t pretend sex doesn’t exist because it does and the more open you are about them, the better equipped they shall be to deal with them.
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