Chicago Tribune - Somewhat Recommended
"...Any show where two of the three leads are struggling has its problems, of course. But if you have always wanted to see this piece, you should know that Sheik's score is beautifully played by Allison Kane and her zesty band and, also, that Berry's staging is, intermittently, quite potent. And while I found Nicole Pelligrino's choreography too derivative of the original to really contribute to the notion that something new was being attempted here, there are some successful group numbers, especially in the stronger second act. Again and again — both in terms of the acting and the singing — it's the ensemble work that saves these kids."
Daily Herald - Recommended
"...The scale is reduced, yet Berry retains the raw energy and tension that is so crucial to the show. Moreover, he has assembled a cast of young, imminently watchable singer/actors (several making their professional debuts) who personify the notion of the whole-as-greater-than-the-sum-of-its-parts. Individually, they're good. Together they're glorious, as evidenced by their performance of pulsating anthems like “Totally (expletive),” an expression of defiance in the face of defeat. Credit music director and conductor Allison Kane, whose rockin' quintet plays Sheik's lovely, haunting score. The opening night audience prolonged their applause for the Wheaton native who, with a gracious wave, acknowledges what propels this “Awakening.”"
Windy City Times - Highly Recommended
"...The intimacy of our dramatic universe is well-served by the close quarters of Marianna Csaszar's chain-and-scaffold thrust stage (with the more graphic sim-sex elevated, so that we see torsos and faces, but no naughty bits) as well as the freshness of the ensemble cast led by Josh Salt and Aja Wiltshire as the doomed Melchior and Wendla. Lindsay Leopold's runaway rebel Ilse, however, and her rendition of the gentle "Blue Wind" is what bring home the tragedy of nostalgia, the province of travelers at the end of their journeys afflicting those so recently embarked."
Centerstage - Highly Recommended
"...Jonathan Berry and Jess McLeod co-direct Chicago’s first regional production of this groundbreaking musical, based on Frank Wedekind’s controversial 1891 play about sexuality, virginity, child abuse, abortion and suicide. The Broadway production became iconic and, because the piece dictates a very specific directorial and choreographic style, it’s almost impossible to go in any other direction. Consequently this excellent production has the feel of the original without actually copying it, providing intimate, three-quarter thrust seating, a multilevel wooden set adorned with chains, Nicole Pellegrino’s throbbing choreography, Allison Kane’s beautifully mournful string ensemble and concert hand mics for the singers. The result is a starkly beautiful, in-your-face production that rocks you to the core."
Time Out Chicago - Highly Recommended
"...The company has certainly done justice to the work; every actor in the young cast has a moment to excel. The talented Salt and Wiltshire feel like major discoveries, and Lindsay Leopold is stunning as pivotal tossed-out teen Ilse. If you want to catch the next generation of Chicago musical-theater talent, this is a good start to your awakening."
ChicagoCritic - Recommended
"... The band is great, very tight. The set was nice, as well, consisting mostly of scaffolding, giving the stage a stifling, industrial, yet wide-open feel. This isn’t a pitch-perfect production; there are awkward moments, some slightly shoddy acting (but really only a little), and I have a couple reservations (for instance, I’m not sure bringing the entire cast out in white at the end of the play diminishes the achieved purity of the now-dead Moritz and Wendla); but overall it’s a great production. It’s still not my favorite piece of theatre, but Griffin does it very well, and they deserve recognition for that."
Chicago Stage and Screen - Recommended
"...Griffin and Director Jonathan Berry deserve great credit for staging this Tony-Award winner so quickly after the National tour passed through town. The very tight quarters of Theater 3 at Theater Wit seem oftentimes to impede Berry's theatrical daring, and his staging puts greater focus on the finely acted book scenes over musicality. If you know the show from Broadway you will miss the sheer exuberance of Michael Mayer's staging, Bill T. Jones' dazzling choreography, and the vocal excellence of that cast which had the show racing passionately to its conclusion. But Berry's honest and heartfelt version delivers great pleasures of its own. Whether you are a fan of the show as I am, or want to experience for the first time, I would recommend attending."
Let's Play at ChicagoNow - Highly Recommended
"...The entire cast is harmony on hormones! They just come together perfectly in concert. At the heart of the story, Aja Wiltshire (Wendla) and Josh Salt (Melchoir) have this tender yearning for their friends’ struggles. Collectively and individually, Wiltshire and Salt are charmingly beautiful. On a stark and industrialized set designed by Marianna Csaszar, emotions fill the empty spaces. Director Jonathan Berry stages the show for optimal intimacy. On a runway style stage, the characters connect to each other and to the audience. Berry masterfully uses light and fallen chairs to demonstrate death. The imagery is powerful. The feeling is unforgettable."
Around The Town Chicago - Recommended
"... The story deals with some topics and scenes that may not be suitable for all audiences, so think about this as ypu make your theater choices; in this sho there is masturbation, some nudity, carnal knowledge, abortion and suicide. While this doesn’t sound like “a night of theatrical entertainment”, let me assure you, this is an adult theatrical experience that is both moving and educational and will bring back some memories of what you may have experienced during your teen years ( before the Internet and Sex Education in our schools)."
Chicago Theater Beat - Highly Recommended
"... Like its predecessor Rent, Spring Awakening inspires polarity in theatergoers. In short, one loves it or hates it. For that reason I would strongly advise potential audience members to give the soundtrack a listen. If its raw melodies and sharp lyrics compel and intrigue, get thee to Theater Wit. Griffin Theatre Company’s Spring Awakening isn’t perfect, but like those early stumbling forays into romance, it’s definitely worth it."
