Chicago Tribune - Somewhat Recommended
"...The usual complaint about non-Equity tours — such as the “Spring Awakening” production currently at the Oriental Theatre — is that they generally mean actors at the very beginnings of their careers. Given that this 2006 rock musical is based on the 1891 Frank Wedekind drama featuring teenage school kids struggling in sexual ignorance due to the incompetence of the adults who rule their lives, you might think that argument would not apply. And for sure, the members of this cast (and the band) are age-appropriate. Or very close."
Chicago Sun Times - Highly Recommended
"...I’ve seen this show several times and had mixed feelings about it, although it’s score — alternately ravishing in its lyricism and punkishly brash in its rocking rebelliousness — has undeniable power and beauty. But this time around, from the moment the warm-voiced, luminously beautiful and baby-faced Elizabeth Judd, who plays the teenaged Wendl, climbs up on a chair in a white dress she clearly has outgrown, there is a sense something very real is about to happen. And indeed it does, as she sings of her ripening body and emotions in “Mama Who Bore Me.”"
Chicago Reader - Highly Recommended
"...A huge part of what made me a fan when I first saw the show on Broadway was the sense--communicated by Bill T. Jones's antsy choreography and a sort of punk-expressionist aesthetic--that the characters were always on the verge of jumping out of their skins. At least, that is, until they actually took the leap. That urgency isn't present for most of this touring production. Seething in previous versions, a tormented student named Moritz comes across here as a diffident good boy. Sizzling before, a gay seduction scene is played more for laughs. Most everything has been taken down a notch. The show is still don't-miss great--just not scary don't-miss great."
ChicagoCritic - Somewhat Recommended
"...There are other aspects of the adaptation that make more sense: the odd character of “The Masked Man” is dumped in the final scene, replaced by Wendla’s ghost. (The final scene is something I have an issue with in the original play, but that issue is something I shan’t get into here, as it is not strictly relevant to the musical adaptation.) And Wendla, at the play’s beginning, does not ask her mother about death – there are several instances where the plot has been streamlined, as one would expect with a musical, and that is fine. And the final number, with the ghosts, is somewhat expected. (Although the play closing with only the ghost of Moritz on stage delivering the final monologue leaves us with a feeling of unease not dissimilar to Pandarus offering the audience his diseases.) But I left feeling unfulfilled. For fluff, it’s fine; but fluff doesn’t suite me, especially when it should be so much more."
Chicago Stage and Screen - Highly Recommended
"...I wish every teen in our country could see "Spring Awakening," as Melchior, Wendla and their friends with the funny old-time names are still very much alive. I would also bring every legislator working to defund sex-education and counseling programs. Perhaps if we allowed our youth today to finally become truly educated, the events Wedekind shocked his world with in 1891 would not seem as tragically relevant as they do still today."
Around The Town Chicago - Highly Recommended
"...These teens deal with failure, masturbation, homosexuality, unwanted teenage pregnancy, suicide and abortion, so this is for mature audiences only. There is strong language ( one of the songs in the second act will astound you and yet it works!), sexual situations, so if these things bother you in a live theater situation, this is not for you! These characters are real in that we know what they are experiencing is real! We care about them and that is what makes this such a powerful production.One of the unusual aspects of the seating for this production is the on-stage seating available.These are chairs lined up on the sides- the same place where the actors sit when they are not in the scene and in fact perform from on some occasions. They will be in your face and you will be as close to the action as one can get!"
Chicago Theater Beat - Recommended
"...A rock band sets the right tone for adolescent rebellion in “Don’t Do Sadness” and “Totally Fucked.” The upbeat tempo matches the rage of both Cody Getzug (Moritz) and Christopher Wood (Melchoir). Within his frenzy of confusion, Getzug adds plenty of humor in hairstyles and nocturnal emissions. Wood angrily leads an uprising for an evolution. Wood escalates a beating with disturbing exhilaration. Later, his tender foreplay charms the pantaloons right off of Elizabeth Judd (Wendla). Wood and Judd indulge in a gentle but animalistic response to unknown sensations. Their intimacy is poignant for its natural body rhythms. Judd enchants as a fresh-faced young girl with misguided notions. Judd engages with a soulful, dreamy performance. The entire ensemble delights with playful and heartbreaking simplicity."
