An award-winning musical based on Frank Wedekind’s original play written in 1891, it’s difficult to imagine what a play more than 100 years old has to say to a modern audience but, stunningly, these themes of innocence, naïveté, repression and abuse amid sexual awakening are as alive today.
The modern music and lyrics highlight that this is almost, shockingly, a modern allegory.
In one number, Philip Teles Amaro (Moritz) steps on high upturned benches and on people’s backs as he sings. People jump piggy-back while singing. The direction and choreography is superb, timing impeccable and set design ingenious.
Of particular note is Lizzie Jay (Wendla), a joy to watch and sings like an angel.
This is a moving story and stunning production, which, instead of depressing its audience, leaves a feeling of hope for the future. A must-see production.
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