The original play of the same title, written by Frank Wedekind in 1891, was banned in Germany-a testament to Spring Awakening’s explicit nature. Coincidentally, the play is set in late 19th century Germany, a time and place of repression where children are kept from the knowledge of some of life’s most essential lessons in the name of virtue. The new musical revives the story, saturated with clever dialogue and infused with an alternative rock score composed by Duncan Sheik, who seems to have finally struck musical gold since his chart-topping 90’s single “Barely Breathing”. While so many wondered of his whereabouts after his apparent asthma attack, this previously “one-hit wonder” has redeemed himself with Spring Awakening, winner of 8 Tony Awards and thus one of the most accredited Broadway shows of our time.

Until May 23, 2010, Fairwinds Broadway Across America brings this renowned musical to the Bob Carr Performing Arts Center, allowing those in the Orlando area to experience a Broadway-quality performance in their hometown. It is directed by Michael Mayer, who also directed the show in New York. The tour cast also proves worthy of the New York stage with inspiring vocal abilities and acting to match-even those in the ensemble will give you goose bumps.

Christy Altomare, who plays the female lead, Wendla, captivates the audience with a voice that is pleasantly reminiscent of female indie artists. While most of the roles are played by talented unknowns, the tour provides a treat for Degrassi fans with Jake Epstein as Melchior, the male lead. This character allows Epstein to exhibit a musical talent transcending that shown in his role as Degrassi’s rockstar, Craig. Oh, and did I mention he sheds some clothing? Despite the controversial scenarios on their old show, it looks like Aubrey Graham, AKA Drake, is not the only Degrassi student wanting to do it “bigger than they ever done it”.   Don’t worry guys-the male lead is not the only one who shows some skin for the sake of art.

Refreshingly unorthodox from start to finish, Spring Awakening begins with the set visible, including people seated in what appears to be an eclectically decorated classroom.  Some of the people appear to be audience members chosen to sit on stage, but the question of who they are is never answered as they sit silently throughout the show.   All of the adult men and adult women were played by one person each and each made relatively few appearances, ensuring that the emphasis was on the lives of the younger generation and their transition into adulthood.

With no curtain to rise, the audience is abruptly thrust (no pun-intended) into the lives of teenagers on the brink of sexual discovery. It opens with the beautiful balad “Mama Who Bore Me”, which is about the frustrations of a female teenager ignorant to the mechanics behind childbirth and her mother’s reluctance to explain. Spring Awakening’s songs require enough talent and contain enough dramatics to remain theatrical but simultaneously accomplish a concert-like vibe, complete with hand-held microphones the actors pull out when musical numbers begin. The soundtrack accommodates both the musical lover who desires technical vocals to belt in the shower, as well as the pop music fan sitting in the audience fighting the urge to head-bang to songs fit for radio.

A highlight of the show is the display of one character’s um, private session as he reads a rather “pleasing” postcard. The scene is overlapped with a fellow student playing a classical piano song for a teacher whose breasts he is obsessed with. The, ahem, climax of the song leaves only a little to the imagination. Though appropriately awkward, the later sex scene-containing nudity- relegates once mind-blowing musicals like RENT to the same category as Sesame Street Live. The musical’s straight-forward depiction of sex and other controversial topics make this show fun; however, Spring Awakening also touches upon the potential consequences of what is throughout the show referred to as something beautiful and natural.
Despite its serious themes, the play is surprisingly comedic at intervals, providing an ingenious balance between moments which inflict pondering and laughing out loud. Its success can be attributed to its blend of innovation which rivals more obscure theatre, along with the catchy music and witty lines of more mainstream shows. Overall, the Spring Awakening tour is a must-see for theatre lovers as well as those willing to suspend their inhibitions to take a vicarious journey back to a place we’ve been, or to capture a glimpse of something we will (hopefully) experience-the first time.

Spring Awakening tickets went on sale Friday, April 2 at 10:00a.m. and can still be purchased starting at $34.00. Tickets can be purchased at the Fairwinds Broadway Across America – Orlando Box Office, Amway Arena Box Office and Ticketmaster locations. Tickets can be purchased online at www.OrlandoBroadway.com. If you’d like to charge by phone, please call 1-800-982-2787. Group orders for 20 plus can be made by calling (407) 423-9999 x17 or (800) 950-4647.

Spring Awakening plays through Sunday, May 23, 2010 with evening performances at 8:00 p.m. Tuesday through Saturday, a Saturday matinee at 2:00 p.m., a Sunday matinee at 1:00 p.m., and a Sunday evening performance at 6:30 p.m.

Project Spotlight is a UCF student organization that produces student work, who’s main event is the semiannual One Act Festival (OAF).

The organization’s press release stated that, “Each semester Students Directors pitch their shows before the Members of Project Spotlight and – once selected – hold auditions for students to be cast in the shows. With no budget, the directors then rehearse the pieces throughout the semester and present their work at OAF. The final products are often similar to a workshop production, but actors are rehearsed, off book, and in costume.”

All of the performances are one act, and under 45 minutes.

You can check out “The Food Chain,” written by Nicky Silver and directed by Amanda Amat, “Miss Polly’s Institute for Criminally Damaged Young Ladies Puts on a Show,” written by Don Zolidis and directed by Lisa Milton, as well as “The Graduate” written by Terry Johnson and directed by Christopher Metz, tonight (April 16th) at 7pm and April 18th at 2 pm.

Additionally, “Check Please,” written by Jonathan Rand and directed by Justin Neal, “The Trojan Women 2.0,” based on the work by Charles Mee, directed by Nick Saldivar, and “Glengarry Glen Ross,” written by David Mamet and directed by David Tate, April 17th at 7pm.

From Sun to Sun is about African America railroad workers in 1916, living in railroad camps around Lake Okeechobee and Central Florida. Its central protagonist is Youngblood, a young man looking to escape his familiar surroundings for adventure in other places. He must face his disapproving parents and the town troublemaker, Tatum, who he had befriended. Without giving too much away, I found the script to be a little predictable and slightly disorganized. I appreciate learning about the lives of people who lived in the time period, but wish that it expanded more on the characters and their day to day obstacles. There were many characters that were unnecessary and detracting to the central plot. There were also a few scenes that could have either been cut or further explored. The show in general also confused me. In every scene there is at least one song or dance although the show is not advertised as a musical. I know that railroad workers often sang songs to pass time, but I was confused when the entire cast broke out into a musical number when nothing encouraged them to do so. I think the play would have done better if it was advertised as a musical.

The cast did a good job portraying a time long before theirs. I was especially impressed by Pascha Weaver as Miss ‘Phelia & Granny and Felichia Wright as Ju’el. They were able to successfully step into their characters and the dialect. They both seemed incredibly natural in their roles and were very convincing. I was not as impressed with Troy Brooks who played Youngblood and Edmarie Montes who played Belle. I felt that they both were going through the motions of their characters rather than really becoming them. The rest of the cast had their own hit and miss moments. The singing was powerful, emotional, and well done, especially by Kerri Alexander. The southern dialects were not well rehearsed and many cast members had a hard time enunciating words with the dialogue.

I enjoyed the set very much. It had a realistic look with the wooden paneling that surrounded the stage, which both represented the inside and outside of shacks in the railroad town. The lighting also effectively represented the time of day in the town, which was essential to the plot considering the show takes place in one day. The sound was good. Since the cast projected the need for microphones was not essential. The music levels were set well and could be heard great. I loved how the costumes for the workers looked old and worn. That made it believable to me. The Island Dancers had bright and colorful costumes which juxtaposed nicely with the dull tones of the workers. I also liked how there was no stage crew and instead the actors were responsible for moving the set pieces around in character. This did not break the tone of the scenes and this kept the audience focused on the plot.

For every good moment this show had, there was a poor moment to follow it. While the technical aspects of the production and most of the cast did great, it was brought down by some ok performances and an unorganized and unfocused script. I would recommend this to any person who wishes to support the arts at UCF and the Zora Neale Hurston Festival. I do not think this show is memorial but the effort of the UCF faculty and students is appreciated. Out of five stars, I would give this three and a half.

The show is fantastic. First of all, it’s really loud. If you are one of those people who does not enjoy a traditional, calm show, then this may be right up your ally — no pun intended (as the scenery is in an ally). The songs are catchy, the acting is vivacious and the music is inspiring. Not to mention, there is a great storyline that is truly touching. We here at Knightnews.com definitely recommend that you see the show while you have the chance.

For more information on the show, we have included the official press release below.

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Orlando, Fla. – Jeffrey Seller Kevin McCollum Allan S. Gordon have announced that Adam Pascal, Anthony Rapp and Gwen Stewart will reprise the roles they originated on Broadway in “Rent: The Broadway Tour” when it visits Orlando’s Carr Performing Arts Centre December 1 – 6, 2009. Tickets go on sale Friday, October 16 at 10:00am. Tickets start at $34.00 and can be purchased at the FAIRWINDS Broadway Across America – Orlando Box Office, Amway Arena Box Office and all Ticketmaster locations. Online purchases can be made at www.OrlandoBroadway.com. To charge-by-phone call 1-800-982-2787. Group orders for 20 or more may be placed by calling (407) 423-9999 x17 or (800) 950-4647.

Joining Pascal, Rapp and Stewart, are Nicolette Hart (Maureen Johnson), Justin Johnston (Angel Schunard), Lexi Lawson (Mimi Marquez), Michael McElroy (Tom Collins), Jacques C. Smith (Benjamin Coffin III), and Haneefah Wood (Joanne Jefferson). The ensemble is rounded out by Toby Blackwell, Adam Halpin, Trisha Jeffrey, Joshua Kobak, Telly Leung, Tracy McDowell, Jed Resnick, Andy Señor, Shelley Thomas, Yuka Takara and John Watson.

Pascal, Rapp and Stewart originated the roles of Roger Davis, Mark Cohen and “Seasons of Love” soloist, respectively, at the New York Theatre Workshop and on Broadway. Justin Johnston, Michael McElroy and Gwen Stewart were all members of the final company of “RENT”, which played its last performance on Broadway on Sept. 7, 2008.

“Rent: The Broadway Tour” is directed by Michael Greif, who received 1996 Tony and Drama Desk nominations as well as the Obie Award for “RENT”. Marlies Yearby, who received a Tony Award nomination for her work on the musical, choreographs the show and Tim Weil, the show’s original music supervisor and conductor, serves as music supervisor.

Pascal received Obie and Theatre World awards and Tony and Drama Desk nominations for best actor for “RENT”. On Broadway, he also originated the role of Radames in the hit musical “Aida” and starred as the Emcee in the long-running revival of “Cabaret.” His film credits include Rent, School of Rock, SLC Punk!, Temptation, and Goyband.

An actor since the age of six, Rapp has appeared on Broadway in “Precious Sons” (Outer Critics Circle Award), “Six Degrees of Separation,” and the revival of “You’re a Good Man, Charlie Brown.” His films include Adventures in Babysitting, School Ties, Dazed and Confused, Six Degrees of Separation, David Searching, Man of the Century, Road Trip, A Beautiful Mind, Open House, Winter Passing, Danny Roane: First Time Director, and Scaring the Fish. His book, “Without You: a Memoir of Love, Loss, and the Musical Rent”, about his experiences on and offstage, was published in 2006 by Simon & Schuster and became a national bestseller.

Stewart created several roles in “RENT”, including introducing the solo vocals for the show’s central theme, “Seasons of Love.” Her other theatre credits include the recent Tony-nominated revival of “Big River,” “Starmites,” “Suds,” “Ain’t Misbehavin’,” “The Wiz,” “Avenue X” and “Abyssinia.” Stewart’s film and television work includes “Notes From the Underbelly,” “Related,” “Law & Order,” “Charmed,” “All My Children,” “Moesha,” “24,” “Strong Medicine,” “The Guardian,” Down To Earth, and Personals.

Nicolette Hart’s Broadway credits include “RENT”, “Legally Blonde,” and “The Wedding Singer.” Her TV and film credits include “Law and Order,” “Lipstick Jungle,” “Veronika Decides To Die,” “Love and Other Impossible Pursuits” and “Cherry Crush.”

Justin Johnston played Angel Schunard in the final Broadway company of “RENT” and can be seen with the closing cast in “Rent Filmed Live on Broadway.”

Michael McElroy played Tom Collins in the final Broadway company of “RENT”. His Broadway credits include “Wild Party,” “Big River” (Tony and Drama Desk nominations), “The Who’s Tommy,” “Miss Saigon,” “Patti LuPone on Broadway,” and “High Rollers.” McElroy’s TV credits include “Love Monkey,” “All My Children,” and “Spin City.”

Jacques C. Smith made his Broadway debut as Benny in “RENT”. His TV credits include “CSI: Miami,” “ER,” HBO’s “OZ,” PBS’s Emmy-winning “American Masters” series “Ralph Ellison: An American Journey,” “The Division,” and “Law and Order.”

Haneefah Wood’s Broadway credits include “RENT”, “Avenue Q”, and “Brooklyn.” She originated roles in the workshops of “Shrek” and “Good Vibrations.” Her film and television credits include “Freedomland,” “Law and Order: Criminal Intent,” “Strong Medicine,” and “Days of Our Lives.”

“RENT”, written by Jonathan Larson and directed by Michael Greif, opened at Broadway’s Nederlander Theatre, on April 29, 1996, following a history-making, sold-out, extended-limited engagement at off-Broadway’s New York Theatre Workshop. The musical went on to win every major best musical award, including the Tony Award, as well as the Pulitzer Prize for drama. “RENT” played its final performance at the Nederlander Theatre on Sept. 7, 2008 after playing 5,124 performances and 16 previews. “RENT” is the eighth-longest-running show in Broadway history and grossed more than $280 million during its Broadway run.

Tours of “RENT” have crisscrossed the country almost continuously since late 1996 and the U.S. national tours have grossed more than $330 million. The musical has been translated into every major language and been performed on six continents, including in the following countries: Argentina, Australia, Brazil, Canada, Chile, Finland, Germany, Hong Kong, Hungary, Iceland, Ireland, Italy, Japan, Korea, Mexico, Netherlands, New Zealand, Norway, Philippines, Portugal, Russia, Singapore, South Africa, Spain, Switzerland and the United Kingdom.

Tickets start at $34.00 and can be purchased at the FAIRWINDS Broadway Across America – Orlando Box Office, Amway Arena Box Office and all Ticketmaster locations. Online purchases can be made at www.OrlandoBroadway.com. To charge-by-phone call 1-800-982-2787. Group orders for 20 or more may be placed by calling (407) 423-9999 x17 or (800) 950-4647.

For more information about “RENT”, please visit www.siteforrent.com.

Pirates is an older musical, first being performed in 1879. It is about a young man who, in his twenty-first year, is no longer bound to the pirates and decides to leave them forever. I don’t want to tell you much more, for I don’t want to spoil any of the humor in the show.

The show blew me away. It reminded me of my childhood fantasies of what I thought pirates were. When I first walked in, the stage reminded me of a cartoon show, due to the obviously cardboard cut-out set pieces. The costumes also had a fantasy-like feeling to them, with many colors and layers instead of the rags the pirates in my history books always wore. The lighting was also fairly colorful, yet still lit the cast well. I think this was intended, especially with the way the storyline and songs developed.

The cast was amazing. I especially liked Terry Alfaro as Fredrick. I thought it was great how his facial expressions made the sometimes hard-to-understand, older English words into a more modern feeling. The ensemble as a whole also made the show entertaining with their great singing, dancing, and acting.

The Pirates of the Penzance is a great musical that everyone would enjoy. It’s full of humor and action, making it a perfect evening out. It will be playing in the UCF main stage theatre (across from the chemistry building) from October 22 to November 1. Student tickets can be purchased for $12 at the box office. You can also call (407) 823-1500.

For more information, check out the theatre department website at www.theatre.ucf.edu.

The show is so well constructed. I went to see it last night and was thoroughly impressed with every aspect of it from the acting quality, the strength of the vocals, the intricacy and functionality of the set design and, of course, the costumes and makeup.

I was unsure of what to expect as the show began, being that I am not a frequent theater-goer by any means. But something that immediatley caught me off guard was how involved the set makes the audience feel. With lighting and cast members constantly stretching out into the audience, in addition to the mechanical set that is constantly changing throughout the show, I felt as if I were really part of it.

To make an analogy, it was sort of like one of those interactive theme park rides where you sit in a car that never actually moves but you feel like you are traveling the world; a world of cats, of course.

The acting was superb. Unlike other shows where a human plays a human, in CATS all the actors are felines, and must carry their bodies accordingly. With every stretch, arm movement and jump seemingly perfectly calculated, it was almost impressive enough to distract me from everything else.

Some parts were funny, some parts were sad, but the entire show was quite breathtaking, especially with the window-shattering performance of “Memory,” the classic song from the show. It was moving, and I will never forget hearing those notes being belted out with such beautiful vocal range.

Many reviewers include a long summary of the show in their story, but I am not going to do that. Why? Because if you want to know what it’s about, then go see it! You’ve heard about it, I’ve told you it’s great, cheap student rush tickets are available and it’s just a short drive from UCF. It seems like you should have your night planned out for yourself.

Tickets can be purchased by phone at 1-800-982-2787, or online at www.OrlandoBroadway.com, in addition to TicketMaster or the Amway Arena Box Office.

On October 16, 2009, I went to the Orlando Ballet’s performance of Cinderella at the Bob Carr in downtown Orlando. Everyone who has seen the Disney movie or visited Disney World knows the story of Cinderella and this show portrays the classic tale in its own unique way. Unlike the movie, there are no singing mice or birds and Cinderella does not have an evil stepmother, but the main story plot is still the same.

The dancers in this show were absolutely breath taking. It is amazing to me to see how much technique and control each dancer had. I can only imagine how much time and sweat went into the rehearsals to pull off this beautiful show. Each dancer was on point, executing perfect double pirouettes and beautiful jumps and leaps. There was a certain grace and elegance each dancer possessed and their movements looked effortless.

The set consisted of three painted backdrops and there were minimal props used. The costumes were simplistic but moved gracefully with each dancer’s multiple turns and lifts. The leads in the performance I saw were incredible. Orlando Ballet double casted this show, so Saturday night’s performance will have different dancers for the leads, but I am sure they will still give an excellent performance.

If you find yourself looking for something to do this weekend, I highly suggest you go see Cinderella. The show is only running this weekend with a performance on Saturday October 17 at 8:00 pm and a Sunday matinee on October 18 at 2:00 pm. Student tickets is $10 at the door and you will need your ID. There is a $10 parking fee and parking is limited so arrive early. For more information about this show and upcoming shows, you can visit Orlando Ballet’s website at www.orlandoballet.org.

The show was incredible, and a short explanation wouldn’t do justice to the stellar performance that was so all-encompassing: it made us laugh, it made us cry and, most importantly, it made us want to tell everyone we know to see the show.

As we made ourselves comfortable in our seats in the theater, we could feel the energy in the room as the college-aged crowd filled the room. Now, ordinarily when you wait for a show to begin anywhere else, you sort of sit and twiddle your thumbs until the lights go out.

Not at Blue Man Group.

The pre-show starts with digital signs displaying hilarious commentary that makes the audience happy they got there on time. They are interactive in nature, and induce audience participation, at one point even having the audience sing happy birthday to someone in the audience. It was a riot.

Then the show began.

For those who are unfamiliar with the actual show, it consists of three mime-like characters, fully painted in blue. Although they do not speak even a single word throughout the show, they are as funny as stand up comedians while boasting the musical percussion talent of a rock band.

Oh boy do they use props!

Were they drumming while tossing around paint and making works of art? Yes.

Were they tossing over 20 marshmallows across the stage as a single blue man caught them all in his mouth, one by one, without removing any? Yes.

Is the Blue Man Group promoter probably annoyed that we are giving away parts of the act? Yes.

But you know what? There is really no way to describe what goes on in that theater without giving such details. In fact, some of the best parts of the show were when they brought up unsuspecting members of the audience and had them join in on the act.

What makes this show have such longevity in Orlando is that each and every performance is unique. Much like improv, there is a framework to their performance, but there is no script. This free-for-all of on-stage talent is surely the recipe for success.

It’s a great place to bring a date if you really want to make a great impression, especially since it’s right on Universal’s City Walk. However, it’s also loads of fun to go with a group of friends, or with your fraternity or sorority (especially if you can get one of the members of your party to get up on stage). In fact, just go ahead and admit that you are running out of things to do with your parents when they visit –that’s right, take them to go see Blue Man Group.

KnightNews.com urges all students to get tickets to go see the show, especially since the SGA Ticket Office in the student union sells discount tickets for half off the regular price.

The story focuses around a man, Tevye, in a tiny village in Russia in 1905. Tevye, a religious Jewish man, has a wife and five daughters, all of whom he will marry off with the help of the village matchmaker. Trouble begins when Tevye’s oldest daughter, Tzeitel, wants her father’s permission to marry the man she loves rather than the older man her father has picked for her.  This begins a series of events that tests Tevye and makes him decide between what is more important; his faith and traditions or his family’s happiness.

Starring in the touring production is Chaim Topol. Topol, since winning the role in 1976 at the age of 30, has played Tevye for about 2,500 performances, including the film adaption of Fiddler in 1971. So far, he has won a Golden Globe, a Tony, and was nominated for an Oscar. Today, at the age of 73, he is still performing in the same role. As he said, “If someone would have told me 30 years ago that at the age of 73 I would still be jumping onstage and doing it, I would say he was out of his mind. I’m out of my mind and doing it. God willing, as long as I will be capable of delivering the songs, the lines and the dances, people will want to see me, I’ll be doing it.”

The Carr Center in located on 401 West Livingston Street in Orlando, FL 32810. Tickets can be purchased through Broadway Across America (broadwayacrossamerica.com) or the Carr Center box office. Tickets range in price from $38 to $73.