That's what I told her after the show was over.
Beforehand, I said I had seen this musical at least twice, but really couldn't remember much about it.
The first time would have been the SCAD performance around 2012; the second time would have been at Jenkins Hall with the Armstrong Masquers.
She said one of the things she liked was watching me sing along with the actors.
I told her I didn't think I'd be doing that this time... and I did not.
It was as if I had wiped all memory of "Spring Awakening" from my mind.
It certainly doesn't seem to have found its way into any of my blogs.
It won't be in any more of them, as this post will be its sole entry.
The first play from Savannah Stage Company's 11th year, with this season's theme of "experimentation", is actually not this one.
It truly will be something different, as a murder mystery aboard a traveling, multi-person, bike-powered vehicle, and I hope to partake soon.
So, "Spring Awakening" is their second offering, a musical based on a German play that preceded it by a century, with added songs written by rock singer Duncan Sheik.
In the story, there are two sets of high school students, with girls and boys attending separate schools and expected to stay apart until married.
Yeah, like that has ever really worked.
The songs are ones of rebellion, of hormones seeking release, of youth wanting answers.
Still good reasons to sing, right?
Absolutely!
But the moment a gun showed up, the general restlessness became more focused.
The lack of knowledge about sexuality led to unprotected sex and pregnancy.
The incest between a father and daughter caused damage in other relationships.
Then the gun was fired in a moment of despair and the boy who wielded it was dead.
That was in the second act.
The stage was the front lobby of the new Savannah Repertory Theatre, a space with glass walls from floor to ceiling on three sides.
That meant the traffic going by on Broughton Street, whether pedestrian or vehicular, had a view inside that fishbowl, and the actors could all see that traffic.
Because the show started at 7 PM, full daylight gave a clear view of that busy street, as well as of the side street.
So, that was the scene at the start: bright, well-lit, with happy songs and happy young people learning in class and wanting to learn more at home.
No foreboding shadows would appear, on the stage or outside, until after that first act.
By the time the second act began, it was approaching 8:30 PM and dusk was settling in.
That's when the gun entered, that's when tempers flared, that's when despair deepened.
That's when I realized this was not subject matter for me.
The suicide by the teen solidified that message to me.
This was too hard, too personal, too close.
The death of Jeff's cousin, David, and the death of our niece, Jean Marie, had occurred due to the proximity of a gun when they were deep in despair and alone.
Afterward, I made my end remark to Jayme and left.
I headed directly to Columbia Square, hoping for solace there... and received it.
Only one other person was there, seated off to the side.
I chose the bench closer to my car, away from them, and sat...
listening to the burble of the pretty little green fountain...
listening to a frog occasional sing out into the dark...
letting the calm wash over me.
Perfect.
Loss adjustment accomplished.
By the time the tour guide led a noisy group into the square for a history lesson, I was right as rain again.
I left, getting home in time for "The Vicar Of Dibley" at 10 PM.
Wonderful!
Even better, it was the one with Frank and Jim and Hugo and Owen singing "Heigh-Ho, Heigh-Ho, It's Off To Work We Go", all in a line just like the Seven Dwarfs, with them going off to work at the radio station and hoping to win a trip to Disney Paris!!!
Jolly good fun!
Right place, right time...
i thank You, God.
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