SPRING AWAKENING MUSICAL

There’s a new venue in town—The Black Box at the Proscenium Theater—and its inaugural show is 𝘚𝘱𝘳𝘪𝘯𝘨 𝘈𝘸𝘢𝘬𝘦𝘯𝘪𝘯𝘨.

The blocking and seating arrangement need improvement. The stage is oriented toward the center, but there are also chairs placed along the sides. As a result, people seated in these areas are often limited to seeing only the back or side profiles of the actors. Viewing experience is compromised. Key actions and moments from the cast members can be partially missed.

The sound system generally works well, although there are occasional hiccups with the microphone. At times, the first few words are already spoken before the mic fully picks up. Fortunately, the venue is small enough that the actors can still be heard clearly even without amplification.

Most songs are not memorable. The melodies lack impact. Nonetheless, the lyrics and the words still carry meaning.

Mature actors bring noticeable depth to the scenes. Audie Gemora shows strong control and authority, commanding each moment and making his presence felt. Meanwhile, Ana Abad Santos gives different enunciation and accents to distinguish the multiple characters she portrays. Beyond her vocal choices, it’s really her expressive facial work that adds layers to her performance.

For most cast members, their singing and acting are just okay. But given the emotionally demanding nature of the material, being okay is not enough. Heavy emotions should fill the room—and not the dry ice. Unfortunately, that level of intensity is not fully achieved.

When everyone is onstage at once, you’re unsure where to look or who is even singing. At times, the ensemble stomps on the floor, creating vibrations that feel almost like an earthquake.

Regardless, it’s not strong enough to break through the surface-level treatment on the subject matter. Discussions on adolescence, sexuality, and mental health remain largely unexplored.

Character arcs fail to take shape. Scenes pop up without proper buildup and transition. Some characters barely speak to each other, but then on their next scene, they’re already very close. They jump from minimal interaction to sudden intimacy, with little progression in between.

Relationships do not develop organically, making the emotional shifts feel abrupt. Conversations are not escalating naturally, leaving big moments feel unearned.

Keeping yourself awake while watching 𝘚𝘱𝘳𝘪𝘯𝘨 𝘈𝘸𝘢𝘬𝘦𝘯𝘪𝘯𝘨 can be a challenge. It’s only toward the ending that the show feels awakening, as it tries to emphasize the importance of educational and open dialogue with loved ones.

While a lesson is being imparted, the question remains whether it is best absorbed inside the theater—with a ticket price of 3,600 pesos.