(Photo credit: Amy Dodrill – Bunbury Theatre Facebook page)
As a director, it’s important to understand the balance between ‘too much’ and ‘not enough’; to know when you’re crossing the line, or barely pushing the boundaries, especially when dealing with a show such as Spring Awakening. The original off-broadway production debuted nearly 20 years ago and contained intense subject matters such as abuse, abortion, rape, mental health and more. It follows the story of teenagers living in Germany in the late 1800’s as they navigate puberty, sexuality, and identity, ultimately revealing the dangers of sexual stigmatization.
I was worried, after learning about Bunbury’s production starring local teenagers, that these ideas would be downplayed and misrepresented but I was happily proven wrong. I had the pleasure of seeing both casts, making it impossible to pick out just one favorite performer, but there were some definite stand outs such as Sophie Mudd, Anna Schmitt, Bailey Evans, Harper Taylor, Finnegan Broyles, and Everan McCartan.
It was interesting to see how the separate performers played the same role differently. For example, Anna Schmitt’s (Wendela) strong and expressive vocals created powerful imagery causing the character’s message to be driven into every audience member’s mind. Her naturalistic acting style especially stood out to me, shining bright in scenes that required a deep connection with others on stage, and creating an emotional yet relatable Wendela.
Harper Taylor (Wendela) took a softer approach, using lighter vocals to execute Wendela’s more sensitive emotion, highlighting Wendela’s more playful and curious side. The actors handled the role with grace and maturity, wonderfully bringing the character to life. Their chemistry with Finnegan Broyles (Melchior) was both believable and raw, especially with Anna and Finnegan, who constantly bounced off of each other, almost as if an imaginary ball of energy was being passed back and forth between them.
Melchior, the rebellious yet intellectual rebel, was played by Finnegan Broyles. The majority of his songs were beautifully executed, his impressive vocal technique stunning the audience, creating a picture perfect Melchior. The actor’s calm and smug demeanor added charm, providing a harsh contrast to Melchior’s best friend, Moritz, a spastic and anxious individual who struggles to cope with the harshness of their society. Everan McCartan did a lovely job representing this character, not only through his bold acting but strong voice as well. His songs such as ‘The Bitch of Living’ and ‘Don’t Do Sadness’ were sung with an urgency, further demonstrating the personality and anxiousness of his character.
Last, but certainly not least, Both Bailey Evans and Sophie Mudd shone bright as Ilsa, bringing powerful vocals and acting choices throughout the duration of the production. Bailey’s voice seemed almost perfectly polished, giving the entire audience goosebumps from the moment she opened her mouth. She had a free spirited energy that heavily complimented Ilsa’s character arc, and her honesty on stage helped to provide powerful connections with her fellow actors. Sophie Mudd shared this wonderful dynamic, bringing a strong amount of chemistry with her scene partner, Everan McCartan, demonstrated in their touching duet ‘Don’t Do Sadness/Blue Wind’ where her effortless vocals created a powerful yet emotional performance. Sophie’s natural acting style caused the audience to easily empathize with Isla’s hardships and deeply connect with her energy.
Overall, Spring Awakening was a shocking yet powerful production, starring some of Louisville’s most talented teen actors. Although the ensemble felt too large for the space at times, the hair-raising harmonies helped to ease crowdedness. You can catch this production of Spring Awakening through January 25, 2026 at Kentucky Center’s Mex theater.
