Stage Review - Spring Awakening (Tacoma Little Theatre)
Stage Review - Spring Awakening
Presented By: Tacoma Little Theatre - Tacoma, WA
Show Run: March 06 - March 29, 2026
Date Reviewed: Sunday, March 08, 2026
Run Time: 2 Hours, 10 Minutes (including a 15-minute intermission)
Reviewed by: Breanne Jensen
Spring Awakening is a musical that swept the nation when it bloomed onto the Broadway scene and launched almost all the original cast into stardom. A musical that, no matter what your age, allows you to remember what it was like being a teenager with the weight of the entire world on your shoulders. Spring Awakening takes place in 1891 Germany when the world felt dark, hopeless, grueling, and fearful of progress (sound familiar?). Based off Frank Wedekind’s play (1890), Spring Awakening, both versions, was never intended to be shocking to audiences, but rather a mirror for society to reflect upon itself.
Tacoma Little Theatre’s production, running through the end of the month, is partnered with the University of Washington Tacoma’s theatre department. Meticulously crafted by Director, President of the Board (TLT), and Associate Teaching Professor at UW Tacoma, Maria-Tania Bandes B. Weingarden, it brings the best of all worlds together.
While the costumes, sets, props, and speech reflect the 1890s culture, the music is a mix of modern pop/rock that brings moments of humor and reprieve from the serious subject matter(s). Our story follows a group of children living in a time when secrecy was demanded and expected, which always leads the cat to curiosity, if you will. Our main characters, Wendela and Melchoir, find themselves in a weird place in life, somewhere between childhood and adulthood, dolls and wedding gowns, and juvenile decisions that lead to adult consequences. When curiosity for love, lust, meaning, and being understood takes over, the tale is as old as time. The fact that it was written so long ago and we can still relate to the show’s themes today is, frankly, quite sad.
Parents doing what they were raised to believe is best and never asking questions, always doing the right things expected of them. Children who test the limits and boundaries of things they do not understand or are taught not to. Unfortunately, when left untreated, the symptoms turn into sickness that leads to generational trauma, regression of society, and too many unnecessarily hurt souls in the process, hence its relevance today.
As the audience is introduced to each teen, we find what ailments they’re seeking respite from as their stories develop. The audience’s mirror shows us despair, self-hatred, sexual abuse by a parent or loved one, lack of sexual education, illegal (therefore not performed safely) medical treatments, self-harm, depression, suicide, sexuality, educational expectations, self-discovery, societal and peer pressures—the list goes on and on. But the thing that everyone seeks the answer to most? What is my purpose, and do I even matter?
The sets and props are effective and stunning! When you enter the audience, the stage is dramatically lit, and the sets feel as if this is an old home built for the time it is representing. My favorite use of the stage is when part of the floor is lifted and flowers are dropped in. The use of the stage and lighting, as well as set changes, are all so well executed. The costumes are perfectly fit and bring this period piece to life while also allowing the actors to keep their tattoos visible, modern haircuts and piercings, etc., to really bring that setting and music to meet its modern flair.
Leading character Melchoir (played by Ayo Alaka) and his counterpart/love interest Wendla (played by Macy Byrd) are executed intentionally, emotionally, and reflect the genuine and naïve love between the two. A standout moment for Alaka is his performance of “Left Behind,” which is so tender, and Byrd’s “Whispering,” which is gentle and haunting. One of my favorite songs in the whole show is at the end when Melchoir, Wendla, and their schoolmate Moritz (played by Zym Edson) sing “Those You’ve Known” together. Edson has a wonderful voice and representation of the tortured character that is Moritz.
Ilsa (played by Kiley Dollymore) has a few stunning moments in the show, both in the gripping duet “The Dark I Know Well” with fellow soloist Martha (played by Eliana-Marie Becerra Bandes). These performers have one of the hardest subject matters to perform about, and their emotion and voices equally evoke excellence. Dollymore also stuns during the last song in the show, “The Song of Purple Summer,” and their entrance from the top of the house is a chef’s kiss on top of such a wonderful song. The cast possesses young, raw, authentic talent and has so many strong performers that I would be here all day acknowledging them, but I want to give kudos to Evan Dyck (Georg/Melchoir u/s), Ellian Kelly (Ernst), Naomi Blue (Adult Woman), and Fisher Wapato (Hanschen).
While I previously mentioned the themes covered in this show, I have chosen to not go too far into detail regarding the “specifics” because I feel it is very important that everyone witness this show at least once in their lives. I’ll be honest, there are parts of this show that, no matter what, make you feel uncomfortable, and that is because they should. Some of these horrific things wouldn’t happen to us, our children, or their future children if we didn’t pretend—or continue to pretend—that these things don’t still happen and affect our loved ones every single day. Sometimes people have no one to turn to. They think all is lost, nothing will get better for them, and that there is no way out, and that is when tragedy strikes. But if we continue to fund the arts, history, education, shelters, healthcare, mental healthcare, and acceptance, then maybe this show would be less of a continued reality and more of a warning of what happens when we stop listening, stop asking questions, and stop seeking answers. When we don’t open our minds to those different than us and only judge. It is our duty to be better than our circumstances, and this show is the perfect representation of that. Curiosity, pushing the status quo or the norm, fighting back against what doesn’t make sense or benefit everyone—that is how we grow, invent, and create and, overall, hopefully create a better world for one another. Please continue to support local arts and give your time and attention to Spring Awakening at Tacoma Little Theatre. You will not be disappointed if you do.
Spring Awakening at Tacoma Little Theatre is a bold, emotionally charged production that reminds us why this musical continues to resonate with audiences decades after it was written. Through a powerful partnership with the University of Washington Tacoma, director Maria-Tania Bandes B. Weingarden and this talented cast bring to life a story that is both deeply rooted in the past and strikingly relevant today. With strong performances, thoughtful design, and music that bridges generations, the production invites audiences to confront difficult truths while also reflecting on compassion, curiosity, and understanding. It is not always comfortable theatre—but it is important theatre—and Tacoma Little Theatre delivers it with sincerity, heart, and an ensemble of young performers who fully commit to the emotional journey of the piece.
Spring Awakening, a production from Tacoma Little Theatre in partnership with University of Washington Tacoma, runs on stage in Tacoma through March 29. For more information, including ticket availability and sales, visit https://www.tacomalittletheatre.com/.
Photo credit: Dennis K. Photography
