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(The final image is a knockout.) At some point, though, it becomes impossible to separate the idea from the rendition, which is one reason I liked the new production better than the original.That Spring Awakening was plenty exciting but very slick, as if it were trying to trying to glide over its own contradictions.And there is a conceptual problem in making a story about merciless repression believable on a Broadway stage, which is basically where repression goes to die.The original, with its kaleidoscope of moral outrages — rape, free love, sadomasochism, illegitimacy, homosexuality, abortion, suicide — was banned for years, and was still being censored in England as late as the 1960s.
It’s not surprising that with so many déjà vus, and more to come, people are asking whether we really need to have Fiddler on the Roof for the sixth time, or The Gin Game ever again. And it’s true that, too often, old shows are remounted merely because some stars are available to squeeze the last juice out of them.
Or rather, not a spoken or sung word has been changed.
Instead, translators at Deaf West, which is based in Los Angeles, have rendered the story in American Sign Language, accompanying and sometimes replacing the English.
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An old pro like Marlee Matlin, and a young pro like Krysta Rodriguez, terrific as the outcast Ilsa, in no way show up the work of newcomers like Sandra Mae Frank, who in expression and sign brings an unformed Lillian Gish innocence to the role of Wendla.