Spring Awakening Ignites Amsterdam
Written by Brigid Boyle
Show reviewed: Spring Awakening by Happily Ever After Productions - Cast Blue Night | Het Amsterdams Theaterhuis | 19 June 2026 evening performance
When Spring Awakening first exploded onto Broadway two decades ago, it electrified and haunted audiences in equal measure. Last night’s performance, on a steamy Amsterdam evening, proved it still does.
Directed by Anna Murton and assistant directed by Shiro Mungai, this production is a wild ride from start to finish as we explore the trials of adolescence in nineteenth-century Germany. It unveils the mystery, terror, impulsiveness, joy, and burden of youth in a way that feels just as relevant today.
Laura Maurer-Stroh opens the show as Wendla Bergman with a beautiful clarity and plaintive tone in her vocal that perfectly reflects Wendla’s journey and yearning for understanding. She is swiftly joined by the female character ensemble in ‘Mama Who Bore Me (Reprise)’ – one of the vocal highlights of the show with the actors setting the stage alight in their rich and powerful blend. Through this number we are also treated to a host of live instrumentalists, led by Lori Evans, who consistently crafted a precise and well-balanced rendition of the musical’s beautiful score – at times pop-rock anthems and at others, haunting and lilting folk melodies.
One of the true jam-out moments of the show is the number ‘The Bitch of Living’ in which the male character ensemble explodes into a fiery display of teen frustration, producing an electrifying number packed with delicious harmonies and perfectly crafted choreography by Justyna Borowiecka. The male character ensemble deserves particular praise for their energy, strong and unwavering characterisations and vocal prowess which – even in their less savoury moments – made them a joy to watch the entire evening.
Amongst this host of characters, we follow in particular the journey of Melchior Gabor played by Tomi Richter. Richter expertly imbues this character with a believable intensity and is utterly captivating. His understated yet strong and dynamic acting choices coupled with a clear and commanding sound – including in several challenging falsetto sections of the score – revealed a calibre of performance that elevated the show as a whole. Paired beautifully with Maurer-Stroh’s Wendla, their shared moments were nothing short of stunning.
Special mention must also go to M Monteiro, ‘swinging on’ for this show to embody the troubled Moritz Stiefel, and Leire Rabenberg Ruiz as Ilse Bessell. Both deliver nuanced, emotionally grounded performances, with strong vocal work and a clear grasp of their characters. Ilse’s duet The Dark I Know Well, led in with arresting intensity by Lotte Kaltenecker as Martha, is particularly striking—leaving the audience visibly stunned.
To emphasise the contrast between our characters’ inner lives and the world they live in, the show is also peppered with a range of adult characters; sometimes caricatures, sometimes disturbingly real iterations of a parent’s failings. Perhaps the most challenging combination of these is expertly navigated by Hugh Mackay playing all adult male roles and who must chameleon himself between comedic absurdity and harsh believability in the space of a single scene.
There are only a few chances left to see this beautifully rendered piece and it is an experience not to be missed. Get your tickets to see Spring Awakening, which closes this weekend, at https://www.heaproductions.nl/spring-awakening.