Spring Awakening Blooms at Het Amsterdams Theaterhuis

Written by Camille Gribbons

Show reviewed: Spring Awakening | Purple Summer | Het Amsterdams Theaterhuis | 12 June 2026

Walking into the theater on opening night of Spring Awakening, the cast was already on stage — mingling, laughing, inhabiting their world before the show had even begun. It was an immediately disarming choice that set the tone for what followed: an evening that felt alive and human from start to finish. The production was directed by Anna Murton and assistant directed by Shiro Mungai.

The set, designed by Ivo da Silva, was a quietly stunning achievement. The aesthetic sat somewhere between overgrown forest and industrial ruin — an unexpected combination that somehow felt entirely coherent. Far from merely decorative, the design actively supported the staging and choreography throughout, giving the movement somewhere meaningful to breathe.

The show opens with Brittany Sanders as Wendla Bergman, and it is a statement of intent. Her vocals are nothing short of stunning — warm, precise, and emotionally grounded — and they immediately established the standard for the rest of the evening. Going from Sanders' solo rendition of "Mama Who Bore Me" to the full female character ensemble in the reprise was genuinely arresting; the kind of moment that catches you off guard and raises the hairs on your arms. Credit here must go to vocal director Evelien Vermeulen, whose work on the ensemble harmonies was great — the blend was rich and precise, elevating what could have been a simple reprise into one of the most memorable moments of the night. Completing the sonic landscape was a live band, led by Lori Evans, whose warmth and richness added an entirely different dimension to the score. The production was particularly fortunate to feature string instruments — violin, viola, and cello — woven throughout, lending the music a lushness and depth. The vocal quality of this cast, taken as a whole, was the absolute standout of the production.

The male ensemble was equally strong, with a natural chemistry and rapport that felt unforced. Giovanni Vaccari drove the group with conviction as Melchior Gabor, and together with Sanders, the two leads shared a dynamic that drew the audience into the emotional heart of the story. Two special mentions go to Ramona Harrison as Otto and Warren Dansou as Georg, both of whom brought a level of energy and passion to their characters that was genuinely infectious and a joy to watch. Equal praise goes to Sebastian Nitu as Moritz, who brought a genuine sincerity and sweetness to the role of a lost adolescent boy that was quietly affecting, and to Britt Davis as Ilse, whose duet with Leana van de Meent as Martha was one of the most haunting moments of the evening — their vocal blend very well-matched.

Sebastian Nitu as Moritz and Giovanni Vaccari as Melchior

Britt Davis as Ilse and Leana van der Meent as Martha

Ramona Harrison as Otto

Warren Dansou as Georg.

Watching the ensemble work together — especially in the first portion of the show — was one of the great pleasures of the evening. The choreography by Justyna Borowiecka was innovative and visually striking.

I'll admit I came into this show with some apprehension. I've historically avoided Spring Awakening, put off by its reputation for darkness. I was, as it turns out, quite wrong. This production is funnier, warmer, and more joyful than I'd anticipated, with a lightness of touch in the comedic moments that makes the show less heavy. I left having laughed more than I expected, and enjoyed and jammed out more than I was prepared for.

If you have the chance to see it, go. Tickets are available at heaproductions.nl/spring-awakening — the production runs this weekend and next at Het Amsterdams Theaterhuis.