One of the most influential musicals of last decade was brought new life this year, from the wildly inspiring Deaf West Theater: a new take on a rendition of Spring Awakening. Though it may seem like a quick revival, as the previous production has closed only in 2009, the newly introduced themes and ideas bring this musical into new light. The incorporation of deaf actors as well brought a particular ingenuity that sets this musical apart from all others in many ways. Taking its roots from the original, banned publication of Spring Awakening, the 19th century German play by Frank Wedekind, the set reflects on this setting amazingly well with its set design. However, being a more modern-day adaptation, the score reflects a mid-2000’s style, along with the v ocalists, the counterparts of the deaf actors, a projection of their thoughts and actions. The entirety of the musical was amazing, though one nitpick came to mind: visibility and music, specifically targeted toward the deaf audience that came to enjoy Spring Awakening. Throughout the musical, sign language was used predominantly, though incorporation of projector screens with lines written on them were shown as well. The only problem I saw with this was the visibility of it all from the balcony seats. I couldn’t make out the language when it was in use. The next problem I saw were the musical numbers. They were big, flashy, and fun to look at and listen to, although a bit hard to concentrate due to the sensory overload. The problem, I found, was that my enjoyment of the musical came predominantly from the timing and use of the musical numbers. Once again, I feel as if the deaf audience did not get the full force of the musical, and what it had to offer during these scenes. All in al l, Spring Awakening is an amazing musical of this year, and I would highly recommend seeing it as soon as possible. The musical numbers, set design, deaf actor incorporation, it all ties together brilliantly.