How ironic and fascinating it is that the deaf and hard-of-hearing actors in Deaf West Theatre's production of "Spring Awakening" at Inner City Arts downtown seem to have the most music within them. It makes sense, however, because what the production appears to attempt to do — and, consequently, what it is wildly successful in accomplishing — is to add another complex, painful layer to the adolescent experience: that of sensory deficiency.

These young men and women have a story to tell, and were not about to let their lack of hearing inhibit them from using Duncan Sheik and Steven Sater's music, as well as choreography and movement, to get their point across. As teenagers in late-19th century Germany who battle with the insecurities and brutalities of sexual awakening, emotional attachment, parental detachment, and loss of innocence, they are also subject in this interpretation to the hardships of deafness and its debilitating effects on communication and normal relationships. In an aesthetically stunning fashion, director Michael Arden (whose experience with DWT goes all the way back to 2003, with their staging of "Big River" at the Mark Taper Forum) employed actor-musicians to "shadow" the deaf actors throughout the course of the show. These "shadows" were faced with quite an impressive task, which they all carried out seamlessly: to verbally interpret the actors' signing of their lines, to sing in place of the actors during musical numbers, to act as orchestra, and occasionally to interact with their actor counterparts through beautifully poignant physicality. Despite all this, the focus never strays from the actors themselves. In particular, Daniel N. Durant (as the tortured, overworked Moritz Stiefel) and Sandra Mae Frank (as the heartbreakingly gentle Wendla Bergmann) wore their passion and frustration on their sleeves, delivering their scenes with the devastating intensity of prisoners begging to be released from their bondage. A scene in which Wendla summons the courage to actually scream her thoughts at her domineering mother was one of the most thrilling in the show.

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Make no mistake, however — the hearing performers brought their A-game to the table as well. As the brilliant, intuitive, and animalistic Melchior Gabor, Austin McKenzie serves up enough charm and charisma to momentarily stop the show due to applause after his character's middle-finger anthem "Totally Fucked". As Ilse, the pitiful homeless wretch who once belonged to the community but fled at the behest of her abusive parents, Lauren Patten masterfully captures the nuances of the teenager who has truly lost everything. But what's so remarkable about both actors is their commitment to their deaf co-stars; they use ASL in order to sign and speak simultaneously, maintain eye contact, and consequently create an even stronger connection out of the obvious missing component. This carries over into the ensemble as well; choreographer Spencer Liff's sequences are smooth and strong, with visible cues not exaggerated enough to break the reality, but significant enough to cue all actors and to keep the movement fluid. The hearing and deaf actors depend on each other equally, and their complete trust is absolutely breathtaking to watch.

This is a story where fighting is all too common. The teenagers challenge authority on every level, from parents to teachers and even — in Melchior's case — to God. And, as is traditional with modern drama, we get to observe the consequences, both good and bad, of challenging that authority. But Arden's production is made special and unforgettable because it gives the teenagers something to fight for. It gives us an inside look into a deaf person's world like we've never had before, whether through the physical projections of various lines onto the walls during scenes or otherwise. For perhaps the first time, we as an audience get to feel what it's like to live in a world that is all too silent. And, amazingly, this experience is being driven by people who aren't even aware of the noise around them. They are combatting silence while living in silence. It's an unbelievable thing to witness.

"Spring Awakening" is playing through October 19 at the Rosenthal Theater at Inner City Arts (720 Kohler Street, Los Angeles). Tickets are $30-$34. Not suitable for children. For more information, visit www.DeafWest.org.

Reach Contributor Ryan Brophy here.

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