I have previously reviewed the past off-Broadway and Broadway versions, each with enthusiasm (See Search), but this production is a welcome, fresh experience in its interpretation of the musical, which has book and lyrics by Steven Sater, music by Duncan Sheik, and is based on the then controversial 19th century German play by Frank Wedekind.

At first it takes a bit of getting used to in overcoming the tendency to concentrate on differentiating between the actors doing the voices and the non-speaking actors playing the roles. There is a mix of signing, singing and talking, and sometimes the lines are projected on a screen in the rear. But it doesn’t take long to settle in, go with the set-up and admire everyone taking part, from the principals to those pitching in with supporting roles and admirable choral work.

The story, as many may already know, is about youth revolting and trying find themselves in a repressive society, with a teacher sternly wielding a cane and a mother too embarrassed to tell an inquiring daughter how babies are made. The effects in such a society can be devastating for young folk, and Wedekind was ahead of his time in trying to point out the dangers. The musical does it with an abundance of songs, including the captivating, amusing number, “Totally F—ked,” expressing the youthful plight.

The daughter shielded from the facts of life is Wendla Bergmann, played most expressively by Sandra Mae Frank, who is deaf, with her voice provided in speech and song by the wonderful Katie Boeck. Wendla becomes sweet on the young Moritz Stiefel, played with sensitivity and passion by deaf Daniel N. Durant, whose voice is given us by Alex Boniello. When Wendla and Moritz become lovers, impending tragedy looms.

Hearing actor Austin P. McKenzie plays the tragic role of Melchior Gabor, who is a friend of Moritz and who becomes desperately unhappy at his lot in life, a key example of youthful struggle. Distinguished actress Marlee Matlin plays three roles, and her presence, given her long being in the forefront of non-hearing actors, provides a symbolic note to this production.

There is lots of movement about the stage throughout, giving the show an energetic flow. Some band members are perched on a second tier and other music is provided by some of the cast members. The choral work adds power, and the score veers from being melodic to dramatically intense.

Before the actual story begins, we see the actors clad in white undergarments milling about the stage and then getting into their appropriate costumes. When all is over at the end of the show, we see them undress into their original whites, which strikes me as an unnecessary frill, carried into the curtain call.