In many ways, "Spring Awakening" is a lot like "Avenue Q": Both musicals deal with an "awkward phase," both feature explicit sexual content and both had several members of the audience skipping out during intermission.

But while "Avenue Q" uses satire and broad puppet comedy to chronicle the trials and tribulations of post-college life, "Spring Awakening" is a darker, rock-infused look at puberty-or at least the arrival of sexual awareness. Turns out that in early 20th century Germany, the two don't always go hand in hand.

The kids in "Spring Awakening" face rapidly changing bodies, but they're not quite sure what to do with them. Only radical Melchior has his facts straight, and when he tries to educate his friend Moritz, the misfit can hardly conceive it. Wendla, the object of Melchior's affections, is left similarly in the dark, even as she begins to act on those sinful urges.

When "Spring Awakening" debuted in New York, it was hailed as the next "Rent"-and with good reason. Composer Duncan Sheik (yes, pop star, "Barely Breathing" Duncan Sheik) infuses his score with considerable depth and a modern rock sensibility. The action may take place a century ago, but the music keeps it thoroughly fresh.

Not to mention the fact that the themes, controversial for their time, are still significant and divisive today. "Spring Awakening" is based on the play by Frank Wedekind, whose works were widely censored in the early 1900s. The author must have had an eye for the persistent problems faced by teenagers-and, to some extent, society as a whole. The work, in its original and more current adaptation, covers everything from understanding the birds and the bees to the conflicting messages authority figures perpetuate: You have to respect your body; your body is sinful. You can't get pregnant; you can't learn how to prevent a pregnancy.

It's certain that we've made long strides, but we're nowhere near the point where the message of "Spring Awakening" is no longer relevant. In an election year when the concept of "family values" is still on the table, it seems all too appropriate to highlight the dangers of a narrow-minded and restrictive conception of sexuality.

But the musical is not limited to its message, which is more undercurrent than heavy-handed moral. As a whole, the show is memorable, stirring and, on occasion, raucously funny.

Naturally, the vibrant cast deserves some of the credit. Decked out in period clothing, they still manage to leap around the stage in balls-out numbers like "My Junk" and "Totally Fucked." It's not all headbanging thrills, though, and they're equally adept at keeping things subdued when appropriate.

Blake Bashoff is particularly effective as Moritz, capturing the outcast's awkwardness and desperation while still retaining an undeniable charm. His songs, including "And Then There Were None" and "Don't Do Sadness" are the loudest, but in many ways they're also the most profound, surpassing the somber dirges that pop up elsewhere.

As the curious and tragically naive Wendla, Christy Altomare is also impressive. She is the first to appear on stage, and her haunting performance of the opening number, "Mama Who Bore Me," sets a high standard for all that follows.

In the lead role, Kyle Riabko is a mostly solid Melchior. Though he clearly has the vocal chops (and looks) for the part, he sometimes falters where Bashoff excels; Riabko's characters feels less real and therefore less relatable. Granted, this is musical theater-you can expect performances to maintain a certain level of exaggeration. But this Melchior at times feels too bright-eyed and, worse, too conscious of his star status.

It's a minor glitch in an otherwise flawless production. Everyone is carrying their weight here. And-if the several-minute-long standing ovation means anything-the audience appreciates it. Well, excluding those who bailed midway through. Who knows? Perhaps the show's message of expressing oneself instead of being constrained or embarrassed hit too close to home.

Tags: SPRING AWAKENING