Slow Burn's regional premiere of this Steven Sater/Duncan Sheik Tony winner offered the visceral thrills of a rock show within the tight structure of a Broadway musical. In the inspired hands of director Patrick Fitzwater, this tragic coming-of-age narrative about teenage sexuality flowering in an authoritative 19th-century Germany bristled with the sort of angst, frustration, retaliation, and liberation rarely heard (or seen) since Pink Floyd's The Wall. From the precarious chair choreography of "The Bitch of Living" to the ravishingly lit, cobalt dreamscape of "The Mirror Blue Night," Fitzwater's choreography reinvented wheels and kept them turning efficiently at the same time. Sean McClelland's set, with its subtle nooks and crannies, flawlessly balanced artistry and economy, while the actors conveyed oceans of feeling with single drops of expression, finding an aching tenderness among the adolescent cacophony. Whether or not you've seen the Broadway tours of Spring Awakening, it's hard to fathom a better production.