Who knew that being “totally f***ed” could be so enjoyable?

According to the cast of… Who knew that being “totally f***ed” could be so enjoyable?

According to the cast of “Spring Awakening” in its proverbial 11 o’clock number of the same name, it’s simply another part of the adolescent angst cycle that youths must endure, whether they are 19th-century German kids or the modern American college student.

And such a close-to-home message has never been conveyed with the energy and tenacity that the touring cast of the Tony Award-winning show brings to the stage.

Weaving the narrative arcs of multiple kids living in a small German village, the musical deals with issues like sexuality, first love and hormonal changes that accompany the children and their changing bodies. The adults in their lives neither understand nor acknowledge the frustration they must overcome, and their refusal to explain not only increases the children’s angst — it leads to dire consequences that can be attributed, but not justified, by the young people’s naivete.

With music by Duncan Sheik, the show carries a heavily anachronistic vibe through its entirety. Lyrics contain references to modern-day slang, and the dialogue would not seem out of place in a contemporary cafeteria. Combined, the lyrics and dialogue ultimately cement the universal nature of the show’s message.

Aside from its Tony Award street cred, the play also brings with it highly controversial subject matter, graphic depictions of sex and consistent profanity that thankfully never comes across as shock value material.

Andy Mientus (Hanschen), a Pittsburgh native who has the privilege of simulating masturbation during the particularly rousing number, “My Junk,” and sneaking a guy-on-guy kiss toward the show’s end, isn’t uncomfortable playing out the more delicate moments in the show — even with his mother in the audience.

“I just think it’s really funny — it’s something we will all laugh about later,” he said.

Still, it’s hard not to feel even the slightest bit tense during his scenes, or the onstage sex scene — performed twice for those unaffected the first time. But ultimately, the show should deliver a refreshing jolt to the Pittsburgh stage often unseen in our more traditional city.

“Hopefully, [the Pittsburgh audience will] embrace the fact that it’s new and something different,” Mientus said. “They took a big risk taking the show on tour, and most audiences and subscribers are used to the more escapist and commercial fare.”

Mientus’ choice of words prove to be interesting, because while it isn’t escapist in the Andrew Lloyd Webber sense, “Spring Awakening” is indeed an emotional journey that transports the audience unlike any previous show. The music is unconventional, but that’s the best part. In the show, a haunting and subtle number — “Whispering,” for example — serves the show far better than a power ballad ever could.

The show relies heavily upon the talent of its cast. As a fairly intimate production, it requires all the members of the ensemble to hold their weight both acting-wise and vocally.

Thankfully, the startlingly young cast succeeds in giving the audience shivers with practically every number, and the variety of each cast member’s vocal style ensures the audience they will never tire of one character.

From Blake Bashoff’s (Mortitz) nasally tenor to Mientus’ drawling growl, the cast shines particularly when singing as a group. No one knows killer harmonies quite like the “Spring Awakening” kids.

Sure, there are pitch problems and minor lapses in judgment with some of the performers’ acting decisions, but these only serve to enhance the experience for the audience. One would be hard-pressed to find something more real on stage, whether in Pittsburgh or elsewhere.

That’s where Mientus is right on point — “Spring Awakening” isn’t commercial fare, that’s for sure. Come, and be prepared to leave with the emotional baggage of the characters — but thankfully, it’s a mere byproduct of an incredible show.

If only “Spring” could stay in the city all summer.