Bill T. Jones' choreography captures the inner life of the characters..a physical manifestation of their turmoil, confusion and increasing frustration as the night goes on, repeated gestures that grow from Wendla's first, slow, curious examination of her body, to the kicking rebellion of Bitch of Living, to the final explosion in TotallyFucked. It adds a vital layer to the story-telling that is very different than traditional musical theatre's choreography. If anything, "jazz hands" are what should be mocked. The "under-developed" characters you refer to are Steven Sater staying true to the original Wedekind. Wedekind was the father of modern expressionistic drama. Like expressionistic painting, it is best viewed from a distance; the compounded effect of all these teenager's problems is what's important, not their individual journeys--it creates a vision that these issues are endemic of a culture at large. Sater actually created character arcs where there were none and chose to develop the arcs of only the three main characters to satisfy linear-minded traditionalists such as yourself. The fact that these musical numbers are disjointed is the point. It's what makes this musical groundbreaking. The fissure between the world of 1890's Germany with modern rock music serves to show that in a 100 years, nothing has changed. How this beautiful, haunting, and electric score could not stay with you is beyond me. If you truly prefer Glee over this, you should be reviewing TV instead. All I can say is, thank goodness every major theatre critic disagrees with you. Spring Awakening deserved all of its Tonys. This cast is superb.