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Book and lyrics by Steven Sater
Music by Duncan Sheik

Based on the play Frühlings Erwachen by Frank Wedekind
German translation by Nina Schneider

Spring Awakening is a powerful rock musical about growing up, generational conflict, and the turmoil of awakening sexuality. Winner of eight Tony Awards, including Best Musical, and a Grammy, it redefined Broadway’s themes. Based on Frank Wedekind’s 1891 play Frühlings Erwachen, it criticizes social morality while exploring sexuality and repression. Wendla, Melchior, and Moritz face strict parents and teachers as well as unanswered questions about love and desire, with devastating results.

Based on Frank Wedekind’s 1891 play Spring Awakening, the rock musical explores societal morals while shedding light on sexuality and repression. Steven Sater and Duncan Sheik spent seven years developing their adaptation. Working closely with young people, they created a piece that approaches its themes with a fresh and diverse perspective. Because even though we like to think of ourselves as more enlightened today, adolescents still struggle with the many fears, worries, and challenges of growing up. The evocative songs delve into their doubts, fears and their longing for connection.

We would like to inform audiences - especially families and school groups - that Spring Awakening includes depictions of suicide, violence and sexual violence. 
We recommend attending the performance only from the age of 13 and above.

In the late 19th century, strict rules are imposed upon children and young adults at school, at church, and in the family home. If necessary, these rules are imposed by force. The rule book does not allow for curiosity and certainly not for self-realisation.

Nevertheless, the 14-year-old Wendla tentatively asks her mother questions about coming of age, but she is purposefully kept clueless and uninformed.
Her childhood friend Moritz is under huge pressure at school and suffers from fear of failure – and also from his first sexual fantasies, which he can make no sense of.
His best friend Melchior, on the other hand, is from a loving home, is top of the class, and claims to be worldly-wise. He compiles all his knowledge into a written essay which he secretly hands over to Moritz.

Tension bubbles between the three of them, driven by curiosity, pressure and insecurity. Whilst their schoolmate Hänschen can get everything he wants as a matter of course, their friend Ilse flees from her violent family home where she must leave her sister Martha behind.

Moritz becomes further isolated within the disciplinary system. When he fails his exams and his situation at home escalates, he sees no way out and takes his own life.

An intense attachment forms between Wendla and Melchior. It leads to first sexual encounters and Wendla becomes pregnant. Her mother forces her into getting an abortion, which is performed so amateurishly that Wendla dies during the procedure.

Initially, Melchior knows nothing of Wendla’s tragic end. His essay, intended for Moritz, is discovered and he is consequently blamed for Moritz’s death. Not only that, but his parents discover that he slept with Wendla and thus send him away to a reform school.

He manages to escape. But when he finds out about Wendla’s death, he wrestles with guilt and grief and wonders whether he can carry on living …

Cast

Musical direction
Christian Frank
Stage direction
Frédéric Buhr
Choreography
Klevis Elmazaj
Set design
Agnes Hasun
Lighting design
Alex Brok
Sounddesign
Martin Lukesch
Stunt coordinator
Ran Arthur Braun
Intimacy Coordinator
Bernadette Maria Leitner
Dramaturgy
Lisa Kerlin

Photos and Videos

For all those who use a screen reader, a description of the visual aspects of the performance (set design, costumes...) follows here instead of the photo gallery.

The stage is based on the appearance of historical playgrounds: stage-high poles and scaffolding erected on the revolving stage are reminiscent of historical climbing frames and can also be used by the actors for climbing and gymnastic movements. By rotating the revolving stage, different locations - school, church, forest, etc... - However, the climbing scaffolding, some walls and platforms always form the scenery and the locations are not recreated in a naturalistic way. The scaffolding is also illuminated by LED lights located on the edges and poles. The band is located in the center of the revolving stage. They sit in the middle of a paradisiacal garden, which is represented by plants and flowers placed around the band in the center of the stage. The band's costumes are colorful, but the costumes of the performers are based on the historical costumes of the period in which Spring Awakening is set: Germany at the end of the 19th or beginning of the 20th century. This means that the costumes are subtle in colour, reminiscent of school uniforms, but individualized by the characters.