SPRING     

         AWAKENINGS         

In a world where curiosity is stifled and questions are met with silence, a group of teenagers finds themselves thrust into the chaos of adolescence without a guide. Melchior, an intellectual rebel; Wendla, an inquisitive girl; and Moritz, a boy burdened by academic pressures—grapple with their budding desires and the harsh realities of growing up in a society that refuses to provide answers.

This is #NotTheMusical…

Spring Awakenings pushes the limits in the same way that I imagine Frank Wedekind would have hoped for when he was writing the play over 100 years ago. It is creative, unusual, and reminds us that, even today, it is important to keep asking questions and pushing the limits.”

ALLI DOUBEK, ENTERTAINING CHICAGO

“★★★★… It is the entire group of young people that bring us the story facing these mysteries of life. This cast is superb in making the audience see their hopes, desires and questions.”

ALAN BRESLOFF, AROUND THE TOWN CHICAGO

“It is a fervent and vibrant production with a cast clearly filled with passion for what might be seen as something of a theatrical novelty... And this show is just plain fun, as well.”

BILL ESLER, BUZZ CENTER STAGE

CAST & CREATIVE

*- DENOTES A LAZY SUSAN THEATRE CO. COMPANY MEMBER

A smiling person with long dark hair wearing a sleeveless white top, standing against a purple background.
A person smiling, wearing a dark jacket with decorative patterns, against a brown background.

Isabelle Grima*
Wendla

Jake Griffith
Melchior

Smiling person with dark hair wearing a black and yellow shirt, against a dark background.
Young man with glasses and a green sweater standing in front of a green background.

Bryce Lederer
Moritz

Pierce Julian Howard*
Hänschen & others

Man wearing glasses and a yellow shirt smiling against a gray background.

Ryan Vu
Ernst & others

Nicholas Ford Kinney
Georg & others

Woman with red hair and freckles wearing a black tank top, looking at the camera.
Young person wearing a teal sweater smiles against a white background.

Phoebe Webstbrooks
Otto & others

Quinn Skelly
Rupert & others

A person with long, curly dark hair wearing a black top, looking directly at the camera, against a light beige background.

Hannah Loessberg*
Thea & others

Grace Trivax
Martha & others

Woman with long brown hair and a burgundy sleeveless top smiling at the camera against a dark background.

Matthew Masino*
Director, Adaptor, & Scenic Designer

Nealie Tinlin*
Asst. Director

Black and white portrait of an older man wearing a suit and tie.
Portrait of a man with glasses and a mustache, wearing a dark suit and tie, looking down.
Person with pink hair and glasses smiling outdoors
Person with brown hair in a pink ruffled shirt standing next to dress forms in a studio setting.
Person with short blond hair wearing a red leather jacket and black top against a blurred background.
Smiling person holding a trumpet against a brown background.
Portrait of a man with short brown hair and a beard wearing a maroon shirt, set against a plain background.
Person smiling behind a sound or lighting control panel in a dimly lit room.

Jon Yawn*
Technical Director & Scenic Designer

Francis J. Ziegler
Translator

Frank Wedekind
Playwright

Elly Burke*
Costume Designer

Amina Gilbert*
Lighting & Sound Designer

Michael Van Bodegom-Smith*
Composer

Kira Nutter
Fight & Intimacy Director

Sarah Schorle*
Stage Manager

Dominic Rincker*
Musical Director

When it first premiered in 1906 in Berlin, Spring Awakenings was already a revolutionary piece of theatre. More than a century later, the struggles these characters face still hit uncomfortably close to home.

The young people in this play aren’t just navigating the chaos of adolescence—they’re carrying the weight of generations before them. They are inheriting a world where adults are too afraid to be truthful and too stuck in their ways to imagine something. And so, the cycle continues.

We are still stuck in this cycle today. Information about sexual health, reproduction, and bodily autonomy are policed and politicized. And young people—just like the ones in this play—are left trying to make sense of themselves in a world that won’t give them the tools to do it safely and healthily. The silence is still loud. The consequences are still real.

So we ask: What do we owe the next generation? How can we break this pattern and offer something better than what we were given?

DIRECTOR’S NOTE