Theatre Arts & Performance Studies

Audition Notice: Spring Awakening

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Spring Awakening: Auditions

Book & Lyrics by Steven Sater; Music by Duncan Sheik
Based on the play by Frank Wedekind

Directed by Richard Waterhouse

Performances: November 5 - 15, Stuart Theatre

The winner of eight Tony Awards, Spring Awakening explores the journey from adolescence to adulthood with a poignancy and passion that is illuminating and unforgettable. The landmark musical is an electrifying fusion of morality, sexuality and rock and roll that captures the aching urgency of adolescence and asks what happens to young people when no one is willing to tell them the truth.

AUDITIONS: Stuart Theatre (75 Waterman Street)
Tuesday, September 15, 6 - 10PM
Wednesday, September 16, 6 - 10PM

CALLBACKS

Thursday, September 17th, 6 - 11PM
Dance portion included

Audition Slots will be 10 minutes long. Please arrive at least 10 minutes before your slot time and sign in. Auditions are open to all Brown University and RISD undergraduate students. Cast members are eligible for TAPS practicum credit.

Audition Slots open Wednesday, September 9th at 7:00PM

For Auditions Please Prepare:

One audition side of your choice from these selections
One verse from a contemporary pop/rock musical (or similar). Songs from Spring Awakening are welcome but not required.

About the Director:
Richard Waterhouse (he/him) teaches TAPS 023 Acting and TAPS 1285 Film Acting. In 2023, he directed Cabaret, in 2024, Angels in America, and in 2025, Machinal with Professor Kym Moore.

For any questions, please contact Production Director, B Reo, barbara_reo@brown.edu

Content Warning

Spring Awakening is a mature rock musical that explores the challenges of adolescence, sexuality, and institutional oppression. The script and score contain explicit language, sexual situations, and intense themes, including suicide, physical and sexual abuse, abortion, and grief.

Audition Policy & Casting Note

Initial audition sides and musical selections will not feature explicit text or simulate sensitive content. Actors will not be asked to perform explicit choreography, physical violence, or intimate acts during the initial audition process.

We are committed to creating a safe, respectful, and collaborative environment for all artists. Safe spaces and staging practices (including professional intimacy coordination) will be strictly utilized during rehearsals and performances.

TAPS is committed to inclusive casting. Performers of all races, ethnicities, genders, abilities, and neurodiversities are encouraged to audition. We believe that diversity and inclusion enrich storytelling and welcome actors of all backgrounds to share their talent with us.

CHARACTER DESCRIPTIONS

These descriptions are based on the text and are to be used as a starting point. Further discovery and development will continue from there.

Wendla
Innocent. An impassioned 14 y.o. A girl that is awakening to her sexuality and the harsh realities of the world. Instinctually searching for anything that fills the void of these new desires. She journeys through the consequences of new passions in a closed society. Falls in love with Melchior. Violent situations and simulated sexual acts are a part of this role. Mezzo-Soprano.

Melchior
An intelligent, rebellious, and caring 14 y.o. that passionately disagrees with the systems of power in command. His journey is one from head to heart as he fully begins to internalize his passionate views on society and how they affect those around him. He falls in love with Wendla. Violent situations and simulated sex are a part of this role. Bari-tenor.

Martha
An intelligent, kind, and strong young woman that is made fun of for liking the less popular boys. Beaten and sexually abused by her father, but scared to be an outcast or kicked out of her home if she tells anyone. Mezzo-Soprano.

Moritz
Melchior’s best friend. An anxious, sweet, and sensitive young man who is struggling through this time of new awakenings. Having trouble at school and troubled by his new desires, he is trying to live up to his parents expectations which end up being too much for him. Simulated suicide is a part of this role. Tenor.

Thea
Wendla's best friend. She is sweet, energetic, and still trusting of her parents and the systems around her. Mezzo-Soprano.

Hanschen
A schoolmate of Melchior's who is comfortable with his own sexuality and is attracted to both men and women. He uses his looks and intelligence to captivate Ernst. Simulated masturbation is a part of this role. Baritenor. Doubles as RUPERT.

Anna
A German schoolgirl and Martha's best friend. Optimistic and a bit naive, she has a difficult time understanding Martha's trials. Mezzo-Soprano.

Ernst
A schoolmate of Melchior's. Naive and easily manipulated, which allows him to fall in love with Hanschen. Baritenor. Doubles as REINHOLD.

Ilse
Martha's sister, who was also abused and has run away from home to live in an artists' colony. She is bold, resilient, and upbeat despite her circumstances. She and Moritz could have had a relationship in another life. Mezzo-Soprano.

Georg
A clumsy schoolmate of Melchoir's. He is overcome with his feelings for his piano teacher. Tenor. Doubles as DIETER.

Otto
A schoolmate of Melchior's. He struggles with feelings he considers inappropriate. Baritenor. Doubles as ULBRECHT.

Adult Woman
Seeking a strong actor. Fewer singing skills needed. Plays a variety of adult roles. Characters include: FRAU BERGMAN, Wendla's mother; FRAULEIN KNUPPELDICK; FRAULEIN GROSSEBUSTENHALTER; FRAU GABOR, Melchior's mother; and FRAU BESSELL, Martha's mother.

Adult Man
Seeking a strong actor. Fewer singing skills needed. Plays a variety of adult roles. Characters include: HERR SONNENSTITCH, the boys' teacher; HEADMASTER KNOCHENBRUCH; HERR NEUMANN, Ilse's father; HERR RILOW, Hanschen's father; HERR STEIFEL, Moritz's father; FATHER KAULBACH; DOCTOR VON BRAUSEPULVER; HERR GABOR, Melchior's father; and SCHMIDT.