Director: Jonathan Ragsdale
Music Director: Mary Brzeninski
Asst. Music Director: Eddie Brewer
Choreographer: Jonathan Ragsdale
Stage Manager: Nicole Bradley
Workshop Sign-Up
Audition Sign-Up
(Workshop/Audition Info Below)
About the Show
SYNOPSIS:
Spring Awakening tells the story of stifled youth in a small community in 1890s Germany. Unsatisfied with his elders and educators, the headstrong Melchior takes it upon himself to teach his peers about their changing bodies and desires. This new knowledge and the cultural pressures of the village ignite a fallout of dangerous choices as the young adults navigate intimacy, abuse, violence, and self discovery. Based on Frank Wedekind’s controversial play, and set to a haunting folk-rock score by Duncan Shiek this 2006 musical has become a popular platform for the voices of misunderstood youth, a cautionary tale, and ultimately a message of hope.
PRODUCTION DATES:
SCHEDULE & CONFLICTS: Please review the production calendar and list any confirmed OR potential conflicts. Conflicts with Tech Rehearsals and Performances will not be permitted. Additional conflicts or unexpected absences will also not be permitted and could lead to timely dismissal from the production.
Tentative Photoshoot Dates:
February 28 – March 1, 2026 or March 7 – March 8, 2026
Rehearsal Dates:
- First Table Read Through – February 23rd, 2026
- Rehearsals Start – April 1st, 2026
- Rehearsal Times: Sunday thru Thursday, 6:30 pm- 9:30pm
(Other times may be added, but will be with sufficient notice.)
Please note the following dates will not be accepted as conflicts:
- First Tech Week: May 24 – 28, 2026
- Second Tech Week: May 31 – June 4, 2026
- DARK DAY (rest day): June 1 , 2026
- Performances: June 5- 28, 2026 (4 weekends), Fridays at 7:30 pm & Saturday/Sunday at 2 pm
- Mandatory Strike: June 28th following our closing show
Auditions, Callbacks, Rehearsals, and Performances will be held at Musical Theatre
Southwest, 6320-B Domingo Rd NE, Albuquerque, NM 87108.
If you have any questions, please contact the stage manager, Nicole Bradley at
[email protected]
CHARACTER BREAKDOWN:
ALL ROLES ARE AVAILABLE and open to actors of ANY gender identity. The characters are written to reflect a rigid gender binary, the actors who portray them do not need to be.
NO NUDITY WILL BE REQUIRED IN THIS PRODUCTION.
*Role – specific content warnings are also listed below
Male Characters:
MELCHIOR – Tenor/Baritone (G2- B4) with strong falsetto. Headstrong and curious young man, more defiant and adventurous than his peers. Love interest of Wendla and best friend/confidant to Moritz. *Physical Intimacy, Violence, Self-Harm.
MORITZ – Baritone (C3- A4) with a strong rock/punk sound. A Neurodivergent youth, struggling to keep up in school and meet the demands of his overbearing father. Best friend to Melchior. *Self Harm, Domestic Violence, Gun Violence. Suicide, Death.
HANCHEN – Baritone (A flat 2- B4). One of the older boys, and a rich inner life, rushes to share his
adult feelings with ERNST, who is younger and easily influenced. *Masturbation. Pornography. Grooming Behaviors. Physical Intimacy. Violence.
ERNST – Tenor (G flat 2 – D4). The youngest boy, and most impressionable. Led to his first intimate encounter by Hanchen. *Grooming Behaviors. Physical Intimacy, Violence.
GEORG – Tenor/Baritone (A flat 2 – D5). A studious young man doing his best to follow the rules. Struggling to understand his attractions to others, including his piano teacher. *Sensuality, Violence.
OTTO-Strong Tenor (A2- D4). A self-aware young man with a tender voice and spirit. A supporting role with vocal and movement features and will likely understudy Melchior, Moritz, Hanchen, and Ernst. *Violence.
ADULT MALE-Bass/Baritone (D3- F4). Single Actor will portray all of the adult men of the village, including Moritz and Marta’s fathers, the School Master, Priest, and Doctor. *This roll REFERENCES the Sexual Abuse of a Minor, but will NOT depict the act physically. Corporal Punishment, Domestic Violence. Abortion.
Female Characters:
WENDLA – Mezzo (E3- E5). An inquisitive young woman, very sheltered by her mother and strict religious upbringing. Love interest of Melchior. *Physical Intimacy. Violence. Abortion. Death.
ILSE – Alto (E3 – E5). An older girl who ran away at a young age and experienced her own myriad of abuses from wealthy men. A survivor. *This role REFERENCES Drug Use and Assault with a Firearm. Ilse also appears with Marta in a scene that REFERENCES the Sexual Abuse of a Minor.
MARTHA – Alto (E3- E5) Opens up to her peers about the physical abuse she endured from her father. She also harbors a budding affection for Moritz. *Martha sings a song that REFERENCES the Sexual Abuse of a Minor.
THEA – Soprano(E3- E5) Has an idealistic view of romance and growing up, Thea longs to hold on to childhood as long as she can. *REFERENCES to Physical Abuse. A supporting role, this actor will likely understudy multiple roles including Wendla, Ilse, and Martha.
ANNA – Mezzo (E3-C5). Energetic and observant young woman, the object of Otto’s budding affections. A supporting role, this actor will likely understudy multiple roles including Wendla, Ilse, and Martha.
ADULT FEMALE – Soprano (D3 -A4). Single Actor will portray all of the adult women in the village, including Wendla, Melchior, and Martha’s mothers, Georg’s piano tutor, school faculty, and clergy. *Physical Abuse, REFERENCE to the Sexual Abuse of a Minor and Abortion.
UNDERSTUDIES & SWINGS – Understudies for leading roles will be assigned to actors within the cast, and are not guaranteed performances. All supporting cast should be considered onstage swings, and be willing to cover solos and features as needed. There is no additional ensemble. All roles are named.
Workshop & Audition Information
Workshop Sign-Up
WORKSHOP
DATE: Sunday, January 18, 2026
TIME: 10:00 am – 12:00 pm
SCHEDULE:
10:00am – 10:30 am: Show Vision – The director will talk about his vision and approach to directing the musical.
10:35am-11:05 am: Music and Audition Etiquette Talk – The music director will review music from the production and discuss what type of vocal quality is needed. The music director will also review proper audition etiquette and processes.
11:10am-11:45am: Choreography – The choreographer will talk about the expectations and/or teach the actual choreography for the audition.
11:45am-12:00pm: Q&A – The Production Team will answer any questions about the show, auditions, rehearsal process, etc.
You may come for any or all of the sections above. Please indicate this when you sign-up using the sign-up link above.
Audition Sign-Up
VOCAL AUDITIONS
Dates:
– Saturday, Jan 31- 9:30 am – 1:30 pm
– Sunday, February 1, 10 am – 1:30 pm
BY APPOINTMENT (Walk-ins may be seen if time allows)
Please prepare a 1 minute cut of a song in the style of the show, but is NOT from the show. Again, singing from the show is not accepted. Musical Theatre selections are not required, pop/rock is acceptable. Please bring your sheet music in a three ring binder, double-sided. Bring your binder (with other sheet music of songs you are prepared to sing) in case you are asked to sing a second selection. An accompanist will be provided. You may or may not be vocalized or be asked to sing a second selection. No a capella or recorded tracks will be allowed.
Vocal appointments are 5 minutes in length, and should be scheduled in advance.
DANCE/MOVEMENT AUDITIONS
Date: Sunday, February 1
Time: 6 – 10 pm, All auditionees will be required to attend the dance/ movement audition with no exceptions.
Please wear appropriate form-fitting dance attire and closed toed shoes that you are able to move in.
– The movement combination is available for early study in a video tutorial. The choreography will also be taught in person at our workshop, AND on the day of the movement audition. *If you have a mobility limitation, please list it when signing up, and modify the movement as needed.
Video Submissions: If you are unable to attend the auditions, video submissions will be considered. Please fill out the audition form and book a time slot as normal, and submit a video with your full body in frame clearly stating your name, whether you are available for callbacks on 2/1, followed by your 1 minute song selection AND the movement combination.
Deadline for video submissions is the BEGINNING of in-person auditions: Jan 30th, 10am. IN-PERSON AUDITIONS AND CALLBACKS ARE PREFERRED. Submissions can be made to [email protected].
CALLBACKS (by invitation):
Date: Monday, February 2
Time: 6 pm- 10 pm
*Additional Callbacks if Needed*
Hold Date: Tuesday, February 3
Time: 6 pm- 10 pm
Callbacks will consist of vocal sides and readings from the script which will be provided prior to callbacks.
SEEKING: Strong Singers, Dancers, and Actors 18 years of age and older and any/all ethnicities for the 2026 production of Spring Awakening. We welcome and make a conscious effect of all abilities regardless of race, gender, age, religion, sexual orientation, disability, and/ or personal background. Movement/Dance skills are a plus.
ALL ROLES ARE AVAILABLE and open to actors of ANY gender identity. The characters are written to reflect a rigid gender binary, the actors who portray them do not need to. *Role-specific content warnings are also listed by the character in the breakout section above.
CONTENT WARNING: Spring Awakening includes the use, depiction, of and reference to the following: Profanity. Physical Intimacy & Sexuality. Violence. Self-Harm. Domestic Abuse. Sexual Abuse of a Minor. Grooming Behaviors. Suicide. Gun Violence. Abortion. Death.
DUE TO THIS CONTENT, ALL ACTORS MUST BE 18+ BY THE DATE OF FIRST REHEARSAL- APRIL 1, 2026.
*If the depiction or discussion of any of these topics is potentially distressing, or puts your mental & emotional health at risk, the creative team asks that performers prioritize their wellbeing, and consider joining MTS for another production with less volatile subject matter.
