The Musical
How the Musical Deviates from the Original Text
Almost everything that would have been considered controversial when Spring Awakening premiered on Broadway in 2006 was present in Wedekind’s original text. The musical Spring Awakening stays
very true to the original text. However, there are some key differences that go
beyond the addition of songs to the originally straight dramatic text. As the script stays mainly true to the original work it is imperative to know how the two line up, and where they differ.
Overall the changes make the musical much more active than the original play. Exploration still exists, but in the form of hummable tunes instead of long monologues that would most likely lose much of a modern audience. The pace helps establish that once the wheels are in motion, there is no escape for these teens. The show firmly establishes that though adults might rule in terms of power, the world of the show belongs to the teens. This teenage world created by the musical is much more communal, offering more hope simply by showing one isn’t alone, even in the circumstances when it feels like it: suicidal depression, pregnancy, abuse, and general adolescent confusion and doubt.
There are many more distinct adult characters in the original text-- the musical cut adult characters as well as designated that all authority figures were to be played by one female and one male actor
This choice universalizes the problem of adults within this world. Two actors play every adult, thus the adult characters have slightly less obvious individual identities. In a world created by the teen mind, all adults are the same. They are the embodiment of restriction, and in the musical they share the same face. They are all guilty of the tragedies that occur. This is a very expressionistic choice, because the audience is seeing the adults physically through the eyes of the children, as well as because it is symbolic.
There is no mention of sexual abuse in the original text.
Sexual abuse was something not talked about at the time of Wedekind’s play. Additionally, Wedekind wrote Spring Awakening primarily from his own experience. This was a world in which genders were kept separate. On top of that, sexual abuse often leads to feelings of shame and guilt in the victim that would not encourage them to disclose such experiences. So, Wedekind may not have been known any of the women of his acquaintance were survivors of sexual abuse. It remains highly likely that someone he knew was suffering from sexual abuse in some form and he was just not aware. Sexual abuse was added to the musical because of its both its prevalence and its effect on the victim. Today, 44% of victims of sexual abuse are under the age of 18. On top of this, 2/3 of victims know their abuser. Sexual abuse can make women, especially young girls like Ilse and Martha from Spring Awakening, feel isolated, uncertain, and ashamed. Adding sexual abuse to the musical allows them to know they are not alone, the barriers, societal and individual, preventing the girls of Spring Awakening from speaking out may encourage those who have been sexually abused in the audience to speak up about their experiences. The change allows an audience member today to view contemporary problems through a historical lens, creating a little bit of distance. Additionally, it serves as a reminder that this problem was also a problem in the 1890s, whether it was originally addressed or not.
In Wedekind's play the sex between Wendla and Melchoir is not consensual.
In Wedekind’s original play, Melchoir rapes Wendla, even if the text doesn't bluntly state it. The musical version turns this into a consensual act, although Wendla remains hesitant at the beginning. This change gives Wendla more control. Her fate becomes even more the fault of her reluctant mother. After all, a girl who is sexually assaulted often does not have power in that moment, whether she knows the act will create a child or not. In the musical, Wendla chose to give into her passions, not having any idea where such passions would lead her. She is initially hesitant, scared, and overwhelmed. Here she is with a boy experiencing things she doesn’t understand and must know on some level is forbidden. However, because her mother has not explained it to her, she does not know of the possibility of that moment to change her life beyond having sex for the first time. The decision to make the sex act consensual also makes Melchoir more sympathetic. There have been previous clues to the fact the repressive nature of society has already started to unhinge him, particularly the whipping scene. By making the sex consensual both become victims of pent up emotions and desires they don’t really understand. While Melchoir knew the consequences of such an act, he had never been able to talk it out with anyone, and he did not fully grasp the severity. He had fought a battle with himself against such emotions (most evident in “Mirror Blue Night”) and he had lost.
In the play, Moritz’ father rejects him claiming “The boy was nothing to me.” The musical depicts Moritz’ father falling down in grief at the end of “Left Behind.”
The concept of parenting is vastly different today, and this seems to be a change acknowledging that fact. Although the reaction in the original play would not have been something to bat an eye at then, today that is not the case. The scenes are set in the 1890s, but the audience still lives in 2012. It would be harder for a contemporary audience, particularly parents, to reconcile this shunning of a son after having lost him. Moritz’ father’s breakdown also displays growth from an adult character, the ability to see that maybe what they thought was best for their child actually ruined them. This hopefully speaks and appeals to the adults in the audience. It shows that the adults aren’t acting out of malice, but as Wedekind said “blind stupidity.” It also shows that change is possible, and we can avoid the fates of many of these teens starting with change from the top. Additionally, in the musical this spark of emotion takes place at the end of a song, offering the freedom of emotion that occurs within the Expressionistic landscape. This could very well be an internal crumble from the father.
Originally Wendla is prescribed "The French Remedy" by her doctor (code for an abortion pill). While she is also prescribed the pills, the musical adds Wendla being taken to an abortionist by her mother.
The switch to actually seeing Wendla being taken to an abortionist is done in favor of “showing instead of telling.” In the original play the Masked Man informs Melchoir of Wendla’s fate from the abortive pills prescribed by the doctor. While the audience is still left in suspense in the musical until Melchoir sees Wendla’s grave, her trip to an abortionist provides more closure to her story. Her fear and uncertainty are obvious. Her mother promises to stay with her, and then lets go of her hand, the last betrayal by an adult, and perhaps one of the most visceral in the moment. The moment foreshadows that this is not an appointment that will go well.
The musical cuts out the part of the Masked Man who convinces Melchoir not to kill himself.
Part of the cutting of the Masked Man may have to do with logistics. After all, the musical combined all adult parts together. They made that very specific choice to illustrate the fact that all adults are at fault in the downfall of these children. Therefore, it would confuse that choice to have an adult, even a symbolic one, come in and save the day in an almost dues ex machina fashion. Wedekind has said he included the Masked Man to offer hope, to assure the audience that some of these characters, like Melchoir, have futures as adults. This hope is maintained at the end with the addition of “Song of Purple Summer.” By giving Melchoir the power to stop himself, adolescents today are given the message they too have the power to take control of their own lives.
In the original play Moritz comes back and attempts to convince Melchoir to kill himself at the end.
Moritz is as much a product of Melchoir’s mind in the play as in the musical. In the play Melchoir’s mind uses Moritz, his most trusted friend, to attempt to gain the strength to go through with a suicide. Also, keeping with the dark Expressionism, the Masked Man calls Moritz a “chimera,” a mythical animal that takes parts from different creatures in its form. With no Masked Man in the musical, Moritz cannot tempt. Additionally, after spending an entire play watching how the folly of adults has wreaked havoc on these children’s lives, it seems odd to give the power of salvation to an adult, whether that adult exists solely for symbolic purposes or not. After all, it is expected that teens are more likely to listen to their peers, and in the musical the peer pressure is used for good. Additionally, the musical has taken Melchoir as its protagonist throughout in a way that is much clearer than the Wedekind’s play. The change in Moritz’ attitude helps clear Melchoir’s conscious of having a part in his friend’s suicide.
Wendla does not appear after death in the play.
Wendla appears after death in the musical for a couple of reasons. First, it provides a sense of closure to the romantic story. It finishes the attempt to provide a less abrupt ending to Wendla’s journey that the trip to the abortionist begins. It also allows the audience to see the two most important people in Melchoir’s life urging him on, or at least Melchoir believing they are urging him on. It offers closure for Melchoir in much the same way Moritz’ appearance does, helping absolve Melchoir of guilt for any blame he may have placed on himself for her death. After all, she expressly says “they whisper all forgiven.”
Overall the changes make the musical much more active than the original play. Exploration still exists, but in the form of hummable tunes instead of long monologues that would most likely lose much of a modern audience. The pace helps establish that once the wheels are in motion, there is no escape for these teens. The show firmly establishes that though adults might rule in terms of power, the world of the show belongs to the teens. This teenage world created by the musical is much more communal, offering more hope simply by showing one isn’t alone, even in the circumstances when it feels like it: suicidal depression, pregnancy, abuse, and general adolescent confusion and doubt.
There are many more distinct adult characters in the original text-- the musical cut adult characters as well as designated that all authority figures were to be played by one female and one male actor
This choice universalizes the problem of adults within this world. Two actors play every adult, thus the adult characters have slightly less obvious individual identities. In a world created by the teen mind, all adults are the same. They are the embodiment of restriction, and in the musical they share the same face. They are all guilty of the tragedies that occur. This is a very expressionistic choice, because the audience is seeing the adults physically through the eyes of the children, as well as because it is symbolic.
There is no mention of sexual abuse in the original text.
Sexual abuse was something not talked about at the time of Wedekind’s play. Additionally, Wedekind wrote Spring Awakening primarily from his own experience. This was a world in which genders were kept separate. On top of that, sexual abuse often leads to feelings of shame and guilt in the victim that would not encourage them to disclose such experiences. So, Wedekind may not have been known any of the women of his acquaintance were survivors of sexual abuse. It remains highly likely that someone he knew was suffering from sexual abuse in some form and he was just not aware. Sexual abuse was added to the musical because of its both its prevalence and its effect on the victim. Today, 44% of victims of sexual abuse are under the age of 18. On top of this, 2/3 of victims know their abuser. Sexual abuse can make women, especially young girls like Ilse and Martha from Spring Awakening, feel isolated, uncertain, and ashamed. Adding sexual abuse to the musical allows them to know they are not alone, the barriers, societal and individual, preventing the girls of Spring Awakening from speaking out may encourage those who have been sexually abused in the audience to speak up about their experiences. The change allows an audience member today to view contemporary problems through a historical lens, creating a little bit of distance. Additionally, it serves as a reminder that this problem was also a problem in the 1890s, whether it was originally addressed or not.
In Wedekind's play the sex between Wendla and Melchoir is not consensual.
In Wedekind’s original play, Melchoir rapes Wendla, even if the text doesn't bluntly state it. The musical version turns this into a consensual act, although Wendla remains hesitant at the beginning. This change gives Wendla more control. Her fate becomes even more the fault of her reluctant mother. After all, a girl who is sexually assaulted often does not have power in that moment, whether she knows the act will create a child or not. In the musical, Wendla chose to give into her passions, not having any idea where such passions would lead her. She is initially hesitant, scared, and overwhelmed. Here she is with a boy experiencing things she doesn’t understand and must know on some level is forbidden. However, because her mother has not explained it to her, she does not know of the possibility of that moment to change her life beyond having sex for the first time. The decision to make the sex act consensual also makes Melchoir more sympathetic. There have been previous clues to the fact the repressive nature of society has already started to unhinge him, particularly the whipping scene. By making the sex consensual both become victims of pent up emotions and desires they don’t really understand. While Melchoir knew the consequences of such an act, he had never been able to talk it out with anyone, and he did not fully grasp the severity. He had fought a battle with himself against such emotions (most evident in “Mirror Blue Night”) and he had lost.
In the play, Moritz’ father rejects him claiming “The boy was nothing to me.” The musical depicts Moritz’ father falling down in grief at the end of “Left Behind.”
The concept of parenting is vastly different today, and this seems to be a change acknowledging that fact. Although the reaction in the original play would not have been something to bat an eye at then, today that is not the case. The scenes are set in the 1890s, but the audience still lives in 2012. It would be harder for a contemporary audience, particularly parents, to reconcile this shunning of a son after having lost him. Moritz’ father’s breakdown also displays growth from an adult character, the ability to see that maybe what they thought was best for their child actually ruined them. This hopefully speaks and appeals to the adults in the audience. It shows that the adults aren’t acting out of malice, but as Wedekind said “blind stupidity.” It also shows that change is possible, and we can avoid the fates of many of these teens starting with change from the top. Additionally, in the musical this spark of emotion takes place at the end of a song, offering the freedom of emotion that occurs within the Expressionistic landscape. This could very well be an internal crumble from the father.
Originally Wendla is prescribed "The French Remedy" by her doctor (code for an abortion pill). While she is also prescribed the pills, the musical adds Wendla being taken to an abortionist by her mother.
The switch to actually seeing Wendla being taken to an abortionist is done in favor of “showing instead of telling.” In the original play the Masked Man informs Melchoir of Wendla’s fate from the abortive pills prescribed by the doctor. While the audience is still left in suspense in the musical until Melchoir sees Wendla’s grave, her trip to an abortionist provides more closure to her story. Her fear and uncertainty are obvious. Her mother promises to stay with her, and then lets go of her hand, the last betrayal by an adult, and perhaps one of the most visceral in the moment. The moment foreshadows that this is not an appointment that will go well.
The musical cuts out the part of the Masked Man who convinces Melchoir not to kill himself.
Part of the cutting of the Masked Man may have to do with logistics. After all, the musical combined all adult parts together. They made that very specific choice to illustrate the fact that all adults are at fault in the downfall of these children. Therefore, it would confuse that choice to have an adult, even a symbolic one, come in and save the day in an almost dues ex machina fashion. Wedekind has said he included the Masked Man to offer hope, to assure the audience that some of these characters, like Melchoir, have futures as adults. This hope is maintained at the end with the addition of “Song of Purple Summer.” By giving Melchoir the power to stop himself, adolescents today are given the message they too have the power to take control of their own lives.
In the original play Moritz comes back and attempts to convince Melchoir to kill himself at the end.
Moritz is as much a product of Melchoir’s mind in the play as in the musical. In the play Melchoir’s mind uses Moritz, his most trusted friend, to attempt to gain the strength to go through with a suicide. Also, keeping with the dark Expressionism, the Masked Man calls Moritz a “chimera,” a mythical animal that takes parts from different creatures in its form. With no Masked Man in the musical, Moritz cannot tempt. Additionally, after spending an entire play watching how the folly of adults has wreaked havoc on these children’s lives, it seems odd to give the power of salvation to an adult, whether that adult exists solely for symbolic purposes or not. After all, it is expected that teens are more likely to listen to their peers, and in the musical the peer pressure is used for good. Additionally, the musical has taken Melchoir as its protagonist throughout in a way that is much clearer than the Wedekind’s play. The change in Moritz’ attitude helps clear Melchoir’s conscious of having a part in his friend’s suicide.
Wendla does not appear after death in the play.
Wendla appears after death in the musical for a couple of reasons. First, it provides a sense of closure to the romantic story. It finishes the attempt to provide a less abrupt ending to Wendla’s journey that the trip to the abortionist begins. It also allows the audience to see the two most important people in Melchoir’s life urging him on, or at least Melchoir believing they are urging him on. It offers closure for Melchoir in much the same way Moritz’ appearance does, helping absolve Melchoir of guilt for any blame he may have placed on himself for her death. After all, she expressly says “they whisper all forgiven.”
Other Joint Projects from Stephen Sater and Duncan Sheik
Stephen Sater and Duncan Sheik have worked together on other projects other than Spring Awakening as well. They collaborated on a piece, Alice By Heart, for the British National Theatre. Part of their Connections Plays 2012 series, the age suitability is listed as 13-19. also dealing with the idea of adolescence. The description on the National Theatre's website reads:
"How do we leave childhood behind?
How do we close the book when the world around us has gone mad with arbitrary rules?
In the throes of adolescence, determined Alice Parsley convinces her seriously ailing friend Alfred to follow her one last time "Down the Hole" and play White Rabbit to her childhood heroine. Mad as it all is, there's so much she still wants from him. And yet, how late it's getting!
A new rock-musical take on Alice in Wonderland, from the writers who brought Spring Awakening: The Musical to the London stage in 2009."
They also worked together on The Nightingale, based on the Hans Christen Anderson story, which has just been announced in the La Jolla Playhouse's 2012-2013 season with direction by Moisés Kaufman.
"How do we leave childhood behind?
How do we close the book when the world around us has gone mad with arbitrary rules?
In the throes of adolescence, determined Alice Parsley convinces her seriously ailing friend Alfred to follow her one last time "Down the Hole" and play White Rabbit to her childhood heroine. Mad as it all is, there's so much she still wants from him. And yet, how late it's getting!
A new rock-musical take on Alice in Wonderland, from the writers who brought Spring Awakening: The Musical to the London stage in 2009."
They also worked together on The Nightingale, based on the Hans Christen Anderson story, which has just been announced in the La Jolla Playhouse's 2012-2013 season with direction by Moisés Kaufman.
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Information Drawn From
"National Theatre." Alice By Heart. Web. 11 June 2012.
<http://www.nationaltheatre.org.uk/65640/connections-plays-2012/alice-by-heart.html>."
"Statistics" RAINN Rape, Abuse and Incest National Network." Web. 18 July 2012
<http://www.rainn.org/statistics/>.
Steven Sater & Duncan Sheik's THE NIGHTINGALE to Play La Jolla Playhouse in July."
BroadwayWorld.com. N.p., 6 Mar. 2012. Web. 11 June 2012.
<http://broadwayworld.com/article/Steven-Sater-Duncan-Sheiks-THE-NIGHTINGALE-to-Play-
La-Jolla-Playhouse-in-July-20120306>.
<http://www.nationaltheatre.org.uk/65640/connections-plays-2012/alice-by-heart.html>."
"Statistics" RAINN Rape, Abuse and Incest National Network." Web. 18 July 2012
<http://www.rainn.org/statistics/>.
Steven Sater & Duncan Sheik's THE NIGHTINGALE to Play La Jolla Playhouse in July."
BroadwayWorld.com. N.p., 6 Mar. 2012. Web. 11 June 2012.
<http://broadwayworld.com/article/Steven-Sater-Duncan-Sheiks-THE-NIGHTINGALE-to-Play-
La-Jolla-Playhouse-in-July-20120306>.