Spring Awakening' on Stage This Weekend

The play "Spring Awakening," written in 1891 by German playwright Frank Wedekind and adapted by Ted Hughes, will be performed April 18-19 and 24-26 at 7:30 p.m. and Sunday, April 20, at 2 p.m. in the Wallman Hall Theatre.

For tickets, call (304) 367-4240. Tickets are $10 for general admission, $8 for seniors and $6 for students with ID. This play, with its sexual themes, is appropriate for mature audiences.

A much-adapted play, its most recent incarnation was a Tony-award nominated musical. The Fairmont State University Masquers version, adapted and directed by Jeffrey Ingman, will include the following cast members: Brie Graziani (Wendla Bergmann); Christie D. Brooks (Frau Bergmann); Sean Marco (Melchior); Nick Oliveto (Otto/ Ruprecht); Bruce McGlumphy (Moritz); Thomas M. Cosner (George/Gaston); Jason Vanfosson ( Robel/ Helmuth); Daniel Crowley (Rilow/ Reinhold); Kimmy Higginbotham (Martha); Loralee Simpson (Thea); Jessica Jirak (Frau Gabor); Jennifer Stewart (Ilse); Marc Cornes (Professor Knockenbruch/ Dr. Procrustes); Dr. John O'Connor (Professor Hungengart/ Herr Steifal/ Dr. Brauspulver); John Fallon (Sonnenstich); Patrick Sibbet (Pastor Kahbach/ Hababald); Mike Donato (Professor Zunganschlag/ Probst/ Locksmith); James Matthews (Herr Gabor); Holly Wilson (Ina Bergmann); and Michael Woods (Professor Knuppledick/ Masked Man).

About the selection of this work and its implications, Director Jeffrey Ingman said the following:

"Why do 'Spring Awakening'? There are several reasons that I believe 'Spring Awakening' is good choice for this program, for the students and community.

"Spring Awakening is about the loss of innocence and the choke-hold of families, schools and societal rules to keep the innocent from growing up. Unfortunately, the dictates cannot hold back the forces of nature which are forever pressing on the bodies and minds of young boys and girls. There is an immediacy that electrifies the characters in 'Spring Awakening' and a kind of awkward misfire of the synapses and nervous systems of the characters in the play.

"The fundamental conflict is between the moral and immoral. Frank Wedekind fought against the social and religious morays of the time, but never adhered to any of society's norms. Because his plays reflected the seriousness of sexuality, sexual awakening and sexually abnormal behavior, he was accused of writing pornography. He contended that society's refusal to acknowledge the truth about sex and sexual behavior (especially among young people) is immoral. This is still the case today, although couched differently.

"'Spring Awakening' with its themes of isolation, fear, loneliness and confusion wrapped up in the inexplicable physical sensations that come with puberty are arguably very different from what today's youth experience. So why the intrigue?

"A driving force for me to present this play is the idea that isolation (alone at a computer), fear (of contact with others) and confusion (what do you do with the information once you see it) are prevalent in both groups of young people: yesterday's and today's. This story is as profound now as it was then. Even the pressure that young Moritz is under to succeed (at all costs) is very close to what social psychologists are saying about our own 'perfection'- driven youth.

"Finally, the theatricalism of this play is something (through my research) that has become very exciting. I discovered (much to my delight) that Frank Wedekind fought against theatrical conventions popularized by the likes of Wilde, Shaw and Chekov (naturalism and realism). In addition he was considered a profound influence on Brecht, and Brecht himself attributes much of his own ideas (A-effect) to Wedekind. This has opened up my thinking about the overall style of presentation.

"These justifications intrigue me very much and are the impetus for many of my thoughts about the visual dynamic of the play."