Auditions

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If you are interested in auditioning please read all the information below. If you have any questions, please reach out to info@hivetheatre.org 

 

Please review our Content & Intimacy Transparency Statement below before auditioning.

 

Audition Sign Ups

 

Auditions will be 10:30am-6:00pm on Saturday, December 5th in Studio 204 in the Boston Center for the Arts 551 Tremont St. Boston, MA 02116.

 

In order to audition, you must sign up for a 4-minute audition slot here: https://www.signupgenius.com/go/10C0548AEA82DA3FBC43-67460231-auditions

 

If you are unable to secure an audition slot, you are welcome to come and we will accommodate walk-ins as time permits, though you may experience a longer wait.

 

Callbacks will be invitation only the following day Sunday, December 6th 

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Video Submissions

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You may submit a video audition HERE. Please submit by noon on Monday, November 30th.  *In person auditions will be prioritized for consideration*.  BOSTON LOCAL NON-UNION ACTORS ONLY. NO HOUSING PROVIDED.

 

Callbacks will be invitation only Sunday, December 6th and released after in person auditions. Please check your email the evening of December 5th.

 

What to Prepare/Submit 

 

Please prepare a 32-bar cut of a musical theatre song from the show or in the style of the show. If auditioning in person, please bring your own sheet music in a binder. An accompanist will be provided. 

 

If you are auditioning for Adult Man or Adult Woman you may also prepare a 1 minute monologue

 

Please bring one printed copy of your headshot and resume to the audition.

 

Rehearsal and Performance Schedule 

 

Please review the full rehearsal and performance schedule here.

 

Conflicts will be accommodated when possible, provided they have been communicated and approved in advance. Please be prepared to indicate your conflicts on a form provided at the audition.

 

All rehearsals will be located in the Arts Resources Room at the Calderwood Pavilion, 527 Tremont St, Boston, MA 02116

 

Tech and Performances at The Roberts Theatre in the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St, Boston, MA 02116

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Content & Intimacy Transparency 

 

Spring Awakening tells the story of children/young teenagers coming of age in the restrictive world of 19th century Germany through contemporary pop/rock music. The following content will be depicted onstage:

 

• Systems and Structures 

  • Oppressive religion, sexism, ageism, classism

• Parental Abuse 

  • Grooming of minors for abuse, physical abuse of children by adults including teachers and parents, verbal abuse 

• Violence 

  • Domestic violence; assault; depictions of self harm; the suggestion of suicide with a razor and a suicide by gun; weapons: a gun, a razor 

• Sexual Content 

  • Puberty; sexual fantasizing; sexual activity including kissing, caressing, spanking/switching, intercourse, masturbation and group masturbation; nudity; heterosexuality; homosexuality; pregnancy, reproductive education, abortion 

• Language 

  • Verbal harassment/abuse, explicit language 

 

Please know that we will be working as collaborators in developing these moments, many of which will likely be abstracted and gesture rather than hyper-naturalistic. That being said, it is important that folks joining this project are aware of the themes of the story, and consider their own boundaries before beginning this process. 

 

An intimacy director will support the performers in all instances where choreography is required. Intimacy will not be performed at auditions or callbacks. Those moments are broken out by character below for your awareness:

 

• Wendla: Violent situations and simulated sexual acts are a part of this role. 

  • Pg. 1: Wendla explores her maturing body; she puts on a dress (Mama Who Bore Me).

  • Pg. 30: Melchior and Wendla sit together; they hold hands (The Word of Your Body).

  • Pg. 41 - 44: Wendla asks Melchior to hit her with a switch. She raises her skirt to expose her backside (no actual nudity). He strikes her several times, and pushes her to the ground.

  • Pg. 50 - 56: Wendla and Melchior meet in the hayloft; they kiss and have simulated sex. Exposure may include: removal of shirt/shift (undergarments shown), and some amount of upper leg. This moment will be staged as a grey area of consent for these two characters. The moment continues into The Guilty Ones. 

  • Pg. 76: Frau Bergman slaps Wendla.

  • Pg. 84: Wendla has an abortion (offstage, discussed onstage).

 

• Martha: Beaten and sexually abused by her father.

  • Pg. 34 - 39: Martha and Ilse share the abuse they face by their fathers to the girls (The Dark I Know Well). 

 

• Thea: No direct intimacy/violence required; a part of scenes where violence/intimacy is discussed.

 

• Anna: No direct intimacy/violence required; a part of scenes where violence/intimacy is discussed.

 

• Ilse: Abused (offstage). No direct intimacy/violence required; a part of scenes where violence/intimacy is discussed.

  • Pg. 34 - 39: Martha and Ilse share the abuse they face by their fathers to the girls (The Dark I Know Well). 

 

• Melchior: Violent situations and simulated sex are a part of this role. 

  • Pg. 7: Melchior is hit with his teacher’s cane.

  • Pg. 10: Mechior and Moritz discuss erotic dreams; this leads into Bitch of Living.

  • Pg. 23 - 25: Melchior and Moritz discuss sex (Touch Me).

  • Pg. 30: Melchior and Wendla sit together; they hold hands (The Word of Your Body).

  • Pg. 33: Melchior and Moritz embrace.

  • Pg. 41 - 44: Wendla asks Melchior to hit her with a switch. She raises her skirt to expose her backside. He strikes her several times, and pushes her to the ground.

  • Pg. 50 - 56: Wendla and Melchior meet in the hayloft; they kiss and have simulated sex. Exposure may include: lower hip/side hip. This moment will be staged as a grey area of consent for these two characters. The moment continues into The Guilty Ones. 

  • Pg. 81: Rupert draws a razor and holds it to Melchior’s throat. 

  • Pg. 87: Melchior puts a razor to his throat, suggesting suicide. 

 

• Moritz: Handling a prop gun and simulated suicide is a part of this role. 

  • Pg. 10: Mechior and Moritz discuss erotic dreams; this leads into Bitch of Living.

  • Pg. 10: Moritz is grabbed by the ear by Herr Sonnensitch.

  • Pg. 23 - 25: Melchior and Moritz discuss sex (Touch Me).

  • Pg. 33: Melchior and Moritz embrace.

  • Pg. 45: Moritz’s father strikes him repeatedly.

  • Pg. 64: Moritz simulates suicide.

 

• Hanschen/Rupert: Simulated masturbation is a part of this role.

  • Pg. 11: Ernst, Hanschen, and Otto lust after various people in their lives (Bitch of Living).

  • Pg. 18 - 21: In an undershirt, Hanschen simulates masturbation while holding a statue reproduction, resulting in a simulated orgasm as the song concludes. 

  • Pg. 71 - 73: Ernst and Hanschen kiss and hold one another (The Word of Your Body, reprise).

  • Pg. 80 - 83: The boys simulate masturbation in a circle.

  • Pg. 81: Rupert draws a razor and holds it to Melchior’s throat. 

 

• Ernst/Reinhold: 

  • Pg. 11: Ernst, Hanschen, and Otto lust after various people in their lives (Bitch of Living).

  • Pg. 80 - 83: The boys simulate masturbation in a circle. 

 

• Georg/Dieter: 

  • Pg. 11: Georg lusts after his piano teacher (Bitch of Living).

  • Pg. 18 - 20: The piano teacher touches Georg’s hand, he lets out an illicit sigh (My Junk). Later, she rips open her bodice, exposing a bustier, while Georg touches her.

  • Pg. 80 - 83: The boys simulate masturbation in a circle. 

 

• Otto/Ulbrecht: 

  • Pg. 11: Ernst, Hanschen, and Otto lust after various people in their lives (Bitch of Living).

  • Pg. 80 - 83: The boys simulate masturbation in a circle. 

 

• Adult Woman: Plays all the adult females roles that range from a hateful principle, multiple mothers, a sexual piano teacher, and stern teacher. 

  • Pg. 18 - 20: The piano teacher touches Georg’s hand, he lets out an illicit sigh (My Junk). Later, she rips open her bodice, exposing a bustier, while Georg touches her.

 

• Adult Man: Plays all the adult male roles that range from a hateful headmaster, multiple fathers, a preacher, stern teacher, and doctor. 

  • Pg. 7: Melchior is hit with his teacher’s cane.

  • Pg. 10: Moritz is grabbed by the ear by Herr Sonnensitch.

  • Pg. 34 - 39: Martha and Ilse share the abuse they face by their fathers to the girls (The Dark I Know Well). There may be abstract silhouetted violence that Adult Man performs behind a curtain.

  • Pg. 45: Moritz’s father strikes him repeatedly.

 

Please feel free to contact the director, Margaret McFadden (margaretmcfadden@hivetheatre.org), or Intimacy Director, Liv Dumaine (Olivia.Dumaine@gmail.com) for more information! 

 

Character Descriptions 

 

Wendla: Female presenting actor of any ethnicity (Teenager to be played by actor age 18-29). An impassioned young 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 and can grant her any relief. She journeys through the consequences of new passions in a closed society. Falls in love with Melchior. Violent situations and simulated sex are a part of this role. Mezzo-Soprano. 

 

Martha: Female presenting actor of any ethnicity (Teenager to be played by actor age 18-29). 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. 

 

Thea: Female presenting actor of any ethnicity (Teenager to be played by actor age 18-29) She is sweet, energetic, and beginning to gain small crushes on boys like Melchior, but still trusting of her parents and the systems around her. Mezzo-Soprano. 

 

Anna: Female presenting actor of any ethnicity (Teenager to be played by actor age 18-29). She is lively and a touch more free spirited than her friends. Has a deeper understanding of the injustices happening. Wants’ to tell someone about Martha’s father, but is convinced by the girls not to. Mezzo-Soprano.

 

Ilse: Female presenting actor of any ethnicity (Teenager to be played by actor age 18-29). She was abused by her father and cast out on the streets. She is bold, resilient, and upbeat despite her circumstances. She is living in an artist colony and stuck in a new cycle of abuse. Her and Moritz could have had a relationship in another life. Mezzo-Soprano. 

 

Melchior: Male presenting actor of any ethnicity (Teenager to be played by actor age 18-29). An intelligent, rebellious, and caring young man 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. Baritone. 

 

Moritz: Male presenting actor of any ethnicity (Teenager to be played by actor age 18-29) Melchior’s best friend. An anxious, sweet, and sensitive young man who is struggling through this time of new awakenings. Bad at school, deeply affected by new desires, and trying to live up to high expectations from his parents end up being too much for him, so he decides to end his life. Simulated suicide is a part of this role. Tenor. 

 

Hanschen/Rupert: Male presenting actor of any ethnicity (Teenager to be played by actor age 18-29). A confident, comfortable young man who chooses to manipulate the status quo instead of challenging it, such as Melchior. Is interested in both men and women and aggressively goes after Ernst to satisfy his desires. Simulated masturbation is a part of this role. Baritone. 

 

Ernst/Reinhold: Male presenting actor of any ethnicity (Teenager to be played by actor age 18-29) A sweet, and shy young gay man that is attractive to Hanschen, but too scared to make the first move. He feels deeply and tells Hanschen he loves him very quickly. Tenor. 

 

Georg/Dieter: Male presenting actor of any ethnicity (Teenager to be played by actor age 18-29) A funny and energetic young man that is in lust over his piano teacher and open about his sexual desires. Tenor. 

 

Otto/Ulbrecht: Male presenting actor of any ethnicity (Teenager to be played by actor age 18-29) He is a shyer schoolmate who has a lustful dream about his mother. Tenor. 

 

Adult Woman: Female presenting actor of any ethnicity (Age 35-55). Plays all the adult females roles that range from a hateful principle, multiple mothers, a sexual piano teacher, and stern teacher. Must be comfortable playing many characters. Fewer singing skills are needed for this role. 

 

Adult Man: Male presenting actor of any ethnicity (Age 35-55). Plays all the adult male roles that range from a hateful headmaster, multiple fathers, a preacher, stern teacher, and doctor. Must be comfortable playing many characters. Fewer singing skills are needed for this role.