The Oberlin College and Conservatory Music Theater Program has partnered with the Beck Center for the Arts to produce “Spring Awakening“, bringing Frank Wedekind’s once-controversial 19th-century play to life. The show tackles themes of adolescent sexuality, repression, and the failures of the education system.

“The timing is kind of always right for ‘Spring Awakening,’” said Scott Spence, artistic director of the Beck Center. “Teenagers had their own thing going on, their parents ignored them and didn’t teach them about the facts of life and all sorts of stuff. And so it really draws a parallel to today, in terms of communication and what teenagers are going through.”

The production serves as a mirror rather than a distinct period piece, reflecting how modern teens still navigate misinformation, shame, and emotional isolation.

*This partnership between the Beck Center and Oberlin started this year. “Oberlin created a world-class musical theater program, and the Beck Center decided to continue its collaboration with Oberlin,” Spence said. The long-standing partnership reflects a commitment to developing emerging artists while connecting professional theater spaces with collegiate training.

“It feels very raw and very visceral,” said Victoria Bussert, director of the show and professor of musical theater at Oberlin.

Bussert emphasizes the idea that “Spring Awakening“ bridges the gap between the century in which it was made and the present, bringing its emotional reality to a time when it is still relevant.

“It’s a shame it still resonates today,” Bussert said. “It’s over 100 years old, and you see that we’re dealing with the same issues, which is why the story needs to continue to be told—the older generation not listening to the youth… when we pretend like things don’t exist, like sexuality or gender or mental health or abortion, trying to pretend that limiting abortion will not have an impact on women’s lives, then ‘Spring Awakening’ needs to be told again.”

Sophomore Ella Patras, who plays Wendla in the Beltane Cast, finds the musical’s structure particularly moving.

“My favorite thing about the music and ‘Spring Awakening’ is that it represents the characters’ inner thoughts and feelings,” Patras said. “The kids in the show are constantly told exactly how to behave…but the music is a direct way into each character’s true emotions, and that’s why in some of the songs, we incorporate handheld mics.”

The incorporation of handheld microphones separates the musical numbers from the rigid world of the play, symbolizing a break from societal control. The choice makes the songs feel more intimate for the audience and the characters.

Patras views her own character of Wendla as a universal figure. “She represents the universal experience, wanting to understand yourself in a world that doesn’t clearly explain itself,” Patras said.

Patras hopes the audience will walk away learning something from the show. “Never sit in silence, you should always speak your mind and never be afraid to stand up against one,” Patras said.​

Bussert believes in the power of live theater in an ever-evolving digital world. “I think it is the responsibility now of this art form to provoke those conversations and curiosity and to remind us of our humanity,” Bussert said. “I think we need these live experiences of live audiences and live actors.”

“Spring Awakening” is intentional, not just to shock the audience but also to live on through generations. This production and others are more than just entertainment; they serve as platforms for dialogue to bridge ever-existing gaps in communication.

“Spring Awakening” features two alternating casts: the Beltane Cast and the Ostara Cast. The production runs through March 1 in the Senney Theater at the Beck Center for the Arts.

Tickets are available through the Beck Center box office.

*adjustment made to error in collaboration with Beck