SPRING’S AWAKENING

(Frühlings Erwachen)

A Children’s Tragedy

Dedicated to

The Muffled Gentleman

CHARACTERS

Melchior Gabor Moritz Stiefel Hänschen Rilow Ernest Roebel Lämmermeier Otto George Robert ⎫ ⎪ ⎪ ⎪ ⎬ ⎪ ⎪ ⎪ ⎭ Schoolboys, aged 14 to 17

Diethelm Reinhold Ruprecht Helmuth Gaston ⎫ ⎪ ⎬ ⎪ ⎭ Boys in a House of Correction

Mr. Gabor, a Judge Mrs. Fanny Gabor ⎫ ⎬ ⎭ Melchior’s Parents

Mr. Stiefel, Moritz’s Father Mr. Ziegenmelker, his Friend Mr. Probst, Moritz’s Uncle Rev. Mr. Kahlbaugh, Pastor

Dr. Sonnenstich, Principal Dr. Affenschmalz Dr. Knochenbruch Dr. Zungenschlag Dr. Knüppeldick Dr. Hungergurt Dr. Fliegentod ⎫ ⎪ ⎪ ⎪ ⎬ ⎪ ⎪ ⎪ ⎭ The Faculty of the Boys’ School

Habebald, the School Beadle Dr. Prokrustes, Head of the House of Correction A Locksmith Dr. von Brausepulver, M.D. The Muffled Gentleman

Mrs. Bergmann Ina Müller, her married daughter Wendla Bergmann, her 14-year-old daughter

Martha Bessel Thea ⎫ ⎬ ⎭ Wendla’s Friends

Ilse, an older girl, an artist’s model

The Scene is laid in Southern Germany or in Switzerland. The Time is from May to November, 1892.

A Note on the Staging

Spring’s Awakening is divided into Nineteen Scenes as follows:

Act I: Scene 1. In Mrs. Bergmann’s House.

Scene 2. A Park.

Scene 3. The Same.

Scene 4. The School Yard.

Scene 5. In the Woods.

Act II: Scene 1. Melchior’s Study.

Scene 2. Same as I, 1

Scene 3. In the Rilow House.

Scene 4. A Hayloft.

Scene 5. Mrs. Gabor’s Room.

Scene 6. The Bergmann Garden.

Scene 7. A Path near the River.

Act III: Scene 1. The Faculty Room at the School.

Scene 2. By the Wall of the Graveyard.

Scene 3. In the Gabor House.

Scene 4. In the House of Correction.

Scene 5. Wendla’s Bedroom.

Scene 6. A Vineyard.

Scene 7. The Graveyard.

It will be noted that the scenes concluding the acts, long scenes all of them, are intended to occupy the full stage, and that the prior scenes in each act may be played in the foreground.

Two of the scenes, II, 3, and III, 6, have nothing to do with the story and to save time may be omitted, though the latter has another importance, lightening with its idyllic atmosphere the squalor and bitterness of the last act. If it is omitted, III, 4, and III, 5, might be played in reverse order.

The simplest arrangement of the stage would be a neutral proscenium, six or seven feet deep, pierced with doors. Behind this, different backwalls can be lowered, and all the interior scenes played in this shallow front space. On the back of the stage should be sloping ground covered with underbrush, and a path winding down through it. In the middle-stage can be set the properties for special scenes—a bench in a box-hedge for I, 2 and 3; a huge oak-trunk for I, 5; a garden wall with grass and violets for II, 6; the graveyard wall with Moritz’s grave for III, 2, etc. The swiftest possible sequence of scenes within the act is of prime importance.