Missouri State University’s Department of Theatre and Dance presents “Spring Awakening: A New Musical” at 7:30 p.m. Nov. 13-15 and Nov. 17, with matinee performances at 2:30 p.m. Nov. 15-16. All performances are in the Credo Arts Center.

Assistant Professor Dr. Julia Moriarty directs the play.

Tickets are $25 for adults, $22 for students and seniors. MSU students can receive special advance purchase discounts with an MSU ID.

Parking is available at the University Heights Baptist Church. Patrons can park on the east side of the church, which is close to the Credo facility.

MATURE AUDIENCES ONLY. “Spring Awakening” contains intense subject matter. KNOW BEFORE YOU GO.

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Relevant, heartbreaking and hopeful

Missouri State’s production of “Spring Awakening” is based on the Tony Award winning musical adaptation of Frank Wedekind’s 1891 play, Moriarty said.

Because the characters in “Spring Awakening” are entering adulthood and viewing their world with critical eyes, the play fits nicely with this year’s “Awakening” production theme, Moriarty noted. The characters struggle “to take their place in a world that wants to keep them children for as long as possible.”

“Spring Awakening” highlights “the struggle of these teen characters to become their authentic selves in a world that keeps telling them who they can and cannot be,” Moriarty said. “We see these characters at their highest and lowest points in a world that is stacked against them. They struggle and fail to connect with each other, but they have such care and passion inside them.”

“I was in college myself when this play premiered, and I’m just a huge fan of it,” Moriarty continued. “I’ve always been drawn to its themes of self-discovery and to the way it does not shy away from life’s darker side and the real experiences teens encounter as they grow up.”

Moriarty marks Missouri State directorial debut

“Spring Awakening” represents Moriarty’s directorial debut at Missouri State.

“This show is iconic amongst musical theatre fans, and I’m really excited to see how audiences receive our version,” Moriarty said.

Moriarty added that she finds the play especially intriguing because it breaks the rules for traditional musicals. Although the plot is set in nineteenth-century Germany, the play employs contemporary music.

“The songs give us deeper insights into the experiences and mentality of each character as they break out of their oppressive world and into the vibrant, emotional world of song,” she explained.

Additionally, Moriarty is excited to work with a stellar group of student performers.

“I’m really enjoying getting to work with our incredibly talented Musical Theatre students and our amazing student designers and technicians,” she said. “I can’t wait to share their talent and hard work with the community.”

Paul and Hannigan shine in leadership roles

Moriarty has been especially impressed with two students who have embraced production leadership roles. Junior theatre and non-profit management double major Abbey Paul is the show’s assistant director and intimacy captain. Senior BFA acting and dance double major Shealey Hannigan is the show’s choreographer.

Paul’s role, Moriarty explained, is to support the actors. “The script asks the actors to tackle big, uncomfortable and traumatic content,” she said. “Theatrical intimacy work is critical to maintaining actors’ well-being so they can continue to do their work.”

Meanwhile, as the show’s choreographer, Hannigan has created work that is “exciting” and “integral” to the show’s development, Moriarty said.

As assistant director, Paul learns by leading

Paul hopes to become a director, intimacy choreographer and theatre educator at the collegiate level. For her, “Spring Awakening” presents an opportunity to observe and learn from her peers.

“I really believe the best way to build an identity as a theatre practitioner is to take a step back and watch others work,” she said.

In her role as assistant director, Paul works with the actors individually to assist with scene and character. She also offers second opinions on staging.

As the intimacy captain, Paul tracks all intimacy choreography to ensure it adheres to the original blocking. In addition, she conducts check-ins to ensure the actors are comfortable and reviews the choreography before it is rehearsed.

Even as a production leader in “Spring Awakening,” Paul said she has yet to feel like she’s supervising anyone. She described the shows actors as “wildly talented, professional and lovely to work with.”

“I feel lucky to witness their work and see them embody the characters that make this show the iconic piece that it is,” she added.

Hannigan choreographs third major theatre and dance production

Hannigan’s role as choreographer is to develop the movements for the show and then communicate those movements to cast members.

“I lead the choreography rehearsals, making sure the movement is taught, learned, completed and clean within the time frame I am given,” she said.

Hannigan choreographed her first major theatre and dance production in Spring 2024 with “Mr. Burns: A Post-Electric Play.” In Spring 2025, she choreographed her second production, “Rent.” With “Spring Awakening,” Hannigan adds a third production to her experience as well as her portfolio.

“Working as a choreographer on ‘Spring Awakening’ has given me the opportunity to enhance my collaboration, choreography, and leadership skills, setting me up for similar opportunities outside of Missouri State,” she said.

Her favorite part of her job is seeing the choreography “click” with the cast members. “Seeing them fully understand and embody the movement is so rewarding,” Hannigan said.

In fact, teaching her peers is her favorite part of the job. “I enjoy breaking down movements piece by piece and exploring the imagery and thoughts behind the movement,” she added.

Choreography is a “conversation”

It can be challenging to communicate her vision from her brain to a cast of 17, Hannigan admitted. Her solution is to see choreography as a “conversation.”

“With an open line of communication, the challenge of translating and teaching does not feel as daunting,” she said.

Each movement, no matter how small, contains meaning, Hannigan emphasized.

“Each brush of the arm, turn and release to the floor has meaning and imagery that inspires it,” she said. “It is so beautiful to see it all come together, and it is the reason, no matter how hard a rehearsal may be, I will always come back ready for more.”

Story’s universal themes inspire hope

When she first saw “Spring Awakening” at age 14, Paul knew she wanted to work in a production of it.

“I knew it was special,” she said. “I knew I needed to work on this story at least once in my life.”

“There is a reason that this show was important when the original play was published in 1891, when the original musical opened in 2006, and there is a reason it is still applicable in 2025,” Paul continued. “The struggles, joys, heartaches, fears and hopes that this show encompasses are universal. Every audience member will see themselves or their loved ones mirrored onstage, whether they know it or not.”

Moriarty hopes the play encourages audiences to see life’s nuances. “Struggle is a part of life, but that doesn’t mean there isn’t joy to be had as well,” she said. “These characters experience some of the worst things a human can experience. Yet, the message of the play is ultimately optimistic.”

“I hope people will take away a feeling of hope, despite the dark subject matter,” Hannigan said.

“There is a certain indescribable magic about ‘Spring Awakening,’” Paul added. “I deeply believe everyone deserves to experience that magic at least once.”

 

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Photos by Abbey Paul.