I have a very strong connection to the cerebral operator that my character Melchior is at the beginning of our story; my real challenge begins when his body awakens. When he begins to experience what it is to feel, not just conceptualize or define.

Once Melchior allows his mind to rest and his heart to lead him, he begins to see how life is a continuum of endless possibilities, always developing, always growing, always changing.

I've learned that I'm not getting any younger; thus I will eat as many chocolate covered strawberries as I deem fit so long as Jonathan continues to bring them to rehearsal. I just have to make sure I go to the gym three times as long as usual ... which might introduce a small hiccup into my schedule since this would mean I actually have to go to the gym in the first place.

Elio Gutierrez (Melchior)

The Spring Awakening music brings out a whole spectrum of emotions from angst in "Mama Who Bore Me (Reprise)" to curiosity in "Word of Your Body." I appreciate this variety because any song can relate to how you're feeling that day.

"Totally Fucked" is my favorite song because it has so much energy and excitement. It's a really great relief to the emotional roller-coaster that goes on within the show and allows us to let out steam.

I have rediscovered my absolute obsession with the theater. Being a full-time student has made me put performing on the back burner and this experience has opened my understanding that life isn't as rich without doing what you love.

My character Wendla's intimate scene with Melchior and the opening scene in "Mama Who Bore Me" have been the most challenging to me as I have to be really vulnerable and open in expressing Wendla's repressed sexuality.

This show is an important and relevant story that is timeless. We have worked so hard putting in our honest feelings and personal experiences; I will remember this adventure for the rest of my life.

Jessica Walsh (Wendla)

A lot of the Spring Awakening music and choreography are really sensual and romantic. I think the songs that best capture this are "Touch Me" and "The Word of Your Body."

My favorite choreography is in "The Bitch of Living"; we dance around with chairs and it's really exciting. Also, thechoreography for "All That's Known" is cool because it is so slow and precise.

This show has forced me to push my singing range; some of the notes the guys sing are really high! 

"And Then There Were None" really resonates with me because I know the feeling of wanting to give up and wanting to run away. I also really like "The Song of Purple Summer" which reminds me that growing up is a good thing. It makes me feel hopeful for the future and helps me view life from a more positive perspective.

Matt Skinner (Dieter 
Ensemble)

Skylar and I have been playing with laughter and the imagery of birds of prey for our scene in Act II just before the "Totally Fucked" number.

The challenge has been finding comedy in my adult character--trying to make her real and human to provoke some laughter while still maintaining the tragic truth of the situation, of suffering from repression.

The image we painted is of two big birds ripping into their prey--interesting because it is funny yet horrible at the same time since we could be screwing up this kid's life.

Anna Kritikos (Fraulein Knuppeldick Fraulein Grossebustenhalter Ensemble)

I love to dance as we do in the show--all the time!

The "Totally Fucked" scene is my favorite because it is a moment of explosive rebellion against all the oppression these children have faced.

"The Song of Purple Summer" really touches me. It expresses the hope that this show ends with, after all of the personal struggles the characters have gone through.

I feel like Spring Awakening carries the message that even the darkest situations won't last forever.

Mark Merman (Ulbrecht 
Herr Rillow 
Ensemble)

  

The choreography in "Totally Fucked" isn't as uptight as normal ballet which I have been doing since the age of three.

I can just be free and enjoy the more contemporary movement while dancing in Spring Awakening. This can be challenging, however, because it involves constant high energy and jumping, which made my calves sore our first day.

Chris' choreography is definitely different to anything I have ever done before. However, I really enjoy his style and how I can let my body flow with the movement rather than constraining myself.

The overall process has been amazing. Working with Stafford has been a wonderful experience. He is very kind and explains things in a way that makes so much sense, you can really understand what he is trying to get out of you.

Jen Beall (Ensemble)

The graphic nature of some of the Spring Awakening scenes make the show all the more raw and honest to me. Often we hide what is not "pretty" or what is fearful, wrong, sad or hurtful.

The wonderful thing about this show and about Stafford's directing is that it conceals none of that. The audience sees the naked truth of these characters’ lives--their fears, triumphs and failures.

The graphic scenes are initially difficult to portray with such truthfulness, but once we do, it is amazing to experience it all—to shout it out and not hide from it.

"Totally Fucked" is a killer dance number. It's high energy and takes a lot of effort, but it is one of the most fun numbers to dance in. Also, my character Ilse's first scene with Moritz is crazy because Ilse is such a free spirit that she sort of throws herself all over the stage, painting the whole canvas.

Teryn Gray (Ilse) 

Spring Awakening definitely brings me to a place where I can express the things I have always wanted to say out loud. The anger towards authority figures for keeping us in boxes and the joy when love really has no boundaries are just a couple of the things that I don't have the chance to vocalize in public and I am glad I get to do that here. While singing in Spring Awakening I feel like I am finally freeing something that has been locked inside me.

Many of the characters feel a sense of hopelessness and I cannot help but empathize with their stories. For some of them, there is still that silver lining to look forward to and that is what has been driving me to push through when even my life becomes difficult. It truly is the support of good friends and family that motivates me each and every day.

Gino Lucas (Otto) 

The movements of my body in Spring Awakening tell the story of a young girl going through adolescence and developing into a young woman despite the hardships she has to overcome. I have been able to challenge myself physically as well as emotionally through the dance moves.

The cast and I have gotten so close that at times, we forget we are playing characters on stage. It’s felt like we were going through adolescence all over again together in the form of our roles. During the more difficult scenes, we have found comfort and solace with one another.

Spring Awakening has truly touched me in ways I never thought possible and it reminds me of why I fell in love with theater in the first place.

I am forever changed by this experience. Bringing this show to life reminds us all of what matters the most: love, forgiveness and moving forward. 

Krizzia Manlangit (Martha) 

The Spring Awakening music touches me with its honesty. It ranges from pieces that are high in energy like "Totally Fucked" to ballads like "Blue Wind" that reach such vulnerable places—yet all of the music is completely relevant to emotions that everyone has experienced at some time in their life.

"Don't Do Sadness" is my favorite song in the show because it is extremely raw and the anger and sorrow are almost tangible within the music. Moritz is physically brought to his knees by the pain he is experiencing and it is so jarring to watch the scene unfold on stage.

Giana Gambardella (Thea)

It's been quite difficult, primarily in some of Moritz's more vulnerable scenes. Still, I couldn't be luckier to be surrounded by such an amazing group of talented and dedicated individuals—they create such a safe space in which to work, because they know that it's that level of support that fosters people taking risks, and thus, in the end, creating more powerful performances.

Through this Spring Awakening process I realize that despite having already gone through adolescence, I am still changing and growing as a human being every day.

Marcos Sastre III (Moritz)

To be completely honest, I am a strong individual but the graphic scenes are a little difficult for me; I’ve dealt with a lot of traumatic situations in my life so the scenes sometimes bring back memories.

The Spring Awakening music is the internal dialogue of the characters. It's what they want to say and what they feel, as opposed to what they're supposed to say and what the adults tell them to feel.

For me, whenever I sing one of the songs, it has a parallel effect. The songs are so raw and freeing because you can put everything into it and hold nothing back.

Koreena Walsh (Anna)