Growing up in late 19th-century Germany was not for the faint of heart. A repressive educational system, dominated by religion and supported by complicit parents, rendered puberty an ordeal that could end in tragedy. Playwright Frank Wedekind explored teenage sexuality, abortion, and suicide in his raw and unsettling 1891 play Spring Awakening. So controversial was its content that a fully uncensored production did not appear until 1974 — in England. In 2006, the play was transformed into a ravishing coming-of-age rock musical by Steven Sater (book and lyrics) and Duncan Sheik (music), a version that won eight Tony Awards and a Grammy, and inspired numerous later acclaimed productions. St. Mark’s Players now bring this powerful work to local audiences in a staging that is emotionally compelling, if occasionally undermined by technical issues. Garrett Rinker (Hanschen/Rupert) and Alex Lew (Ernst/Reinhold) in ‘Spring Awakening.’ Photo courtesy of Samuel West. Set in a small German town, the story centers on a group of adolescents struggling to understand the physical and emotional upheavals of puberty. Wendla Bergmann (Megan Cooper), curious and naïve, beseeches her mother to explain where babies come from in the plaintive opening, “Mama Who Bore Me.” Her mother, constrained by propriety, can offer only a vague and misleading answer. At school, the boys recite passages from Virgil’s Aeneid in a rigid Latin class. When the distracted Moritz Stiefel (Parker Rising) falters, he is harshly reprimanded. His friend Melchior Gabor, portrayed with intensity and conviction by Ted Randell, defends him and is punished in turn. Melchior’s rebellion against this oppressive system finds voice in the searing “All That’s Known,” condemning an education that insists nothing is acceptable unless “it’s scripted in the Bible.” Moritz confides to Melchior that his academic struggles stem from troubling and tantalizing dreams he cannot understand. Melchior, more informed, attempts to explain sexuality through an illustrated essay. From these early interactions, a cascade of consequences unfolds, driven largely by the rigidity and indifference of parents and teachers. Garrett Walsh and Betsy Scarisbrick portray all the adult roles, an effective choice that underscores how uniformly disconnected the grown-ups are from the emotional lives of their children. A capable ensemble supports the principals, amplifying the anxieties, desires, and fragile hopes of their peers. While the setting remains firmly rooted in the particulars of upper-middle-class 19th-century German society, the score is unmistakably contemporary. Songs like “My Junk,” “Totally Fucked,” and “The Bitch of Living” bridge past and present, making the characters’ struggles feel immediate and recognizable. The production succeeds most when it leans into this emotional universality. There are, however, technical shortcomings. On opening night, a balky new sound system rendered many of the wonderful lyrics difficult to hear, and the otherwise excellent band, under the direction of music director Aimee Faulkner, often overpowered the singers. These issues disrupted the storytelling, though they will likely be addressed as the run continues. What the production occasionally lacks in sound clarity, it makes up for in movement. Nathan Nichipor’s choreography is a standout, vividly conveying the turbulence of adolescence in all of the ensemble sequences. Even when lyrics were lost, the emotional content remained clear through expressive, kinetic staging. This physical storytelling works in tandem with thoughtfully designed costumes by Merrick Shamblin and Suzanne Smith, which juxtapose modest period attire with subtle but telling clues to emerging sexuality — fetching ankle boots, and tight bodices with hints of cleavage for the women. The ‘Spring Awakening’ cast. Photo courtesy of Samuel West. Intimacy coordinator Danni Guy contributes to the production’s emotional authenticity, particularly in a pivotal and deeply felt encounter between Melchior and Wendla. A team of properties designers and set dresser Charles Dragonette adorned the stage’s bare floor with minimal light, effective props — period chairs, simple tombstones, and a makeshift hayloft pulled by ropes — that drove the action forward as a series of brief encounters. Lighting designer Ernie Molina further enhances the storytelling, guiding the audience through rapid emotional shifts — from richly dark despair to the bright hope of the final anthem, “The Song of Purple Summer.” Directed by Paul Di Salvo and staged beneath the massive vaulted ceilings of St. Mark’s Church, built in the same decade that Spring Awakening was conceived, this production resonates both visually and thematically. It invites reflection on the historical role of religious and moral instruction in shaping young lives, and on the delicate balance between guidance and repression. Despite the audio challenges, the talented St. Mark’s Players boldly reaffirm the enduring power of Wedekind’s story. Running Time: Two hours with a 15-minute intermission. Spring Awakening plays through May 16, 2026, presented by St. Mark’s Players, performing at St. Mark’s Church, 301 A Street SE, Washington, DC.  All performances are sold out. Spring AwakeningBook and Lyrics by Steve SaterMusic by Duncan SheikDirected by Paul Di Salvo​​​ ...read more read less