Directed by Artistic Director Paolo Santalucia, Frank Wedekind’s Spring Awakening opened on September 17, 2026 at Soulpepper Theatre. His groundbreaking play focuses on the sexual repression of teenagers in late 19th century Germany, yet the predominant themes of his work remain relevant today.
The play opens in a classroom where the schoolboys are severely pressured to achieve excellent grades. The boys’ discovery of sexual urges, however, is causing great interference with schoolwork. Those sexual urges also clash drastically with the rigid Protestant religion of the day. Highlighting one of the play’s themes of the hypocrisy of religion regarding sexuality, the independent-minded student, Melchior Gabor, rejects religion since it advocates for selflessness and he argues, people are not selfless. The sexually-knowledgeable Melchior takes it upon himself to instruct his inexperienced friend, Moritz, on the ins and outs of sex and even writes him a multi-page document with illustrated pages.
Innocent flower-picking Wendla has no idea where babies come from: she still believes they are delivered by a stork. Although she asks her mother directly for information, her mother brushes her off, saying she will tell her in the future.
Wendla and Melchior develop an attraction and she confides in her new boyfriend that she wants to know what it feels like to be hit since she has learned that her friend Martha is regularly beaten. Her morbid curiosity about pain stems from her repressed sexuality and displays how dangerously distorted her desires become as a result of this repression.
Things become more intense when Moritz fears he will not graduate to the next level and this fear becomes conflated with his fear of sexuality.
Certainly what would have been the most controversial aspect of Wedekind’s play during its initial performance is the inclusion of the romantic scene between the schoolboys Hansy and Ernst. Notably, their homosexual encounter is not marked by angst or tragedy.
Shannon Lea Doyle’s minimalist set is a decidedly modern touch that underscores the timelessness of the play’s themes. I love the brilliant use of the window and door opening in the floor to transition to different scenes.
Ming Wong’s costumes, particularly the schoolboy uniforms and girls’ long dresses evoke the era of oppressive late 19th century Germany.
Kevin Lamotte’s spot-on lighting is particularly effective when creating a copse of trees in one of the rural scenes and in the graveyard.
Santalucia’s direction is patient, waiting for poignant scenes such as when Wendla and Melchior meet in the field to naturally unfold.
Olivia Neary-Hatton is convincingly naive and innocent as the 15-year-old Wendla. Liisa Repo-Martelli as Wendla’s mother carves a character who elicits both sympathy and frustration in her refusal to provide her daughter with the knowledge about reproduction.
Anaka Maharaj-Sandhu radiates on stage as Ilse, infusing her character with natural confidence and strength.
Jake Bunyan as the sexually-knowledgeable Melchior Gabor blends intensity, passion and compassion in his relationships with both Moritz and Wendla. Jake Cohen conveys a winning combination of fragility, frustration and sensitivity as the nerdy Moritz.
It must be said that Spring Awakening is not an easy play to watch as the theme of sex and death hints at the armrest-clutching moments in this play when you can hear your neighbour breathe. Unfortunately, when youth are involved, the issues become more poignant. Having said that, this emotionally raw, shattering production is unmissable.
Tickets are $110 and $90 and can be purchased online or at the Box Office.
Spring Awakening at Soulpepper Theatre is on stage September 10, 2026 to October 18, 2026 at Soulpepper’s Baillie Theatre, 50 Tank House Lane. Run time is 2 hours 45 minutes including two 10 minute intermissions.
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