Spring Awakening: Losing Youth

by Jenni Morin

The second act of Spring Awakening, opening Friday at The Playhouse, delves into the darkness that overshadows these teens lives when left to their own devices under the strict and tight-lipped rule of the adults in the script. After Wendla gives in to her desires and has sex with Melchior, she becomes ill. Her mother, fearing anemia, takes her to a doctor for a diagnosis—she is found pregnant and her mother is furious and embarrassed and quickly schedules an abortion.

Little more than a decade ago, teen pregnancy was a source of great embarrassment and shunning by peers, family and society. Today, teen pregnancy seems to be a growing fad. Whether the issue is inadequate sex education, lack of access to contraceptives, a quick way to grow up and escape the current situation or a pact among friends, teen pregnancy is a growing problem.

According to the Centers for Disease Control and Prevention (CDC) three in 10 American girls will get pregnant at least once before age 20, totaling 750,000 teen pregnancies every year. At that rate the U.S. has one of the highest teen pregnancy rates in the western industrialized world. The National Campaign to Prevent Teen and Unintended Pregnancy reports babies born to teen mothers are more likely to be premature, and almost 10 percent have a low birth weight. In addition, children born to teenage mothers have significantly lower cognitive test scores at age two, compared to children born of intended pregnancy. The American College of Obstetricians and Gynecologists (ACOG) also found that the daughters of teen mothers are more likely to become teen mothers themselves, while the sons of teen mothers have a higher chance of being incarcerated than children with older parents.

Unfortunately, media hype surrounding the Gloucester High School pregnancies and similar high pregnancy rates at U.S. high schools accused of fostering pregnancy pacts has born teen pregnancy as entertainment in the form of MTV’s Teen Mom and 16 and Pregnant. Taking advantage of this trend in vogue, these shows portray teen pregnancy without many of the social and health complications inherent in being a teenage mother. The National Campaign to Prevent Teen and Unplanned Pregnancy estimates a quarter of teen moms have a second child within 24 months of their first baby and less than two percent of teen moms earn a college degree before age 30. Eight out of 10 fathers don't marry the mother of their child and pay less than $800 for child support each year.

While the three percent of teens age 15 to 19 who carry to term face socio-economic hardships, there are other risks for those who choose not to go through with the pregnancy. ACOG found that one third of teen pregnancies end in abortion. In 2008, approximately 1.21 million abortions took place in the U.S. was reported by the Guttmacher Institute. Half of U.S. women obtaining abortions are younger than 25 and 17 percent were obtained by teenagers. Forty percent of minors having an abortion report that neither of their parents knew about the abortion. Teen abortions are prone to more complications and health risks, even death, than those of older women.

Another harrowing fact about abortion is that suicide is six times higher for those who have had an abortion. A common thread in suicides is the person has been ostracized in some way for being different or doing something perceived as unacceptable. Many LGBT youth encounter this, especially in the form of bullying, every day. Although statistics on the subject are scarce, the Family Acceptance Project found LGBT youths experiencing high levels of rejection during adolescence were more than eight times likelier to have attempted suicide than those who were accepted by their families. Cases such as Tyler Clementi and Jamey Rodemeyer are examples of this very real issue. But LGBT youth are not the only ones contemplating suicide and dealing with stigmas.

Spring Awakening also presents the story of Moritz, a young man under pressure from his parents and peers to succeed in school. When his instructors decide to hold him back, despite the fact that he passed his exams, his parents disown him and he’s left to wander the streets. Today’s youth are influenced by many more pressures than those of their parents through many more mediums, but Moritz’s story still holds true. After finding himself homeless and hopeless to make a life for himself, he turns to suicide.

Nearly one in six high school students has seriously considered suicide and one in 12 has attempted it, according to the CDC. Suicide is the third leading cause of death for ages 15 to 24, behind accidents and homicide. It is the fourth leading cause of death for children between the ages of 10 and 14. Each year, emergency rooms across the U.S. care for approximately 157,000 youth between the ages of 10 and 24 for self-inflicted injuries. While boys are more likely than girls to die from suicide, with 81 percent of suicide deaths for ages 10 to 24 being male, girls are more likely to report suicide attempts and make up the remaining 19 percent of suicide deaths for that age group.


From teen pregnancy to abortion to suicide, Spring Awakening once again proves its relevance after over a century. It brings to light issues that are hiding in the closet, swept under the rug and concealed under clothing. Perhaps what Frank Wedekind intended was for audiences to see, acknowledge and understand our youth, in any century, in order to prevent losing them.


Spring Awakening will run at the Russell Hill Rogers Theater at The Playhouse from May 17-June 9, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.


[Editor's Note: Spring Awakening is a rock musical set in late 19th century Germany, based off of a play by the same name by Frank Wedekind. It examines tough themes that still plague our society over a century later because they are controversial and difficult to explain or remedy.  What this piece does is present the issues, the truths and consequences of actions in order to reopen the age-old discourse of how to talk about and/or prevent the dangers resulting from each. 
This is part of a series of posts intended to present the various themes illuminated in the upcoming production of Spring Awakening at The Playhouse. While the intent is to remain objective, any opinions expressed here do not necessarily reflect those of The Playhouse, those involved in the production of Spring Awakening or Theatre For Change.]

Scapin: Modernizing a Classic

by Jenni Morin

Many theatres tend to shy away from the classics in fear modern audiences will have trouble relating to the stock characters, the archaic language, the foreign setting or contrived and all too convenient or poetic conclusions. Then there is The Classic Theatre and the adaptation of Moliere’s Scapin by Bill Irwin and Mark O’Donnell, which opened Friday, May 10, at The Sterling Houston Theatre at Jump Start.

The Classic Theatre’s production of Scapin is a no holds barred onslaught of comedy complete with throw backs to commedia dell’arte and vaudeville and references to today’s comedic successors. Scapin’s name comes from the term “escape”  and is based off of the commedia dell’arte character Zanni, an astute servant and trickster with a tendency to flee, hence the “escape.” The Classic’s production even integrates the traditional Zanni mask in keeping with the adaptation's loyalty to Moliere's 1670s structure.

Scapin is the story of a servant’s meddling to trick fathers and help sons with their secret marriages. In the end, as go the rules of comedy, everyone gets married and all of the confusion of long lost daughters is resolved. While the plot is compelling, this production focuses on the characters, the physical comedy and the frantic integration of pop culture references.

Octave, son of Argante, is a great Napoleon Dynamite voiced representation of the self-centered sweep-banged emo teenager of today played by Tyler Keyes. His servant Sylvestre is described by the title character as awkward and bug-eyed and he dons several disguises as an accomplice to Scapin’s schemes. Dru Barcus is committed, sharp and unstoppable as Sylvestre in a truly exemplary performance. Scapin, played by Brendan Spieth, is every bit the archetype of conniving, flittering, conspirator embroiled in all the play’s exploits. Scapin’s master, Leander, son of Geronte, played by Rusty Thurman, is a welcome addition to the plotting foursome. The remaining cast members contribute to the zaniness of the play with caricatures of busty and ditzy love interests and gullible fathers. Musical director Darrin Newhardt, or George the onstage pianist, is a great narrative note lending a rhythmic soundtrack to keep the production on point. While the set is rather traditional, and very well designed, the lighting provides a modern splash, psychedelic at times, which compliments the style of the show.

In addition to some not so far-fetched pop culture references—some surprisingly subtle—there are a few distasteful jabs and irksome stereotypes. The easily offended may also avert their eyes at some bawdy hip thrusting displays characteristic of this sort of physical comedy. That being said, the show makes several metatheatrical references to the play’s action, the audience, the coincidences in plot and the ever popular deus ex machina. It's a fitting combination of what Moliere's audiences would have raved over and what modern audiences wouldn't expect.

Director Matthew Byron Cassi offers San Antonio a faithful and entertaining production of this apropos work. The Classic Theatre’s Scapin is a tribute to its theatrical roots and witness to the evolution of comedy.


Scapin will run at The Sterling Houston Theatre at Jump-Start through May 25, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays and a 3 p.m. performance on Saturday, May 25. For more information and to purchase tickets, visit www.theclassictheatre.org.

Spring Awakening: Runaways at Risk & Defining a Subculture

by Jenni Morin

One pivotal scene in Spring Awakening sets in motion new themes and delves further into the desperation of the characters to find their place in the strict world of their parents and authority figures. As the girls walk home, Martha accidentally lets it slip that her father beats her and she is on the cusp of being kicked out of the house and suffering the same fate as Ilse. Ilse is a childhood friend who is homeless after being kicked out of her abusive household. She wanders the streets somewhat as a vagabond and a victim of a dangerous “bohemian” life floating from one man to the next.

Every year 3.3 million reports of child abuse are made in the United States involving nearly 6 million children according to a 2010 U.S. Department of Health and Human Services report. National Runaway Switchboard reports 80 percent of homeless or runaway girls were sexually or physically abused. Unfortunately, 80 percent of children who die from abuse are under four years old and never make it out. Those who do are at risk of repeating the pattern of abuse with their children—about 30 percent.

As many as 2.8 million children run away each year in the U.S. and between 30 and 40 percent of those are LGBT young people. In Spring Awakening, it’s the homosexual relationship between Ernst and Hanchen that seems the least risqué as they expect to look back on their acts fondly and worry little about others finding out. They, in contrast to the other characters battling demons and truths reaching their parents, speak easily and confidently. Today, LGBT youth identify more with the other characters at risk of being kicked out of the house and falling into the clutches of street life.

Within 48 hours of hitting the streets, The National Center for Missing and Exploited Children report one-third of children are lured or recruited into the underground world of prostitution and pornography. In the U.S., about half of girls living on the street are involved in formal prostitution. Commercial sex and human trafficking are growing problems in the U.S. and contribute to a global issue affecting over 12.3 million men, women and children in 161 countries, including the U.S. according to the Department of Justice.

Ilse’s story has her coping with her homelessness by finding a bed to sleep in despite the person she must share it with. Similarly, modern prostitution is the result of desperation and a lack of options. The Department of Justice found that the majority of American victims of commercial sexual exploitation tend to be runaway or thrown away youth who live on the streets. The average age of entry into prostitution is 12 years. The Polaris Project estimates sex trafficking victims may be forced to have sex up to 20 to 48 times each day. While commercial sex may not  be new, the issue of human trafficking and forced prostitution has grown with the internet allowing nameless victims and clients to conduct business in anonymity.
In 2004, the U.S. Department of State estimated 600,000 to 800,000 people were bought and sold across international borders each year; half of which were children and most were female with the majority being forced into the commercial sex trade. 


This one scene also triggers an impulse that feeds one of today’s sexual subcultures. After Wendla hears of how Martha’s father beats her, her curiosity is piqued. Stemming from a desire to feel empathy and the same physical pain, Wendla begs Melchior to whip her with a switch. The two get carried away with emotion and find pleasure in this venture into BDSM.

BDSM—bondage, dominance, submission and masochism—terms date back to the 18th century and the Marquis de Sade and the 19th century and Venus in Fur by Leopold von Sacher-Masoch. “Mutual consent is what distinguishes BDSM from abuse and assault, just as consent distinguishes sex from rape,” is outlined by Transcending Boundaries, a nonprofit dedicated to the education and support of people’s nonconventional sexuality, gender, sex or relationship style.

Transcending Boundaries cites Dr. Gloria Brame’s survey on BDSM demographics that reveal the “normalcy” and intelligence of this community. While only 14 percent of respondents were between the ages of 18 and 25, 47 percent were between the ages of 26 and 40. Over half (57 percent) reported having at least some college education if not a college degree and 83 percent classified themselves as middle or upper income. Over 80 percent avoid drugs and addictive substances and perhaps most contrary to popular believe, 64 percent reported no domestic violence at home while growing up and 91 percent indicated there was currently none in their homes.

Books like Fifty Shades of Grey have emerged in popular culture to reintroduce BDSM to the masses and perhaps bring about more acceptance. Despite some criticism of the series from the BDSM community, the conversation about the lifestyle may be welcome, especially after the 2008 survey from advocacy group National Coalition for Sexual Freedom found 37.5 percent of respondents had experienced discrimination, harassment, or violence.


Spring Awakening continues to bring attention to several issues in society even after over a century has passed since the staging of the original version. From a single character’s confession, themes spring forth to reiterate the relevance of this story.


Spring Awakening will run at the Russell Hill Rogers Theater at The Playhouse from May 17-June 9, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.


[Editor's Note: Spring Awakening is a rock musical set in late 19th century Germany, based off of a play by the same name by Frank Wedekind. It examines tough themes that still plague our society over a century later because they are controversial and difficult to explain or remedy.  What this piece does is present the issues, the truths and consequences of actions in order to reopen the age-old discourse of how to talk about and/or prevent the dangers resulting from each. 
This is part of a series of posts intended to present the various themes illuminated in the upcoming production of Spring Awakening at The Playhouse. While the intent is to remain objective, any opinions expressed here do not necessarily reflect those of The Playhouse, those involved in the production of Spring Awakening or Theatre For Change.]

Picture-perfect Picnic

by Jenni Morin

The Playhouse has transformed the Cellar Theater into the quintessential 1950s backyard, complete with overhanging tree branches and grass, for the production of Picnic by William Inge. This particularly detailed set makes a great canvas for naturalistic lighting and a realistic representation of life in the 1950s from the relationships to the costumes.

Picnic introduces a group of young people on the cusp of life changes and discovery. As Flo Owens (Tracie J. Coop) prepares for the town picnic, she reminds her girls to accept their roles. Madge (Kari Ann Randol) has always been the pretty one and Millie (Madeleine Garcia) is the smart one. Flo urges Madge to get a proposal out of her steady boyfriend Alan (Ty Mylnar), while Mrs. Potts (Catherine Babbitt), the next door neighbor, plays matchmaker for Millie and Hal (Rodman Bolek), somewhat of a roughneck and an old college friend of Alan’s. Bomber (Cris Boneta), the paperboy, teases Millie about her looks and Rosemary (Chelsea Dyan Steele), a teacher rooming at the Owens’, professes women don’t need men. After some sibling rivalry feuding, the girls get ready for the picnic. Millie dons a pretty frock and receives several compliments for her beauty, but she is still no match for her sister who steals Hal in an impromptu backyard dance. Rosemary, desperate to get some of the young man’s attention, forcibly dances with him and become furious when he rejects her advances. Millie, scorned, gets drunk from the whiskey Rosemay’s boyfriend Howard (Michael Benson) brought and soon the backyard party breaks up and moves to the picnic, leaving Madge and Hal to explore their newfound feelings for each other. The plot continues with several characters facing life-changing decisions and circumstances.

While Picnic is not a deep play with controversial themes, it offers a snapshot of everyday life in the '50s that still applies today. The age-old desire of children to break away from their parents and reinvent themselves in the odyssey self-discovery is what keeps resurrecting this decades old story. Some characters struggles to hang on to their youth, while others are desperate to leave it behind. Then there is the question of what defines beauty and if that can be enough to define a person and their existence.

Bolek shines as Hal, just when he seems little more than shallow, he is able to show the gamut of Hal’s personality and emotions when the script allows. Coop portrays a strong woman who is wise from her past, perfect for Flo. Mylnar is the picture perfect good ol’ boy as Alan. The cast of schoolteachers, led by Steele, is larger than life. Randol as Madge and Garcia as Millie both present their characters realistically with exchanges that take on what seems to be a modern tone and sarcasm unexpected of a play from this period. Director Tony Ciaravino kept the action and script relevant and led his cast and crew in a solid production. Picnic is an all-around success for The Playhouse.


Picnic will run at the Cellar Theater at The Playhouse from May 3-May 26, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.