Spring Awakening: Rape Culture

by Jenni Morin

During Spring Awakening’s off-Broadway run, the final scene of the first act ends with Wendla succumbing to Melchior even though she does not understand what is transpiring. As they commit the act, she cries out against it leaving the audience to believe a rape has occurred. The implications of rape were softened and left more ambiguous in the Broadway version and The Playhouse’s production portrays the encounter as consensual. This controversial scene teeters on the brink of defining rape, mirroring the current ambivalence in the crime and leniency in punishment.

Far beyond the risks of STDs, unintended pregnancy and physical and psychological trauma is the lasting and more prevalent shame and blame of rape victims. Social media has proliferated and exacerbated the blame-the-victim mentality and turned yesterday’s date rape into a gang rape extravaganza complete with viral videos, photos, commentary and incessant cyberbullying. Lizzy Seeberg, Rehtaeh Parsons and Audrie Pott were all involved in sexual assault cases splashed across news feeds and all found suicide as the only solace. According to the World Health Organization, sexual assault victims are four times more likely to contemplate suicide.

In Steubenville, Ohio, the perpetrators provided their own incriminating evidence by posting videos, circulating photos and exchanging text messages. In the digital age of the virtual life and viral controversy, rape becomes a spectator sport and somewhat detached from the implications of the act. Unfortunately, the Justice Department’s National Crime Victimization Survey found 54 percent of rapes and sexual assaults are not reported to the police and the Department of Justice reports only about three percent will spend even a single day in jail.

The common misconception that strangers perpetrate rapes was debunked when the U.S. Bureau of Justice Statistics found 26 percent of rapes committed by a current or former intimate partner, seven percent by another relative, 38 percent by a friend of acquaintance. This leaves teenage girls most susceptible to rape and sexual assault by classmates they may see on a daily basis walking the halls of their schools. No party, especially one with unsupervised, underage binge drinking, is safe. In the U.S., drugs, especially alcohol, is frequently a factor in rape with both victim and perpetrator drinking in 47 percent of rapes.

Approximately every two minutes, someone in the U.S. is sexually assaulted, according to statistics from the U.S. Department of Justice's National Crime Victimization Survey. Studies for the Department of Justice and National Violence Against Women found that between 15 and 20 percent of women experience rape at least once in their lifetime. About three percent of men experience sexual assault or rape in their lifetime. According to the U.S. Bureau of Justice Statistics, 15 percent of sexual assault and rape victims are under age 12. These statistics show how pervasive sexual assault and rape is, but the question remains if it is frequent enough and happening to enough people to really have become the laissez-faire pastime of teenagers with overactive social media accounts and digital cameras.

Throughout Spring Awakening, the dramatic media and video elements will bare witness to the power of imagery inundating “news” coverage, whether through social media channels or credible media outlets. The script also addresses, even in 19th century Germany, how consumed teenagers’ lives are with sex and physical expression and a need to understand themselves and the world around them. What seems to be missing in the rape culture of today is a sense of right and wrong and a difference between reality and entertainment.


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.]

Spring Awakening: The Birds and the Bees

by Jenni Morin

[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 the first installation 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.]

In the opening scene of Spring Awakening, premiering in San Antonio at The Playhouse this May, Wendla begs her mother to explain where babies come from, “But you cannot imagine I still believe in the stork.” A frightening question from a girl “in bloom,” as her mother describes her, in this century and even more so in the 1890s when the original drama this rock musical is based on was penned.

Travis Trevino (Melchior), Mariela Flor Olivo (Wendla),  

Trevor Chauvin (Moritz)

“Mama who bore me. Mama who gave me no way to handle things. Who made me so bad.” The lyrics to the first song set the scene of a daughter begging for knowledge in her confusing adolescence while providing foreshadowing of what’s to come. As the action progresses, it becomes clear that without that knowledge Wendla is left powerless. A theme pointing to the influence of sex education overshadows Wendla’s actions and her fate in this drama.

In a recent study, over three-quarters of adults said they would prefer teenagers receive formal sex education that included a myriad of topics from abstinence to how to say no to contraceptives to STDs, according to the National Survey of Americans on Sex and Sexual Health. While 93 percent of teens 15-19 received formal instruction about STDs from 2006 to 2008, 84 percent were taught abstinence and only 62 percent of males and 70 percent of females were taught about contraception. While the ideal situation may have all teens abstaining from sex until marriage, abstinence-only education has little to no effect on a teen’s decision to have or not have sex says a congressionally mandated study by Mathematica Policy Research released in 2007.

On the other hand, a 2010 controlled trial published in Archives of Pediatric Adolescent Medicine found that in specific cases, abstinence-only education programs tailored to the local community that do not criticize contraceptives nor advocate abstinence until marriage can delay younger teens from engaging in sexual intercourse.

What Spring Awakening reintroduces to the debate is that teenagers have physical urges. Beyond being inundated with sexual imagery and messaging from multiple media sources and pressure from peers, there is the pure biology that inevitably enters the equation at the time in question. In the end, if teenagers do decide to give in to those physical urges (and seven in 10 teens have by age 19, according to the National Survey of Family Growth), then arming them with as much information as possible may not be such a bad idea.

While the purity of youth is important, health and safety should also be at the top of the list. Incomplete and medically inaccurate information masks the truth of the dangers and options when it comes to having sex and how to prevent unintended pregnancy and sexually transmitted diseases.

The root of the problem with sex education is that there is a lack of explanation of sex itself, which deepens the misunderstanding of risks associated with sex. Spring Awakening is also a reminder that the definition of sex is elusive for many teenagers. In Wendla’s case, it’s impossible for her to know she’s doing wrong when she has no context for her actions—she does not know that what she’s done is sex because no one has ever explained to her what it is or talked to her about abstinence, protection and consequences. Or perhaps the bigger issue is how could Wendla have abstained from sex if she didn’t even know what it was.

Travis Trevino (Melchior), Mariela Flor Olivo (Wendla),  

Trevor Chauvin (Moritz)

Teens in the U.S. engage in sexual activity similar to the level of their peers in Canada, England, France and Sweden, states a study published in Archives of Pediatric Adolescent Medicine in 2008, but U.S. teens are more likely to have shorter and less consistent sexual relationships and less likely to use contraceptives, especially the pill or more than one method. In 2001, the U.S. Department of Health and Human Services issued a report stating that sex education does not cause teens to start having sex if they would not have done so otherwise. To put the fear of sex education in the U.S. in perspective, Canada has half the number of teen pregnancies than the U.S., reported by the Sex Information and Education Council of the United States.

That awkward birds and bees conversation still has parents exclaiming, “Not it!” while teens are left to scour the internet for answers and sort fact from fiction. If Wendla’s story does nothing else, it leaves a haunting thought of if only someone had told her, if only she knew. Over a century later and half a world away, Frank Wedekind’s original children’s tragedy still hits home.


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. 

Masquerade: Calling all heroes and geeks

by Jenni Morin

The definition of hero can be very specific, but it is also broad enough to encompass a whole cast of characters. In James Venhaus’ Masquerade now playing at Overtime Theater, heroes are drag queens, comic book store owners, a comic book fan trying to figure out who he is, a girl with a sewing machine and a jerk who turns out to be a loyal friend.

Masquerade started out as a ten-minute play, but the production is now long enough to include an intermission. The first act seems like it could be a play all on its own, complete with a tableau frozen before blackout, but the second act brings to light some of the inner villains each of these heroes face.

The Red Crusader, under the darkness of scene changes, carefully plans emerging on to the superhero scene. In the meantime, there is Chuck the comic book store owner (Edward Wise), his loyal patron Reggie (Brennan Loy), the couple consisting of the friendly Virginia (Ashtyn Sonner) and her bad attitude boyfriend Jeff (Chris Kelly). In search for supplies for a perfect costumes, Chuck and Reggie befriend Kevin the drag queen (Stephan Gaeth). This leads to Chuck and Reggie unknowingly in the audience for a drag show, not a cosplay like they thought.

Most of the characters were played reserved, except for Loy’s Reggie who spiraled into a confusing identity crisis, the root of which is still unclear. The drag show was more funky than fabulous with stiffly choreographed lip-syncs and music set at near elevator volume. While Gaeth’s drag queen had her moments amongst the awkward staging, it was really the ensemble of geeks who embraced their roles—or possibly just let their real-life personalities peek through. Sonner’s Virginia shined with an unexpected monologue in the second act, which paved the way for rounding out Wise’s Chuck and Kelly’s Jeff characters, giving them an opportunity to settle into the roles. In the end, Masquerade’s cosplay, geeks and drag queens offer some great nerdy comedy.

Director Morgan Clyde should be applauded for integrating multimedia and social media elements into the production and tackling some tough issues of identity crises and homosexuality. The Overtime’s production of Masquerade proves its own point that it doesn’t take fancy equipment or an eloquently speaking man in a mask and cape to stand up for a cause or bring attention to an issue. There are different kinds of heroes who are revealed even in the most unlikely simple moments.


Masquerade plays at the Overtime Theater through May 4 with performances at 8 p.m. on Fridays and Saturdays; 8 p.m. on Thursday, April 18 and May 2; and 2:30 p.m. on Sunday, April 14 and 7 p.m. on April 28. For more information and to purchase tickets, visit www.theovertimetheater.org.

Frozen is a must see for a good cause

by Jenni Morin

When the life-changing tragedy of the abduction of a child happens, reality is frozen and can only resume after closure, forgiveness and time.

The Derek Berlin Productions staging of Frozen at the Overtime Theater takes on the heart-breaking task of telling the story of a mother coping with the loss of her youngest daughter, the man who kidnapped and murdered her, and a psychologist’s journey to understand the serial killer’s mind.

Bryony Lavery’s Frozen follows Agnetha (Christie Beckham) as she travels to London to interview yet another serial killer in an attempt to continue the research she started with her recently deceased colleague. Nancy (Belinda Harolds) catalogues the emotional rollercoaster of losing her daughter to a serial killer. The perpetrator and subject of Agnetha’s study is Ralph (Derek Berlin). The play covers the 21 years following Nancy’s daughter’s kidnapping, making its way through the tundra of emotions. The study of serial killers is based off of the research collected by real life psychologist Dorothy Ottnow Lewis and neurologist Jonathon Pincus.

Harolds portrays the stages of grief and gasping desperation of Nancy precisely without a single hint of undue devastation. As Agnetha, Beckham maneuvers the fine line between professionalism, wit and disorientation that seems to tear at her sanity. Berlin brings a human quality to Ralph the serial killer, bordering on pity and understanding. Just as the characters are conflicted, Agnetha’s theory comparing a killer’s evil and illness against sin and symptom leaves the audience conflicted over how to view Ralph, who is presented as calculating and disturbed yet detached and simple.

The sound design complimented the production with expertly executed queues. The bare minimum set and lighting echoed the frozen emotional wasteland each of the characters tread throughout the action of the play. This cast of impeccable actors overcame the restrictions of a barren basement-like theatre, even integrated a support beam splitting the play space, to present a raw and wrenching high quality production. Director John O’Neill proves that space and budget do not determine the quality of a production, but talented actors, directors, designers and dedicated crew make the difference.

In the program notes, producer Derek Berlin states his intention to “create an open dialogue” as he attempts to bring awareness to child abuse and abduction through this production. Berlin advocating for social change through the medium of theatre should challenge San Antonio directors, actors, designers, and theatre administration to find and highlight messages that can make a difference in our society. Frozen is a testament to the power of theatre.

On April 12-13, proceeds from the show will go to the Heidi Search Center in support of their work to assist in the recovery of missing children and adults through awareness, facilitating searches and providing community outreach programs focused on prevention.


Frozen plays at the Overtime Theater through April 27 with performances at 8 p.m. on Fridays and Saturdays. For more information and to purchase tickets, visit www.theovertimetheater.org.

"The CASA Project"

Theatre For Change partners with CASA on original production

Fall 2013 production highlights CASA volunteer Advocates’ work and multimedia

San Antonio, TX – April 5, 2013 – In honor of Child Abuse Prevention and Awareness Month, Theatre For Change (TFC) announces it will be teaming up with Child Advocates San Antonio (CASA) this year to produce an original production that centers on Texas’ foster-to-adopt issue. This live dramatic media event will use a hybrid of film and live theatre to raise awareness and promote a call to action to bolster CASA’s volunteer program and will be the first official originally produced event by TFC.

According to the Child Protective Services (CPS) 2012 Data Book, there were 275,961 alleged victims of child abuse in Texas last year.  CPS confirmed 6,205 of these cases in Bexar County, the largest number for any single county in the entire State.  Of the 212 child deaths from abuse and neglect last year in the State of Texas, 19 occurred in Bexar County. This placed us second only behind Harris County, which has three times the overall population.  Unfortunately, CASA volunteers are only able to serve one-third of the children currently in State-protective custody in Bexar County; however, the agency is working diligently towards providing an Advocate for every child who needs one by the year 2020.

Spearheaded by TFC founder and Texas Lutheran UniversityDramatic Media Assistant Professor, Shannon Ivey; TFC Community Organizer, Shelly Chance; Recruitment and Training Manager, Elisabeth Reise; and TLU student filmmakers, the group will gather testimonies from CASA volunteer Advocates, judges and families to create a script for the docu-drama currently titled “The CASA Project”.

The CASA Project will run over the course of an entire weekend with three performances at San Antonio’s historic Carver CommunityCultural Center. The Carver lobby will feature art from CASA children who are currently in care, giving them an opportunity to share their art created in classes hosted by professional TFC artists prior to the event.

The mission of Child Advocates San Antonio (CASA) is to recruit, train, and supervise court-appointed volunteer Advocates who provide constancy for abused and neglected children and youth while advocating for services and placement in safe and permanent homes. This production will shed light on the foster-to-adopt situation in Texas and help recruit volunteer Advocates for CASA.

Details concerning performance dates and times will be announced at a later date.

 

About Theatre for Change

Theatre For Change is a coalition of South Texas dramatic media artists who are committed to linking the stories inherent within theatre, film, and new media to the needs and messages of non-profit organizations.  We aim to weld the weakest links in our community by producing, reviewing, and creating works of theatre, film, and new media that encourage awareness, compassion, and a call to action.

About Child Advocates San Antonio (CASA)

Child Advocates San Antonio is one of 1,055 programs in 50 states affiliated with the National CASA Association. Nationally, Court Appointed Special Advocates (CASA) was launched in 1977 by a Seattle Superior Court judge who utilized community volunteers to speak for the best interests of abused and neglected children in court. Locally, recognizing a critical need for Advocate services to aid abused and neglected children in San Antonio, the National Council of Jewish Women founded CASA in 1984 to serve children in Bexar County.  For over 29 years, CASA has successfully provided abused and neglected children in Bexar County a unique service that no other agency does. Through our community volunteers, we provide critical advocacy to these vulnerable, at-risk youth, ensuring that their needs and best interests are addressed.