Spring Awakening Auditions

Directed by Anna Murton

Auditions for our next production, Spring Awakening, are now open! Please fill in the form below to start the audition process. Audition materials for your audition self tape will be sent to you after you submit the form. Your self tapes will be due Saturday, January 10th.

You must be 18+ to audition.

Callbacks will take place (by invite only) on the following days: Sunday 25 January, Tuesday 27 January and Sunday 1 February 2026

Fill in the audition form

Everything you need to know

About the show

Happily Ever After productions is thrilled to announce auditions for the musical Spring Awakening with book and lyrics by Steven Sater and music by Duncan Sheik, adapted from the play by Frank Wedekind.

Germany, 1891—a world where adults hold all the power. Young Wendla begins to explore her changing body and innocently asks where babies come from, only to be silenced by her mother. Meanwhile, the sharp and bold Melchior disrupts a dull Latin lesson to defend his friend Moritz, who is so overwhelmed by puberty he can’t focus—something the Headmaster couldn’t care less about. Both boys are punished.

One afternoon, Melchior and Wendla meet in the woods and discover a powerful, unfamiliar desire. As their connection deepens, Moritz spirals, eventually failing out of school. When even Melchior’s mother ignores his desperate plea for help, he feels utterly alone—unable to hear the hope offered by Ilse, a fellow outcast. His tragic suicide follows, and the school quickly blames Melchior, expelling him. Then, Wendla’s mother discovers her daughter is pregnant. Now, Melchior and Wendla must fight to create a future for themselves and their unborn child.

A Note from the Director about Intimacy

Spring Awakening addresses a range of mature themes, including sex, nudity, physical and sexual abuse, violence, suicide, teen pregnancy, and abortion. Our team is committed to creating a trauma-informed environment throughout the rehearsal and performance process.

All staged violence and intimacy will be choreographed by our director and intimacy director. No such scenes will be required during callbacks, but we will include verysafe exercises to explore these themes.

Auditioners may indicate roles they prefer not to be considered for and can list any specific boundaries regarding staged violence or intimacy on the audition form—these preferences will be respected and will not impact casting decisions.

Auditions and Scheduling

AUDITION MATERIALS: These will be sent to you via email as soon as we receive your completed audition form.

VIDEO AUDITIONS: The deadline for self-tapes is Saturday 10 January 2026. Callback invites and materials will be sent out by Monday 19 January.         We will request that you submit these as a downloadable (YouTube) link.

CALLBACKS (Invite Only): Sunday 25 January, Tuesday 27 January and Sunday 1 February 2026.

FIRST REHEARSAL: Sunday March 8 2026. 

REHEARSAL SCHEDULE: Sundays during day and Tuesday evenings.

TECH WEEK BEGINS: Wednesday 10 June 2026

PERFORMANCES:

Weekend 1 - Fri 12/06 (7pm), Sat 13/06 (7pm), Sun 14/06 (2pm & 6pm)

Weekend 2 – Thurs 18/06 (7pm), Fri 19/06 (3.30pm & 7pm), Sat 20/06 (7 pm), Sun, 21/06 (2pm & 6pm)

STRIKE: Immediately follows the final performance. All company members are expected to participate in strike for a maximum of 1hr.

LOCATION: Rehearsals will take place at venues to be decided. Performances will be at Het Amsterdams Theaterhuis

CAST CONTRIBUTION:  Actors will be asked to pay a €200,- contribution towards the show costs.

Submit the audition form

Audition disclaimer for the musical “Spring Awakening”

Thank you for your interest in auditioning for "Spring Awakening”. Before you proceed, please be advised of the following important information regarding the content and themes of the show:

Content Warning:

"Spring Awakening” is a show with some intense subject matter, sexual content and themes of oppression and abuse.. This is why it not recommended for those under the age of 14 and carries an extensive warning due to its potentially triggering content.

Although this play is set in the past, its topics, themes, and subject matter are so very relevant today. Our aim is to commit to embracing these subjects with care and compassion as we meet the challenge to bring this story to life on the stage. This is done with the firm conviction that theatre provides a safe space in which to look at difficult issues.

Before you apply to audition for this beautiful production please make sure you are aware of the following points’ -

o Social systems and structures: oppressive religion, sexism, ageism and classism

o Abuse: grooming, physical and mental abuse of children by adults

o Violence; assault; self harm; the suggestion of suicide with a razor and a suicide by gun

o Sexual Content: sexual fantasy and activity, kissing, caressing, spanking/switching, intercourse, masturbation, and group masturbation; possible nudity, heterosexuality; homosexuality; pregnancy, reproductive education, abortion

○ Language: verbal harassment/abuse, explicit language

Actor Expectations:

By auditioning, actors acknowledge the following:

o They are comfortable with the use of strong language and multiple swear words in text and lyrics.

o They are comfortable performing scenes that depict intense emotional and physical situations.

o They understand the importance of portraying these themes with sensitivity and respect.

o They are prepared to participate in discussions and rehearsals that address the context and impact of these themes.

Our production will endeavor to handle all these subjects with great care as we are very aware of uncomfortable or overwhelming emotions can sometime accompany content of this nature. We have a wonderful intimacy coordinator to help support all the cast and company throughout the auditions, rehearsals and shows.

Spring Awakening character breakdown

Character Breakdown

WENDLA BERGMAN (Mezzo/Pop Soprano) - (14-15) Innocent teenage schoolgirl who grows  more curious about the world around her and her changing body. She is both vulnerable and a  willing participant in her evolution as she explores her newly-found sexuality with Melchior.

! Violent situations, simulated sexual acts, teen pregnancy and abortion are a part of this role ! Female or female identifying actor of any ethnicity 

MELCHIOR GABOR (Bari-Tenor) - (14-15) Smart and headstrong teenager who refuses to bow  down to society's rules. He is an atheist and radical student. Melchior struggles with his intense  feelings for Wendla and his awakening sexual urges. 

! Violent situations and simulated sexual acts are a part of this role ! Male, or male identifying actor of any ethnicity 

MORITZ STIEFEL (Tenor) - (15) Melchior's best friend. He is a troubled student who desperately  tries to please his father, but always seems to disappoint him. He is tormented by his sexual  fantasies and accademic failures which eventually drives him to suicidal thoughts.

! Physical violence, anxiety over sexuality and failing and simulated suicide are part of this role !  Male, male identifying, or non- -binary actor of any ethnicity 

MARTHA BESSELL (Alto/Belter) - (14-15) A schoolgirl who is subjected to constant physical  abuse from her father but is scared to be an outcast or kicked out of her home if she tells anyone.  She has a secret crush on Moritz. 

! References to physical and sexual abuse by her father are a part of this role ! Female or female identifying actor of any ethnicity 

ANNA - (Mezzo/Soprano) (14-16) Martha's best friend. She is optimistic and rather naïve. She  struggles to understand Martha's trials. Female, female identifying or non-binary actor of any ethnicity 

THEA (Alto) - (14-15) Wendla's best friend. A teenage schoolgirl who tries to stay innocent and  pure.  Female, female identifying or non-binary actor of any ethnicity

HANSCHEN RILOW (Bari-Tenor) - (14-16) A schoolmate of Melchior's. He is rather narcissistic  and comfortable with his own sexuality, using his looks and intelligence to captivate Ernst.  Optional Doubling/swing as RUPERT  

! Simulated masturbation is a part of this role ! Male, male identifying, or non- -binary actor of any ethnicity 

ERNST RÖBEL (Bari-Tenor) - (14-16) Another student who is naive and easily manipulated. This  leads him to fall in love with Hanschen. Optional Doubling/swing as REINHOLD ! Simulated masturbation is a part of this role ! Male, male identifying, or non- -binary actor of any ethnicity 

ILSE BESSELL (Mezzo/Pop Soprano/Belter) – (15-18) Martha's sister, who was also abused by  their father. She has run away from home to live in an artists' colony. Martha reaches out to her old  friend Moritz in the last moments of his life. 

! References to physical and sexual abuse by her father are a part of this role ! Female, female identifying or non-binary actor of any ethnicity 

GEORG ZIRSCHNITZ (Tenor) - (14-15) A clumsy schoolmate of Melchoir's who is overcome with  his feelings for his piano teacher. Optional Doubling/swing as DIETER. 

! Simulated masturbation is a part of this role ! Male, male identifying, or non- -binary actor of any ethnicity 

OTTO LÄMMERMEIER (Bari-Tenor) - (14-15) Another classmate of Melchior's who struggles with  feelings that he considers inappropriate. Optional Doubling/swing as ULBRECHT. ! Simulated masturbation is a part of this role ! Male, male identifying, or non- -binary actor of any ethnicity 

ADULT ROLES – (40 to 50) 

Double/triple casting for these adult roles – two adults per cast. Female and male or female and male identifying actors of any ethnicity 

THE ADULT WOMEN: Older looking actors preferred who will play 2 or 3 of all these adult females  roles that range from a hateful principle, mothers, a sexual piano teacher, and stern teacher. Fewer singing skills are needed for these roles. 

FRAU BERGMAN - Wendla’s mother 

FRAU GABOR – Melchior's mother 

FRAU BESSEL – Martha's mother 

FRAULEIN KNUPPELDICK – Associate of Headmaster Knochenbruch 

FRAULEIN GROSSEBUSTENHALTER – Georg’s Piano Teacher 

THE ADULT MEN: Older looking actors preferred who will play 4 or 5 of all these adult male roles  that range from from a hateful headmaster, multiple fathers, a preacher, stern teacher, and a doctor. Fewer singing skills are needed for these roles. 

HERR SONNENSTITCH - the boys' teacher 

HEADMASTER KNOCHENBRUCH – the headmaster 

HERR NEUMANN - Ilse's father 

HERR RILOW - Hanschen's father 

HERR STEIFEL - Moritz's father 

FATHER KAULBACH – the pastor 

DOCTOR VON BRAUSEPULVER – the doctor 

HERR GABOR - Melchior's father 

SCHMIDT – the abortionist

Please note, all roles are double cast and the ages in brackets are the playing ages of the characters.

! Specific warning is given for characters experiencing abuse/violence, sexually explicit moments and/or suicide!

Fill in the audition form

Different from previous years, we are introducing a more formal process for 2025 to ensure the success of each show without burning out volunteers. For each show, we will be asking each cast member to indicate which committees they have the skills to join, and will assign a committee to each cast member to contribute to the show’s success.

Show committees

Committees will include front of house, makeup & hair, costume assistance, flyering, props, set build up, set tear down, social media, and photography. Even if you don’t have skills in hair and makeup for example, you can easily be on the flyering committee to volunteer some extra time distributing and handing out flyers to help sell tickets for the show.

Audition FAQ’s

  • YES! Please audition for all of our shows for the year that you are interested in. There will be very few conflicts between them, despite some overlapping rehearsal schedules.

  • Fill in the form. Please include your full name as you would like it on a program. Include any major holidays or conflicts that you know you have. Look at the character descriptions on the website and select which shows and roles you would like to be considered for.

  • YES! We rarely precast our productions, and when we do we will only hold auditions for the understudy. Actors who have worked with us in the past, whether it be a production or a bootcamp, may have a better chance at being cast if they have shown a history of hard work, dedication, talent and are in general an asset to the team.

  • An understudy is an actor who is prepared to perform the role of another actor if that actor is unable to perform. Understudies are crucial for ensuring that the show can go on without interruption, maintaining the continuity and quality of the performance. In HEA shows, an understudy is always guaranteed at least one performance.

    Double casting is when two people are cast in the same role and split the shows evenly. This may be done due to a particularly demanding role or to provide more opportunities to play a role. It is expected for someone who is double cast to be able to step in for an additional show if their counterpart is unable to perform for any reason.

    Both cases help ensure that a show can go on in the case of illness, injury, or other unforeseen circumstances. The financial impact of cancelling a show due to an actor being unable to perform is massive for any theatre group, so we need to take steps to ensure this doesn't happen.

  • YES! We always need help behind the scenes, and if you want to be involved in a specific production, we will figure out where you fit. If you are only interested in performing, we encourage you to sign up for one of our Musical Theater Bootcamps! This will help you practice your skills, enjoy the process of putting on a production, and give you a chance to play a role without the pressure of a full scale production.

  • The team of each production will decide together for the most part, but the final decision is that of the director. The casting team consists of the director, vocal coach, band director, and choreographers of each production. The level of influence directly correlates with the demands of each show.

  • Absolutely! Ability to pay has no influence on casting decisions. If you are unable to pay the contribution, we will find other ways for you to contribute to the production.

  • Amateur theater is expensive to produce, while maintaining the quality. The cost of sets, costumes, rehearsal space, theater rentals, rights to productions, sound equipment, lighting equipment, programs, posters, stipends for professionals working on the productions, etc. far exceeds the average amount that ticket sales alone can cover. We do not get funding and every production carries a huge financial risk, and the actors contribution helps us offset some of the upfront costs.

  • Cast members need to commit to selling tickets because it significantly boosts audience attendance, which is essential for the financial health and success of the production. By leveraging their personal networks, cast members can reach a wider audience, ensuring that costs are covered and the theatre can plan future shows. This personal investment also builds community support, creates a vibrant atmosphere for performances, and generates authentic buzz and excitement.

    Cast members inviting audience is the number one seller of tickets, and crucial to ensure the success of a show.