As the 14-member student cast of Georgetown University’s Mask and Bauble Dramatic Society wanders onto the stage for the finale of “Song of Purple Summer,” there is a striking visual shift. The 19th-century period costumes are gone, replaced by the casual attire the actors likely wore to their lectures earlier in the week. In this moment, the line between the tragedy of the play and the reality of the performers blurs, ending the production on a note that is simultaneously melancholy and deeply meaningful.
This production of Spring Awakening by Mask and Bauble at Georgetown University, directed by Nate Findlay (CAS ’27), captures something that professional theater often loses in the pursuit of prestige: an unburdened, raw joy. In the intimate setting of Poulton Hall, the stakes are stripped of industry pressures. There are no Helen Hayes Awards to chase or union contracts to negotiate. there is only the visceral drive of students bringing a complex story to life.
With music by Duncan Sheik and lyrics by Steven Sater, Spring Awakening has evolved into a modern classic of the musical theater canon. The story follows a group of teenagers in late-19th-century Germany as they navigate the confusing, often dangerous transition into adulthood. At its core is the relationship between Wendla Bergmann and Melchior Gabor, two youths struggling to understand their own bodies and the stifling societal constraints imposed by their elders.
The weight of the narrative is felt through the supporting ensemble, particularly in the depiction of Moritz Stiefel, a student crushed by the demands of a rigid education system and a demanding father, and Martha, a character whose arc is defined by the trauma of physical and sexual abuse. It is a coming-of-age journey that refuses to sanitize the pain of adolescence, focusing instead on the longing for intimacy and the dream of a future free from repression.
Standout Performances in Poulton Hall
The success of this iteration rests heavily on the chemistry of its leads. Colin Wechsler (CAS ’26) delivers a Melchior defined by a balance of warmth and authority, particularly during the evocative numbers “All That’s Known” and “The Word of Your Body.” Opposite him, Chiara Volpi (SFS ’28) brings a necessary tenderness to Wendla, creating a pairing that feels authentic and fragile.
Sam Levinger (SFS ’29) provides the production’s emotional anchor as Moritz, channeling a “manic sadness” that serves as a tragic foil to the optimism of the lead couple. The supporting cast is equally disciplined, with Lainey Lyle (SFS ’27) and Reilly Souther (CAS ’27) deftly handling the challenge of playing multiple adult roles. Other notable contributions include Garrett Gao (MSB ’29), who brings a sweetness to the role of Hanschen, and Margie Conner (SON ’28), whose portrayal of Martha is a harrowing look into the mind of a victim of abuse.
Technical Execution and Artistic Constraints
From a design perspective, the production makes effective leverage of its limited space. Costume designer Ariane Barth (CAS ’28) establishes the period setting through a palette of prep school grays, which underscores the rigid conformity of the characters’ world. This is complemented by Isabella Hill’s lighting design, which utilizes deep blues to mirror Moritz’s psychological decline.
The musical energy is driven by an 11-person off-stage live band led by instrumental music director Grace Ko (CAS ’27), who brings a necessary vigor to Sheik’s rock-influenced score. Although, the production did face some technical hurdles common to black box theater. The sound design by Katie Claes (SOH ’29) struggled with lavalier microphone inconsistencies, though Claes managed the situation by pivoting to hand microphones to maintain vocal clarity.
Similarly, the set design by Grady McDonough (MSB ’26) occasionally felt crowded. In a 60-person theater, simpler props might have provided the actors more room to maneuver, particularly during the choreography by Charlotte Bonneau (CAS ’28) and Raquel Silva (CAS ’28). Whereas the movement was robust, certain high-energy moments—such as the rock anthem “Totally F*cked”—could have benefited from a more expansive use of the stage.
A Legacy of Student Artistry
To appreciate this production is to appreciate the history of the Mask and Bauble Dramatic Society, the nation’s oldest continuously running student theater troupe. By tackling a reveal as emotionally and technically demanding as Spring Awakening, the society reaffirms its ability to produce high-caliber art within a university framework.
The production also pays homage to the show’s Broadway roots. The original 2006 production, which won eight Tony Awards including Best Musical, served as a launching pad for stars like Lea Michele and Jonathan Groff. While the Georgetown cast isn’t aiming for Broadway, they mirror that original cast’s urgency and passion, proving that the themes of Spring Awakening remain timeless for every new generation of students.
Production Quick Facts
| Detail | Information |
|---|---|
| Venue | Poulton Hall, Stage III, Georgetown University |
| Running Time | 2 hours 15 minutes (including 15-minute intermission) |
| Closing Date | April 18, 2026 |
| Ticket Pricing | $10 Adults / $5 Students |
As the production enters its final stretch, tickets remain sold out, though a limited number of standby tickets are available at the box office one hour before showtime. Those unable to secure a seat can join the official waiting list via the Mask and Bauble Dramatic Society website.
The final performances through April 18 will serve as the last opportunity for the Georgetown community to witness this passionate exploration of youth and rebellion. Following the closing night, the society will begin preparations for its next seasonal offering.
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