Spring Awakening Script Part 1

TIME & PLACE

The action of the play is set in a provincial German town in the latenineteenth-century. When singing, however, the boys and girls assume themanner of contemporary teens. The lights shift with the songs, and we enterthe private and timeless world of the character who is singing. That charactermay be joined in his or her solitary song by other voices that fill out thechorus of longing.

A fEW PRODUCTION NOTES

From the inception of this project Duncan, (our director) Michael Mayer,and I imagined that when the characters broke out of their 19th-Centuryconfines, they would pull hand-mics from their pockets and rock out.And indeed, that is just what they've done, to great effect, in both ourNew York productions.

J~Seeing the characters step into a spotlight in period costume and singmic-in-hand, or from behind a mic-stand, has been dynamic. It has given usa visual embodiment, a clear signal, of the break between our bourgeoisGerman province and our altrock concert.

While this script is divided into many scenes, I always imagined that the playwould unfold with great fluidity: a minimal amount of transition, as onemoment morphs into the next. Given that the show also shifts continuallybetween scene and songworlds, it made real sense to play on a near-emptystage, with a non-representational set. Lighting, then, became the thing.

On that front too, we had a strong idea: our young characters live in theshadow of social convention, but their inner worlds are utterly electric.Honestly, the effect of a sudden break from a world lit by lanterns to oneignited by neon has been pretty spectacular.

Finally, in our staging, all of the characters have remained present and visiblethroughout the show. This has greatly facilitated the entrances and exits ofthe CHORUS (or BOYSand GIRLS)into and out of the songs.,

f~

II

But I offer these thoughts only as notes from our journal. I am genuinelyexcited to see how others choose to address the potentially tricky stagingissues raised by this most-particular, and long-begotten, text.

IV

j;I",

-- - ---- ----- ----- ----- - ------ ------- - ----- - - --- ----------------

._.---r ,....1

MUSICAL NUMBERS

ACT I1. Mama Who Bore Me 1

2. Mama Who Bore Me (Reprise) 4

3. All That's Known , 7

4. The Bitch of Living 10

5. My Junk , ' 17

6. Touch Me , , 24

7. The Word of Your Body 30

8. The Dark IKnow WeI1.. 37

Sa. The Word of Your Body (Reprise 1) 44

9. And Then There Were None 47

10. The Mirror- Blue Night 50

11. I Believe , 53

ACT II

12. The Guilty Ones ; 57

13. Don't Do Sadness 60

13a. Blue Wind , 61

13b. Don't Do Sadness / Blue Wind 63

14. Left Behind , 65

15. Totally Fucked 68

16. The Word of Your Body (Reprise 2) 71

16a. Melchior Letter Underscore 74

17. VVhispering 76

17a. Wendla Letter Underscore 80

l7b. Abortionist Underscore 82

18. Melchior's Escape 83

18a. Almost Midnight 85

19. Those You've Known 86

20. The Song of Purple Summer 90

SONGS BY CHARACTERWENDLA (MORITZ)

12, The Guilty Ones, , , ... , . , , .57

13. Don't Do Sadness """" .60

13b. Don't Do Sadness /

Blue Wind , 63

1, Mama 'IVho Bore Me , .. 1

2. Mama Who Bore Me (Reprise) .4

5. My Junk , , .. 17

6. Touch Me 24


11. IBelieve , , , .53

12. The Guilty Ones 57

14. Left Behind 65

19. Those You've Known ."" .86

20. The Song of Purple Summer .90

MARTHA2. Mama Who Bore Me (Reprise) .4

5. My Junk .. , , 17

6. Touch Me .. , , . , 24

8. The Dark I Know Well 37

11. IBelieve " " .53

12. The Guilty Ones .. , .57

14. Left Behind 65

15. Totally Fucked , 68

16. The Word of Your

Body (Reprise 2) .. ' ..... 71


15. Totally Fucked , .68

16, The Word of Your

Body (Reprise 2) , 71

17. Whispering .. , ... , , 83

19. Those You've Known , 86


MelCHIOR3. All That's Known ,.7

4. The Bitch of Living ., ,., .10

5 . My Junk ., 17

6. Touch Me ' 24


10.The Mirror - Blue Night 50

11. I Believe .53

12. The Guilty Ones , .57

14. Left Behind , , 65

15. Totally Fucked , , , .. , ,68


11..5122. Mama Who Bore Me (Reprise) .4

5. My Junk 17

6. Touch Me , .24

8. The Dark I Know Well ." 37

11. IBelieve ,53

12. The Guilty Ones , , 57

13a. Blue Wind 61

13b. Don't Do Sadness /

Blue Wind , 63

14. Left Behind ,65

15, Totally Fucked , 68


Body (Reprise 2) 71

17, Whispering , 83

19. Those You've Known 86


MORITZ4, The Bitch of Living 10

5. My Junk ' ,.' 17

Body (Reprise 2) , 71

20. The Song of Purple Summer ,90

6. Touch Me ............. 24


9. And Then There Were None . .47

vi

-------------.--.~-.~-~ ..--- ..-- .~-.

HANSCHEN4. The Bitch of Living 10

5. My Junk 17

6. Touch Me 24

9. And Then There Were None. ,47

10.The Mirror- Blue Night 50

11. IBelieve , 53


14. Left Behind 65



Body (Reprise 2) 71


ERNST3. All That's Known '7

, ..... /


5. My Junk 17

6. Touch Me 24



10.The Mirror- Blue Night 50

11. I Believe 53


14. Left Behind 65


16. The Word of Your-r- dv (R . ') \ '71bO Y xeprise -J 11.


THEA2. Mama Who Bore Me (Reprise) .4

5. My Junk 17

6. Touch Me 24

11. I Believe 53


14. Left Behind 65


(THEA)16. The Vvord of Your

Body (Reprise 2) 71


GEORG3. All That's Known 7


5. My Junk 17

6. Touch Me 24

8. The Dark I Know Well .. , ... 37

8a.The Word of Your

Body (Reprise 1) .44


10.The Mirror-Blue Night 50

11. I Believe 53


14. Left Behind 65



Body (Reprise 2) 71


ANNA2. Mama Who Bore Me (Reprise) .4

5. My Junk 17

6. Touch Me , .. 24

11. I Believe , , , 53


14. Left Behind 65





OTTO4. The Bitch of Living 10

5. My Junk 17

6. Touch Me 24


Vll

----------------~----------

---~-

(OTTO)Sa.The Word of Your



lO.The Mirror - Blue Night 50

11. I Believe 53


14. Left Behind 65



Body (Reprise 2) 71


ADULT MAN15. Totally Fucked 68


ADULT WOMAN15. Totallv Fucked 68


Vlll

SPRlNG A~lVAKENING - 1 -

Act I, Scene 1

Vv'ENDLA is revealed in song light - as if at a mirror. She gently explores her newlymaturing body, pulls on a near-transparent schoolgirl dress.

lVENDLA

MAMA WHO BORE ME.

MAMA WHO GAVE ME

NO WAY TO HANDLE THINGS. WHO MADE ME SO SAD.

MAMA, THE WEEPING.

MAMA, THE ANGELS.

NO SLEEP IN HEAVEN, OR BETHLEHEM.

SOME PRAY THAT, ONE DAY, CHRIST WILL COME A-CALLIN'.

THEY LIGHT A CANDLE, AND HOPE THAT IT GLOWS.

AND SOME JUST LIE THERE, CRYING FOR HIM TO COME AND

FIND THEM.

BUT WHEN HE COMES, THEY DON'T KNOW HOW TO GO ...

MAMA WHO BORE ME.

MAMA WHO GAVE ME

NO WAY TO HANDLE THINGS. WHO MADE ME SO BAD.

MAMA, THE WEEPING.

MAMA, THE ANGELS.


(The lights shift to the world of1891: a provincial German living room.FR/i U BERGMAN suddenly enters, beaming)

FRAU BERGMANWendlal

WEND LAMama?

FRAU BERGl\1ANGoodness, look at you - in that... that kindergarten dress! Wendla, grown-up girlscannot be seen strutting about in such ...

SPRING AWAKENING

FRAU BERGMANWendla Bergman, I simply cannot...

WENDLAMama!

FRAU BERGMANYou will drive me mad.

WENDLA"\-'by? I'll kneel at your feet, lay my head in your lap ... You can talk as if I weren'teven here.

(No response)

Please.

FRAU BERGMANVery well, I'll tell you.

(TVENDLA kneels. Flustered, FRA.U BERGMAN buries the girl's head in her apron)

WENDLA

(vVaits)

Yes?...

FRAU BERGlYIANChild,1...

WENDLAMama.

FRAU BERGMANAll right, then. In order for a woman to conceive a child ...

You follow me?

WENDLAYes, Mama.

FRAU BERGMANFor a woman to bear a child, she must... in her own personal way, she must... loveher husband. Love him, as she can love only him. Only him ... she must love - withher whole ... heart.

There. Now, you know everything.

WENDLAEverything? ..

3

SPRING AWA.KENING

FRAU BERGMAN('Yes")

Everything. So help me.

WENDLA

(Not budging)

Mamal

(The lights shift - rue are back in the song world. Contemporary music sounds.The GIRLS appear. 1NENDLA rises and joins them. Shedding her nineteenth-centuryformality, she sings, as do all the GIRLS, in the manner of a contemporary young7' 'man)

GIRLS

MAMA WHO BORE ME.

MAMA WHO GAVE ME

MAMA THE ANGELS. WHO MADE ME SO SAD.

WENDLA & GIRLS

MAMA WHO BORE ME.

MAMA WHO GAVE ME

NO WAY TO HANDLE THINGS. WHO MADE ME SO SAD.

MAMA THE WEEPING.

MAMA, THE ANGELS.


SOME PRAY THAT, ONE DAY, CHRIST WILL COME A-CALLIN'.

THEY LIGHT A CANDLE, AND HOPE THAT IT GLOWS.

AND SOME JUST LIE THERE, CRYING FOR HIM TO COME AND

FIND THEM.

BUT WHEN HE COMES, THEY DON'T KNOW HOW TO GO ...

MAMA WHO BORE ME.

MAMA WHO GAVE ME

NO WAY TO HANDLE THINGS. WHO MADE ME SO BAD.

MAMA, THE WEEPING.

MAMA, THE ANGELS.

NO SLEEP IN HEAVEN, OR BETHLEHEM ...

(End of Act I, Scene 1)

-----.~-~----------------_ .._-----------------

SPRING L4.WAKENING - ~

Act I, Scene 2

School. The BOYS sit upright at their desks, reciting from Virgil's Aeneid.They stand, one after the other! for their recitation. HERR SONNENSTICHwalks the aisles beside them! listening.

HERR SONNENSTICH

Again.

OTTO

(lvlid-recitation)

...vi superum saevae memorem Iunonis ob iram ...

HERR SONNENSTICH

("VI/ell done If)

Better!Herr Lamrnermeier. Continue! Herr Zirschnitz.

GEORG...multa quoque et bello passus, dum conderet urbern.

HERR SONNEN STICHHerr Rilow. From the beginning.

HANSCHENArma virumque canol Troiae qui primus ab oris -

HERR SONNEN STICHHerr Robel. And ...

ERNST...Italiam, fato profugus, Laviniaque venit Iitora -

HERR SONNENSTICHHerr Stiefel.

(But, alas, A10RITZ is asleep)

HERR SONNEN STICHHerr Stiefel.

MORITZ

(Waking)

Sir...?

HERR SONNEN STICHContinue. Please.

(MORITZ hesitates)Herr Stiefel...

.~ ..

--~---.---~~.-"----~~---.-..--- -----.--~-

- 6 - SPRING AWAKEN1NG

MORITZ

(Haltingly)

.,.Laviniaque venit ...

HERR SONNEN STICHYes...?

MORITZ...litora ... multum enim -

HERR SONNEN STICH"Multum enim ...?'"

MORITZ

(Taking another stab at it)

...multum ohm -

HERR SONNEN STICH

(Losing patience)

II Ohm"?l "Multum olim" ...?1 So then/ somehow the Pious Aeneas has Ii already"suffered much "in the days still to come" ...?

(fI0 response)

Herr Stiefel?

(No response)

Do you have any idea what you're saying/ Herr Stiefel?

(MORITZ is too mortified to respond. MELCHIOR rises)

MELCHIORIf you please!

HERR SONNENSTICHPardon me?

MELCHIOR

(Covering gracefully)

If you please/ Herr Sonnenstich ... can't we at least consider "multum olim" as aplausible conjecture for how the text might read?

HERR SONNENSTICHHerr Gabor. We are hardly here today to conjecture about textual conjectures, Theboy has made an error.

MELCHIORYes. But an understandable error, sir. Indeed, if we could only entertain the fitnessof the conjecture -

SPRING AWAKENiNG - 7 -

HERR SONNENSTICH"Multum olimfl?l

MELCHIORLook to the fresh rhetorical balance - "mulium olim" introducing "rnulia quoque" -a parallel, sir, between what Aeneas has already suffered in war and those sufferingson land and sea just ahead.

HERR SONNENSTICHHerr Gabor, since the days of Servius, Aulus Gellius, and Claudius Donatus - nay,since the moment of Virgil's death - our world has been littered with more thansufficient critical commentary on textual conjecture.

MELCHIORWith all respect, sir, are you then suggesting there is no further room for criticalthought or interpretation? Why indeed, then, do we even -

HERR SONNENSTICH

(Striking MELCHIOR with his teacher's cane)

I am suggesting no such thing. I am confirming that Herr Stiefel has made an error.And I am asking - nay, demanding - that you emend his faulty text and proceedfrom there. Do I make myself clear?

(MELCHIOR's jaw locks)

HERR SONNENSTICHHerr Gabor?

(No response. He strikes MELCHIOR more forcefully)

Herr Gabor, do I make myself clear?

MELCHIORYes,Herr Sonnenstich: "litera multum ille."

HERR SONNEN STICHAll of you - together with Melchior Gabor:"Lavinaque venit., Ji

BOYS... litera, multum ille et terris iactatus et altovi superum saevae memorem Iunonis ob...

(The BOYS' recitation grows louder, more insistent, more numbing - as if somehowwe were entering into MELCHIOR IS psychic experience of it. A bit of contemporary,electronic music drifts through. Shimmering song light finds MELCHIOR. He turnsout and sings - like a rocker in concert:)

- 8 - SPRING AWAKENING

l\1ELCHIOR BOYS

ALL THAT'S KNOWN

IN HISTORY, IN SCIENCE,

OVERTHROWN

AT SCHOOL, AT HOME, BY BLIND MEN

...1Iam;

YOU DOUBT THEM,

AND SOON THEY BARK AND HOUND

YOU -

TILL EVERYTHING YOU SAY IS

JUST ANOTHER BAD ABOUT YOU

multa quoque et bellopassus, dum condereturbem ...

Arma virumque cano, Troiaequi prirnus ab oris

Italiam. fato profugus,Laviniaque venit

litora, multum ille etterris iactatus et alto

vi superum saevae memoremIunonis ob iram;

multa quoque et bellopass us, dum condereturbern ...

ALL THEY SAY

IS "TRUST IN WHAT IS WRITTEN". 1WARS ARE MADE,

AND SOMEHOW THAT IS WISDOM.

rY1ELCHIOR

THOUGHT IS SUSPECT,

AND MONEY IS THEIR IDOL,AND NOTHING IS OKAY UNLESS IT'S SCRIPTED IN THEIR BIBLE.

BUT I KNOW

THERE'S SO MUCH MORE TO FIND -

JUST IN LOOKING THROUGH MYSELE AND NOT AT THEM.

STILL, IKNOW

TO TRUST MY OWN TRUE MIND,

AND TO SAY: "THERE'S A WAY THROUGH THIS ..."

ON IGO,

TO WONDER AND TO LEARNING -

NAME THE STARS AND KNOW THEIR DARK RETURNING.

I'M CALLING,

TO KNOW THE WORLD'S TRUE YEARNING -

THE HUNGER THAT A CHILD FEELS FOR EVERYTHING THEy'RE SHOWN.

SPRING AWAKENING - 9 -

(MELCHIOR)

YOU WATCH ME-

JUST WATCH ME -

I'M CALLING,

AND ONE DAY ALL WILL KNOW ...

YOU WATCH ME-

JUST WATCH ME-

I'M CALLING,

I'M CALLING,

AND ONE DAY ALL WILL KNOW ..."

(MELCHIOR's song concludes. As he rejoins the BOYS in their recitation, the lightsshift back to the classroom)

THE BOYS & MELCHIOR...multa quoque et bello passus, dum conderet urbem ...

HERR SONNEN STICH

(On to fresh matters)

Thank you, gentlemen. Now, if you please: 11 inferretque deos Latio..." The followingseven lines of Pious Aeneas' journey. From memory.

(The Boys begin scribbling. HERR SONNENSTICH steps away. MORITZ taps1,,1ELCHIOR's shoulder)

MORITZ

(Satta voice)

Melchi, thank you.

MELCHIORIt's nothing.

MORITZStill, I'm sorry. You didn't need to -

MELCHIOR

("Not to worry"; ironic)

Think what Aeneas suffered.

MORITZBut I should have known it. "Multum ille." It's just... I didn't sleep all night. Infact, I, uh, suffered a visit from the most horrific, dark phantasm ...

MELCHIORYou mean, a dream ...?


MORITZA nightmare, really. Legs in sky blue stockings, climbing over the lecture podium.

MELCHIOROh. That kind of dream.

MORITZ

("Indeed")

Have you ever suffered such ... mortifying visions?

MELCHIOR

MORITZ

Moritz, of course. We all have. Otto Lammermeier dreamt about his mother.

Really?!!

MELCHIORGeorg Zirschnitz? Dreamt he was seduced by his piano teacher.

MORITZFraulein Grossebustenhalter?!

HERR SONNENSTICH

(Suddenly! grabbing MORITZ by the ear)

Moritz Stiefel. I need hardly remind you that, of all our pupils, you are in noposition to be taking liberties. I will not warn you again.

MORITZ

GOD, I DREAMED THERE WAS AN ANGEL, WHO COULD HEAR ME

THROUGH THE WALL,

AS I CRIED OUT -- LIKE, IN LATIN: "THIS IS SO NOT LIFE

AT ALL.

HELP ME OUT -- OUT -- OF THIS NIGHTMARE." THEN I HEARD

HER SILVER CALL --

SHE SAID: "JUST GIVE IT TIME, KID. I COME TO ONE

AND ALL".

(MORITZ nods - absolutely petrified. An intense alt-rock guitar riff. HERRSONNENSTICH freezes. The world around MORITZ comes to a halt, as concert-likelight finds him. He turns out in son;z:)

------

SPRING AWAKENiNG - II -

MORITZ

SHE SAID: "GIVE ME THAT HAND, PLEASE,

AND THE ITCH YOU CAN'T CONTROL,

LET ME TEACH YOU HOW TO HANDLE ALL

THE SADNESS IN YOUR SOUL.

OR, WE'LL WORK THAT SILVER MAGIC,

THEN WE'LL AIM IT AT THE WALL."

SHE SAID: "LOVE MAY MAKE YOU BLIND,

KID -- BUT I WOULDN'T MIND AT ALL."

BOYSAHHHHHH. ..

(All the BOYS except MELCHIOR begin to move, joining MORITZ one by one, theirenergy building to a dance)

MORITZ & BOYS

IT'S THE BITCH OF LIVING

WITH NOTHING BUT YOUR HAND.

JUST THE BITCH OF LIVING

AS SOMEONE YOU CAN'T STAND ...

GEORG

~f~

SEE, EACH NIGHT, IT'S, LIKE, FANTASTIC -

TOSSING! TURNING, WITHOUT REST,

'CAUSE MY DAY'S AT THE PIANO - WITH MY

TEACHER AND HER BREASTS;

AND THE MUSIC'S, LIKE, THE ONE THING

I CAN EVEN GET AT ALL,

AND THOSE BREASTS! I MEAN, GOD! PLEASE!

JUST LET THOSE APPLES FALL...

BOYS


WITH NOTHING GOING ON.

JUST THE BITCH OF LIVING,

ASKING: WHAT WENT WRONG?

DO THEY THINK WE WANT THIS?

OH - WHO KNOWS?

ERNST

SEE, THERE'S SHOWERING IN GYM CLASS ...

HANSCHEN

BOBBY MALER, HE'S THE BEST-

Ii..-....

~--------------------,.~ ----.--~-~ "---- -~-


ERNST

GOD, MY WHOLE LIFE'S, LIKE, SOME TEST.

OTTO

THEN THERE'S MARIANNA WHEELAN - AS IF SHE'D RETURN MY CALL.

HANSCHEN

IT'S LIKE, JUST KISS SOME ASS, MAN - THEN YOU CAN SCREW 'EM ALL.

(MELCHIOR joins the song)

MELCHIOR, MORITZ & BOYS

IT'S THE BITCH OF LIVING -

AND LIVING IN YOUR HEAD


AND SENSING GOD IS DEAD.

MORITZ & BOYS


AND TRYING TO GET AHEAD.

IT'S THE BITCH OF LIVING -

MELCHIOR

YOU WATCH ME -

JUST WATCH ME -

I'M CALLING,

AND ONE DAY ALL WILL KNOW ...

MORITZ

JUST GETTING OUT OF BED.

MORITZ & BOYS

IT'S THE BITCH OF LIVING-

AND GETTING WHAT YOU GET.

JUST THE BITCH OF LIVING-

MELCHIOR

AND KNOWING THIS IS IT.

MELCHIOR, MORITZ & BOYS

GOD, IS THIS IT?

THIS CAN'T BE IT.

OH GOD, WHAT A BITCH!

(The song ends. The lights shift back. The school day resumes)

HERR SONNEN STICHGentlemen, turn in your verses, and clear away your personal effects. I will see youtomorrow, seven A.M.

I,

SPRING ,'iWAKENING - 13 -

(HERR SONNENSTICH goes out. The BOYS gather their books)

OTTO

(Heading out)

w-n. I'm off.

ERNSTMe too.

HANSCHENI'll walk with you, Ernst.

ERNST

(Pauses, turns back)

You will?

HANS CHEN

("Yes"; suggestively)

We'll huddle over the Homer. Maybe do a little Achilles and Patroclus ...

(HANS CHEN leads ERNST ofJ)

GEORG

(I/Good night")

Melchior, Moritz.

MELCHIOR

(Archly)

Home to Bach...?

GEORGFraulein Grossebustenhalter will not be kept waiting.

(GEORG shivers involuntarily, and goes. MELCHIOR turns to MORITZ with awink, but MORITZ waves it away)

MORITZAch,Melchi! Sixty lines of Homer, all those quadratic equations ... I'Il be up all nightagain. And still I won't get through it. Try and sleep. Who can sleep? I'll behaunted by another of those dreams.

MELCHIOROh, yes. Your dream.


MORITZ

("The horror f")

Melchi, why - why - am I haunt by the legs of .conviction: some dark part of my cL .iny may lie th

'oman? By the deepeningbetween them ...?

MELCHIORAll right then. I'll tell you. I got it out of books. But prepare yourself: it made anatheist out of me.

(A beat)

So -MORITZ

No no - not here! I can't talk it! No - do me a favor: write it down. All of it.Conceal it in my satchel - after Gymnastics - tomorrow.

(A beat)If you like, you could add some illustrations in the margins.

(A beat)

MELCHIORTop to bottom?

lVIORITZEverything.

(HEADNIASTER KNOCHENBRUCH and his associate, FRAULEINKNUPPELDICK, stroll past and pause)

HERR KNOCHENBRUCHUnfathomable. Fraulein Knuppeldick.

FRAULEIN KNUPPELDICKHerr Knochenbruch ...?

HERR KNOCHENBRUCHLook at that. Melchior Gabor, a young man of distinct intellectual capability -

FRA ULEIN KNUPPELDICKThoroughly distinct.

HERR KNOCHENBRUCHA young man who could be our finest pupil -

FRAULEIN KNUPPELDICK

Our finest, Herr Knochenbruch.

HERR KNOCHENBRUCHBut there he is, polluting himself, cavorting about with that, that...


FRAULEIN KNUPPELDICKNeurasthenic imbecile, Moritz Stiefel?

HERR KNOCHENBRUCHThank Heaven the upper grade only holds sixty.

(HERR KNOCHENBRUCH and FRAULEIN KNUPPELDICK go off.End of Act II Scene 2)

h


Act I, Scene 3

Late afternoon. A bridge in the countrqside. WENDLA, MARTHA, THEA, andANNA walk home, talking excitedly.

THEA(Mid-conversation)

...And the bodice in lace, with a satin bow in back...

ANNAOoh! And Wendla - what will you wear to Greta Brandenburg's wedding?

WENDLAMama said we cannot go.

THEATo Greta's wedding?!

MARTHABecause she's marrying that forest inspector?

WENDLAMama felt it was a little improper.

ANNABut, they're decking the entire sanctuary in orchids and chrysanthemums!. ..

WENDLA

--._.M~~_~.~~id?2- _(ANNA and THEA exchange a look)

ANNAI certainly hope your mama approves the man I marry.

THEAAnd the man I marry!

WENDLA(Teasing)

Welt we all know who Thea longs to marry!

MARTHAMelchior Gabor!

THEA("Gimme a break")

ADdwho doesn't?


ANNA(Still playful)

He is rather handsome ...

WENDLASowonderful.

MARTHA"----------"---------~----

(Her secret crush)

-But not sowonderful as that sad soulful sleepyhead, Moritz Stiefel...

ANNA & THEAMoritz Stiefell?

THEAMelchi t::>hrn"hc/c c11r::ha radical. You knowHow can you even compare

what the whisper is?

(All the GIRLS lean in, eager to hear)

THEAHe doesn't believe in anvthinz. Not in God._ u

(The GIRLS gasp in wonder)

THEANot in Heaven.

(Another gasp)

THEANot in a single thing in this world.

(Tne GIRLS utter a final, collective sigh)

ANNAThey say he's the best, in everything. Latin, Greek, Trigonometry ...

THEAThe best part is: he doesn't care a whit about any of it...

(Music begins - an innocent up tempo feel. The GIRLS turn out - glistening in girl-group light:)

WENDLAIN THE MIDST OF THIS NOTHING, THIS MISS OF A LIFE,

STILL, THERE'S THIS ONE THING - JUST TO SEE YOU GO BY.

-------_ .. ~--------~- "--~---"

'V 18 ~ SPRING AWAKENING

MARTHA

(ITS ALMOST LIKE LOVIN' - SAD AS THAT IS.

THEA

MAY NOT BE COOL, BUT ITS SO WHERE I LIVE.

ANNA

IT'S LIKE I'M YOUR LOVER - OR, MORE LIKE YOUR GHOST -

I SPEND THE DAY WONDERIN' WHAT YOU DO, WHERE YOU GO ...

THEA

I TRY AND JUST KICK IT, BUT THEN, WHAT CAN I DO?

WE'VE ALL GOT OUR JUNK, AND MY JUNK IS YOU.

GIRLS

SEE US WINTER WALKIN' - AFTER A STORM.

ITS CHILL IN THE WIND - BUT ITS WARM IN YOUR ARMS.WE STOP, ALL SNOW BLIND - MAY NOT BE TRUE.

BUT WE'VE ALL GOT OUR JUNK, AND MY JUNK IS YOU.

(The lights shift, revealing GEORG at his piano. FR/tULEINGROssEBUsTENHALTER hovers)

FRAULEIN GROSSEBUSTENHAL TERWell done, Georg. And now, the Prelude in C Minor ...

(GEORG begins playing Bach's Prelude. As he does, FRAULEINGROssEBUsTENHALTER touches his hand. He lets out an illicit sigh -a moment of private bliss. The lights shift, revealing HANS CHEN seated in hisbathroom, wearing his nightshirt. He pulls a reproduction of Corregio's 10 fromhis pocket. His free hand sneaks under his nightshirt)

HANS CHEN

(To la/Desdemona)

Have you prayed tonight, Desdemona? You don't look like you're praying, darling- lying there, contemplating the coming bliss ...

(A KNOCKING on the door. HANS CHEN freezes)

HERR RILOWHanschen, you all right?

HANSCHENMy stomach again, Father. But I'llbe fine.

HERR RILOWYes?

-----------------~-------------------- - -----------------


HANS CHENFine.

HERR RILOWWell, then.

(HERR RILOW goes. Slowly and steadily, HANS CHEN begins to masturbate -building steam as the scene continues)

HANS CHEN(To Io/Desdemona)

Darling, don't think I take your murder lightly. The truth is, I can hardly bear tothink of the long nights ahead ... But it's sucking the marrow from my bones, seeingyou lie there. Motionless. Staring at me, so innocently. One of us must go - it'syou or me.

(The lights shift... FRAULEIN GROssEBUsTENHALTER sternly interruptsGEORG's playing)

FRAULEIN GROSSEBUSTENHAL TERNo, no! Georg, please. Again. And this time, bring out the left hand.

(FRAULEIN GROSSEBUSTENHALTER touches his hand again - increased bliss.

HANS CHEN dutifully switches hands - to the left)

HANSCHENDarling,why - why - do you press your knees together? Even now, on the brinkof eternity? Don't you see it's your terrible chastity that's driving me to...

(A KNOCKING at the bathroom door. HANS CHEN freezes)

HERR RILO\VHanschen, that's enough in there.

HANSCHENYes,sir.

HERR RILOW

(HANS CHEN does not move)

HERR RILOW

HANS CHEN

(HANS CHEN waits, listening. HERR RILOW goes. HANS CHEN redoubles hisexertions)


HANSCHENOne last kiss. Those soft, white thighs ... those girlish breasts ... oh, those cruel cruelknees ...

(FRAULEIN GROSSEBUSTENHALTER claps, interrupting GEORG's playing)

FRAULEIN GROSSEBUSTENHALTERRepetez, s'il vous plait.

(GEORG turns out and sings. We enter the world of his fantasy)

GEORG

WELL, YOU'LL HAVE TO EXCUSE ME, I KNOW IT'S SO OFF,

I LOVE WHEN YOU DO STUFF THAT'S RUDE AND SO WRONG.

(FRAULEIN GROSSEBUSTENHALTER rips open her bodice, exposing her bustier.GEORG beckons her onto his lap and fondles her. As he does, HANS CHEN turns out,in a world of his oum.)

HANSCHEN

I GO UP TO MY ROOM, TURN THE STEREO ON,

SHOOT UP SOME YOU IN THE "YOU' OF SOME SONG.

(The GIRLS surround HANS CHEN, dancing. Oblivious to their charms, he only haseyes - and thumbs - for his 10. The BOYS join in, as a vocal CHORUS:)

GIRLS, MORITZ, GEORG & OTTO

I LIE BACK, JUST DRIFTIN', AND PLAY OUT THESE SCENES.

I RIDE ON THE RUSH - ALL THE HOPES, ALL THE DREAMS ...

ANNA

I MAYBE NEGLECTIN' THE THINGS I SHOULD DO .

. WE'VE ALL GOT OUR JUNK, AND MY JUNK IS YOu.

BOYS & GIRLS

SEE, WE STILL KEEP TALKIN' - AFTER YOU'RE GONE.

YOU'RE STILL WITH ME THEN - FEELS SO GOOD IN MY ARMS.

THEY SAY YOU GO BLIND - MAYBE IT'S TRUE.

BUT WE'VE ALL GOT OUR JUNK, AND MY JUNK IS YOU ...

(As the song reaches a climax! 50 does HANS CHEN)

IT'S LIKE, WE STOP TIME. WHAT CAN I DO -

WE'VE ALL GOT OUR JUNK, AND MY JUNK IS YOU.

AND MY JUNK IS YOU -

YOU - YOU - YOU


SPRING AWAKENING

- ----------

21 -"''''Ifo.,~;

Act I, Scene 4

Evening. MELCHIOWs study. A lamp burning on the table. MELCHIOR sits alone,writing in his journal.

MELCHIOR

(Reading aloud as he writes)

16 October. The question is: Shame. What is its origin? And why are we houndedby its miserable shadow?

Does the mare feel Shame as she couples with a stallion? Are they deaf toeverything their loins are telling them, until we grant them a marriage certificate? Ithink not.

To my mind, Shame is nothing but a product of Education. Meanwhile, old FatherKaulbach still blindly insists, in every single sermon, that it's deeply rooted in oursinful Human Nature. Which is why I now refuse to go to Church -

FRAU GABOR (from off)Melchior?

MELCHIORYes,Mama?

FRAU GABOR (from off)Moritz Stiefel to see you.

(MELCHIOR sits up. ]v10RITZ enters, looking pale and agitated)

MELCHIORMoritz? ..

MORITZSorry I'm so late. I yanked on a jacket, ran a brush through my hair, and dashed likesome phantom to get here.

MELCHIORYou slept through the day ...?

MORITZ

("Yes")

I'm exhausted, Melchi, I was up till three in the morning - reading that essay yougave me, till I couldn't see straight.

MELCHIORSit. Let me roll you a smoke.

OV1ELCHIOR rolls MORITZ a cigarette)

'-

-------


MORITZLook at me - I'm trembling. Last night I prayed like Christ in Gethsemane: "Please,God, give me Consumption and take these sticky dreams away from me."

MELCHIORWith any luck, he'll ignore that prayer.

MORITZMelchi, I can't focus - on anything. Even now, it seems like Welt I see, and hear,and feel, quite clearly. And yet, everything seems so strange .

MELCHIORBut all those illustrations I gave you - didn't they help illuminate your dreams?

MORITZThey only multiplied everything ten times! Instead of merely seeing Stockings, nowI'm plagued by Labia Majora and -

(FRA UGABOR enters with tea)

FRAU GABORWell, here we are, with tea. Herr Stiefel, how are you?

MORITZVery well, thank you, Frau Gabor.

FRAU GABOR 1J

Ij

(Skeptical)

Yes?

MELCHIOR

(Busting him)

Just think, Mama. Moritz was up, reading all through the night.

MORITZUh, conjugating Greek.

FRAU GABORYou must take care of yourself, Moritz. Surely, your health is more important thanAncient Greek.

(Indicating his books)

Now, what have you been reading, Melchior?

MELCHIORGoethe's FAUST, actually.

FRAU GABORReally? At your age? ..

----- ------ ----~---

1.....-.-


MELCHIORIt's so beautiful, Mama.

MORITZ

("Indeed ")

So haunting.

FRAU GABORStill, I should have thought...But surely, you boys are now of an age to decide for yourselves what is good for youand what is not.

(Sighs)

If you need anything else, children, call me.

(FRAU GABOR goes out)

MORITZWell, your mother certainly is remarkable.

MELCHIOR

("Yes, but")

Until she catches her son reading Goethe.

MORITZI think she meant the story of Gretchen and her illegitimate child.

MELCHIORYes. You see how obsessively everyone fixes on that story. It's as if the entire worldwere mesmerized by penis and vagina.

MORITZWelt I am. All the more so, I'm afraid, since reading your essay. What you wroteabout the ... female ... I can't stop thinking about it.

(Pulls out the essay)

This part here - is it true?

MELCHIORAbsolutely.

MORITZBut, how can you understand that, Melchi? What the woman must feel.

MELCHIOR

("~'\lhy not?")

Giving yourself over to someone else? ... Defending yourself until, finally, yousurrender and feel Heaven break over you? ...

(MORITZ nods)

---- ..~.---- .~-~- ..

- 24 - SPRING AWA.KENING

MELCHIORI just put myself in her place - and imagine ...

MORITZ

(You've got to be kidding")

Really?!

(Flipping through the essay - one diagram after another - increasingly mesmerized)

What it feels like? .. for the woman? ..

(A twelve-string guitar sounds - subtle chords, a world of longing. The BOYS andGIRLS gather around NIELCHIOR and MORITZ in radiant light singing and movingas a CHORUS. The BOYS hold copies of MELCHIOR'sessay)

MELCHIOR

WHERE I GO, WHEN I GO THERE,

NO MORE MEMORY ANYMORE -

ONLY DRIFTING ON SOME SHIP;

THE WIND THAT WHISPERS, OF THE DISTANCE, TO SHORE ...

MORITZ


NO MORE LISTENING ANYMORE -

ONL Y HYMNS UPON YOUR LIPS;

A MYSTIC WISDOM, RISING WITH THEM, TO SHORE ...

BOYS & GIRLS

000000 ...

ERNST

TOUCH ME - JUST LIKE THAT.

AND THAT - 0, YEAH - NOW, THAT'S HEAVEN.

NOW, THAT I LIKE.

GOD, THAT'S SO NICE.

NOW LOWER DOWN, WHERE THE FIGS UE. ..

(MELCHIOR turns back to MORITZ. The lights shift back to the lamplit study, butthe BOYS and GIRLS hover, singing quietly, underscoring the scene)

MORITZ

(Still in his private moment with the diagrams)

.., Still; you must admit., with all the differing ...

(l'v1ispronouncing, with a "hard g//)geni... gem ...

SPRING AWAKENiNG - 25 -

MELCHIOR

(Correcting his pronunciation)

Genitalia?

MORITZGenitalia. It truly is daunting - I mean, how ... everything might...

MELCHIOR

•Measure up?

(MORITZ looks stricken)

MELCHIOR

Fit?

(More stricken)

MELCHIOR

Moritz, not that I'm saying I myself have ever -

MORITZNot that I'm saying I wouldn't want.. Would ever want to not - Would ever notwant ...

MELCHIOR

Moritz?

MORITZ

I have to go!

(MORITZ abruptly rushes out)

MELCHIORMoritz, wait -

(But he's gone)

MELCHIOR

(More to himself)

Moritz ...

(FRAU GABOR enters, and clears the tea)

FRAU GABORMelchior, what is it?

MELCHIORNothing, Mama.

FRAU GABORHas Moritz gone?

------------------

A 26 ~"

~

I!

SPRING AWAKENING

MELCHIORYes.

FRAU GABORWelt he does look awfully pale/ don't you think? I wonder/ is that FAUST really thebest thing for him?

(FRAU GABOR exits. MELCHIOR shakes his head, incredulous. The world recedes.All reenter the song)

OTTO


NO MORE SHADOWS ANYMORE -

ONL Y YOU THERE IN THE KISS;

AND NOTHING MISSING, AS YOU'RE DRIFTING, TO SHORE ...

GEORG BOYS & GIRLS

WHERE IGO, WHEN I GO THERE

NO MORE WEEPING ANYMORE -

ONLY IN AND OUT YOUR LIPS;

THE BROKEN WISHES, WASHING WITH

THEM, TO SHORE ...

WHERE IGO

NO MORE WEEPING

OHNONONO

BOYS & GIRLS

TOUCH ME -

MELCHIOR & MORITZ

TOUCH ME - ALL SILENT.

TELL ME - PLEASE - ALL IS FORGIVEN.

CONSUME MY WINE.

CONSUME MY MIND.

I'LL TELL YOU HOW, HOW THE WINDS SIGH..

GEORG

BOYS & GIRLS

ALL SILENT - BABY JUST TELL MEALL IS FORGIVEN

OH -

OH-

OH - THERE I GO, THERE I GO

- JUST TRY IT.

NOW, THERE - THAT'S IT - GOD,

THAT'S HEAVEN.

I'LL LOVE YOUR LIGHT.

I'LL LOVE YOU RIGHT...

WE'LL WANDER DOWN WHERE THE

SINS CRY...

- JUST TRY IT

NOW THAT'S IT GOD OH THAT'S

HEAVEN

I LOVE YOUR LIGHT

WHERE SINS CRY

SPRING ilwAKENING - 27 -

BOYS & GIRLS

TOUCH ME - JUST LIKE THAT.NOW LOWER DOWN, WHERE THE SINS LIE...

LOVE ME - JUST FOR A BIT...

WE'LL WANDER DOWN, WHERE THE WINDS SIGH. ..

WHERE THE WINDS SIGH ...

WHERE THE WINDS SIGH. ..

WHERE THE WINDS SIGH


L


Act I, Scene 5

Afternoon. MELCHIOR and WENDLA discover each other in the woods.

WENDLAMelchior Gabor?

MELCHIOR

(In disbelief)

Wendla Bergman?! Like a tree-nymph fallen from the branches. What are youdoing - alone up here?

WENDLAMama's making May wine. I thought I'd surprise her with some woodruff. Andyou?

MELCHIORThis is my favorite spot. My private place - for thinking.

WENDLA

(Starts away)

Oh. I'm sorry -

MELCHIORNo - no. Please.

(She pauses)

MELCHIORSo... how have you been doing?

WENDLAWell, this morning was wonderful. Our youth group brought baskets of food andclothing to the day-laborers' children.

MELCHIORI remember when we used to do that. Together.

WENDLAYou should have seen their faces, Melchior. How much we brightened their day.

MELCHIORActually, it's something I've been thinking a lot about.

WENDLAThe day-laborers?

SPRlNG AWAKENING - 29

~,;"rk'~,

MELCHIOR

("1\T ")\ 1'10

Our little acts of charity. What do you think, Wend la, can our Sunday School deedsreally make a difference?

WENDLAThey have to. Of course. What other hope do those people have?

MELCHIORI don't know, exactly. But I fear that Industry is fast determining itself firmly againstthem.

\-,VENDLA

Against us all, then.

MELCHIORThank you, yes!

WENDLAIt seems to me: what serves each of us best is what serves all of us best.

MELCHIORIndeed.

(A beat)

Wendla Bergman, I have known you all these years, and we've never truly talked.

WENDLAWe have so few opportunities. Now that we're older.

MELCHIORTrue. In a more progressive world, of course, we could all attend the same school.Boys and girls together. Wouldn't that be remarkable?

(In the moment of intellectual engagement, A1ELCHIOR has drawn so close tof;\lEND LA that she grows self-conscious and has to pull back)

WENDLAWhat time is it?

MELCHIORMust be close to four.

WENDLAOh? I thought it was later. I paused and lay so long in the moss by the stream, andjust let myself dream ... I thought it must be... later.

MELCHIORThen, can't you sit for a moment? When you lean back against this oak, and stare upat the clouds, you start to think hypnotic things ...

- 30 - SPRiNG AWAKENING

WENDLAI have to be back before five.

MELCHIORBut when you lie here, such a strange, wonderful peace settles over you ...

WENDLAWell, for a moment maybe.

(WENDLA and MELCHIOR settle beneath the oak. The lights shift, isolating them ina world of vibrant shadow. A classic arpeggio begins)

(WENDLA)

JUST TOO UNREAL, ALL THIS.

WATCHING THE WORDS FALL FROM MY LIPS ...

MELCHIOR

BAITING SOME GIRL - WITH HYPOTHESES!

WENDLA & MELCHIOR

HA VEN'T YOU HEARD THE WORD OF YOUR BODY?

(MELCHIOR reaches, tentatively, takes WENDLA's hand. They begin a private pas dedeux)

MELCHIOR

DON'T FEEL A THING - YOU WISH.

WENDLA

GRASPING AT PEARLS WITH MY FINGERTIPS ...

MELCHIOR

HOLDING HER HAND LIKE SOME LITTLE TEASE.

WENDLA & MELCHIOR

HA VEN'T YOU HEARD THE WORD OF MY WANTING?

0, I'M GONNA BEWOUNDED.

0, I'M GONNA BE YOUR WOUND.

0, I'M GONNA BRUISE YOU.

0, YOU'RE GONNA BE MY BRUISE.

JUST TOO UNREAL, ALL THIS.


WENDLA

WATCHING HIS WORLD SLIP THROUGH MY FIST...

MELCHIOR

PLAYING WITH HER IN YOUR FANTASIES.

WENDLA & MELCHIOR

HAVEN'T YOU HEARD A WORD - HOW I WANT YOU?

I0, I'M CaNNA BE WOUNDED.

0, I'M CaNNA BE YOUR WOUND.

0, I'M GONNA BRUISE YOU.

0, YOU'RE GONNA BE MY BRUISE.

(The lights shift. Back to the woods)

WENDLAThe sun's setting, Melchior. Truly, I'd better go.

MELCHIOR

(Touches her)

We'll go together. I'll have you on the bridge in ten minutes.

(She hesitates, then allows him to take her hand. They walk off together.End of Act l. Scene 5)

L

- 32 - SPRING AWA,KENING

Act I, Scene 6

The Schoolyard. GEORG, HANSCHEn ERNST and OTTO wait expectantly.

OTTO

(Pointing)

Look - there he is!

(MORITZ bounds on)

HANSCHEN

So, did you get caught?MORITZ

No - no - Thank God -

ERNST

But, you're trembling.MORITZ

For joy. For pure and certain joy!

GEORG

(Sarcastic)

Cross your heart?MORITZ

Twice over!

(MELCHIOR enters)

ERNST

Melchior!MELCHIOR

Moritz, I've been looking for you.

GEORG

He snuck into the headmaster' s office.

MELCHIOR

Moritz, what were you thinking?

MORITZ

I had to, Melchi. I just had to.

The good news is: I passed!

HANS CHEN

The middle-terms, that is.


~~~-~----~--- -~----.-----

MORITZYes. Everything will now be determined by the final exams. Still, I know I passed.Truly, Heaven must feel like this.

(iV1ELCHIOR embraces MORITZ. The lights shift.

HEADlviA.STER KNOCHENBRUCH is revealed, as if in his office. He turns toFRAULEIN KNUPPELDICK)

HERR KNOCHENBRUCHWelt well. Fraulein Knuppeldick.

FRAULEIN KNUPPELDICKHerr Knochenbruch?

HERR KNOCHENBRUCHNow that...that skittish, near-aphasic moron ...

FRAULEIN KNUPPELDICKMoritz Stiefel.

HERR KNOCHENBRUCH

("Indeed")

Has somehow passed our middle-term exams, it would appear we face a certaindilemma.

FRAULEIN KNUPPELDICKAh.

HERR KNOCHENBRUCHThe upper grade, as we know, will hold only sixty. I hardly think we can promotesixty-one.

FRAULEIN KNUPPELDICKHardly, Herr Knochenbruch. But, let us look to the finals ahead.

HERR KNOCHENBRUCHYes?...

FRAULEIN KNUPPELDICKRemember, it is I who shall be marking them.

HERR KNOCHENBRUCHThen I am assured the good name of our school is secure.

(HERR KNOCHENBRUCH and FRA.ULEIN KNUPPELDICK exchange a look.End of Act If Scene 6)

1.\

--------


Act I, Scene 7

Afternoon. A windy day. WENDLA, A1ARTHA, THEA and ANNA walk arm in arm.

ANNAShall we take the short way home?

THEANa no - by the bridge.

WENDLAAfter two hours marching with that medicine ball?!

THEACome on!

ANNA

I•i(Teasing)

Someone wants to see: has Melchi Gabor taken a raft out?

THEA

("Even so")

Last one there has to hold hands with Hanschen ...!,-

(The GIRLS start off)

ANNAMartha, careful - your braid's coming loose.

MARTHA

(Concerned)

No.

THEAJust let it. Isn't it a nuisance for you - day and night. You may not cut it short, youmay not wear it down ...

WENDLATomorrow, I'm bringing scissors.

MARTHAI

For Cod's sake/ Wendla, no! ;Papa beats me enough as it is.

WENDLAReallv?

J

MARTHANo, no, I - It/s nothing.

------------ ----- --------_.- ----_.


THEAMartha ...?

ANNAMartha, we're your friends ...

(A beat)

MARTHAWelt when I don't do as he likes...

ANNAWhat?

MARTHASome nights ... Papa yanks out his belt.

THEABut where is your mama?

MARTHA"We have rules in this house. Your father will not be disobeyed."

beat). . / .,

other night,"] ran for the door. lOut the door? All right, I like that. That'sI

where you'll spend the night - out on the street."

THEANol

MARTHAIt was so cold.

ANNAMyGod.

(A beat)

WENDLAHe beats you with a belt?

MARTHAAnything.

WENDLAWith a buckle?

MARTHA

(Rolls up her-~lRight there ...

1.-

------------"---~~~""--


ANNAOh my God!

WENDLAMartha, the welts - they're terrible.

ANNAWe must tell someone.

MARTHAAnna, no!

IIANNA

But we must.

MARTHAI

No, no, please! They'd throw me out foiTgo'octjJ t •I ~I-! THEA

Like what happened to Ilse, you mean.

WENDLARemember!

ANNABut still...

MARTHA'..~1 \1Anna, po. \L~\

(The Lutter degradation)Just look what's become of Ilse now(Living who knows ~here -- with who k-nows

~\ I!Who.(VV i

.-t-~~l-<>. --" WENDLAI just wish I could somehow go through it for you ...

THEAMy Uncle Klaus says, "If you don't discipline a child, you don't love it."

MARTHAThat must be.

(A beat)

ANNAWhen I have children, I'll let them be free. And they'll grow strong and tall.

THEAFree? But how will we know what to do if our parents don't tell us?

~~~~----~--- -~~- ----

__ ~, 37 "'"

,;c ---. ' ''''':l'1'n'~J',~~

SPRING AWAKENING

"~'!

(A menacing eighth-note guitar riff The lights shift. We enter the song world ofMARTHA. Her mother, FRAU BESSELL, casting a long shadow.

Over the course of the first verses, WEND LA, ANNA and THEA walk off one after theother)

III'

FRAU BESSELLMartha, time for bed now.

MARTHA

THERE IS A PART I CAN'T TELLABOUT THE DARK I KNOW WELL...

FRAU BESSELLMartha, darling ...?

(No response)

Put on that new nightgown. The pretty ruffled one your father bought you.

MARTHA

YOU SAY, "TIME FOR BED NOW, CHILD,"

MOM JUST SMILES THAT SMILE -

JUST LIKE SHE NEVER SAW ME.

JUST LIKE SHE NEVER SAW ME...

SO; I LEAVB, WANTIN' JUST TO HIDE.

KNOWIN' DEEP INSIDE,

YOU ARE COMIN' TO ME.

YOU ARE COM IN' TO ME. ..

L ~~~~----

YOU SAYALL YOU WANT IS JUST A KISS GOOD NIGHT,

THEN YOU HOLD ME AND YOU WHISPER, "CHILD, THE LORD

WON'T MIND.

IT'S JUST YOU AND ME.

CHILD, YOU'RE A BEAUTY,"

"GOD, IT'S GOOD - THE LOVIN' - AIN'T IT GOOD TONIGHT?

YOU AIN'T SEEN NOTHIN' YET - GONNA TREAT YOU RIGHT.

IT'S JUST YOU AND ME.

CHILD, YOU'RE A BEAUTY."

- 38 - JSPRlNG AWAKENING

(A KNOCKING on a door. ILSE is revealed in song light. Her father, HERRNEU.MANN, peers out of the dark)

HERR NEUMANNIlse...? Use. Story time.

ILSE

I DON'T SCREAM. THOUGH I KNOW IT'S WRONG.

I JUST PLAY ALONG.

I LIE THERE AND BREATHE.

LIE THERE AND BREATHE ...

I WANNA BE STRONG -

I WANT THE WORLD TO FIND OUT

THAT YOU'RE DREAMIN' ON ME,

ME AND MY "BEAUTY."

ILSE & MARTHA

ME AND MY "BEAUTY" ...

ILSE, MARTHA & BOYS

YOU SAY ALL YOU WANT IS JUST A KISS GOOD NIGHT,

THEN YOU HOLD ME AND YOU WHISPER, "CHILD, THE LORD

WON'T MIND.

ITS JUST YOU AND ME.

CHILD, YOU'RE A BEAUTY."

Il1"GOD, ITS GOOD - THE LOVIN' -

AIN'T IT GOOD TONIGHT?

YOU AIN'T SEEN NOTHIN' YET -

GONNA TEACH YOU RIGHT.

ITS JUST YOU AND ME.CHILD, YOU'RE A BEAUTY."

THERE IS APART I CAN'T TELL

ABOUT THE DARK I KNOW WELL.





---- --_ .._-----

SPRING AWAKENING - 39 --., 'V':'''''"';'''\'''X~

(ILSE, MARTHA & BOYS)

THERE IS A PART I CAN'T TELLABOUT THE DARK I KNOW WELL. ..

(BLACKOUT. End of Act I, Scene 7)

III'1,1

0;-

I....~

Documents

Spring Awakening Script Part 1