This House UK Tour

23rd Feb 2018 - 2nd Jun 2018

Book Tickets

Meek

31st Jul 2018 - 22nd Sep 2018

Book Tickets

Spring Awakening Branding 40px high

Ekow Quartey

Hans and Mr Sonnestisch

Spring Awakening actor Ekow Quartey is interviewed in his dressing room at the West Yorkshire Playhouse.

Ekow Quartey talking about rehearsing Spring Awakening.

Ruby Thomas

Thea and Mrs Bergman

Spring Awakening actress Ruby Thomas is interviewed in her dressing room at the West Yorkshire Playhouse about playing Thea and Mrs. Bergman.

Ruby Thomas is interviewed about playing the roles of Thea and Mrs Bergman in Spring Awakening.

George Dennis

Sound Designer

Spring Awakening Sound Designer, George Dennis is interviewed about the show.

George Dennis talks about designing the sound for Spring Awakening.

Matt Lambart

Assistant Stage Manager

Matt Lambart is interviewed about what it's like to be an ASM on Spring Awakening.

Matt Lambart, Assistant Stage Manager on Spring Awaakening talks about finding unusual props from the porduction.

Claudia Grant

Martha and Mrs. Gabor

Spring Awakening actress Claudia Grant is interviewed in her dressing room at the West Yorkshire Playhouse.

Claudia Grant, who plays Martha and Mrs Gabor in Spring Awakening discussing the challanges of playing two roles.

Oliver Johnstone

Melchior

Spring Awakening actor, Claudia Grant is interviewed about playing Melchior in Headlong's new show.

Oliver Johnstone talks about playing the part of Melchior in Spring Awakening.

Spring Awakening Playlist

Listen to the soundtrack from Spring Awakening.

Ian William Galloway

Video Designer

Ian William Galloway is interviewed at the West Yorkshire Playhouse about designing the video for Headlong's new production of Spring Awakening.

Video Designer, Ian William Galloway talks about what choices were made in designing the video content for Spring Awakening.

Anya Reiss

On writing a new version of Spring Awakening

In 1890, Franz Wedekind, an ex-circus performer cabaret singing sex addict, wrote a play called Spring Awakening. It was about teenagers being gay, getting pregnant, crumbling under exam pressure, beating each other, killing themselves and above all being lied to by adults. No one dared to perform it for 15 years. In 2014, setting out to write a new version for Headlong where my brief was to set it in 21st century England rather than late 19th century Germany, I expected a lot was going to have to change. Surely a play about oppressed and repressed 14 year olds in a provincial town during the thriving economy 1890 Germany has little to say to modern day British teenagers?

Rehearsal Diary- Tech week

By Kimberley Sykes

Walking out onto the stage for the first time you become very aware of the number of seats in the auditorium. In the rehearsal room the observers sit right in front of the actors, but in the Courtyard Theatre they will also be sat ten rows back, on the sides and up in the gallery. These seats mean Technical Rehearsals begin with a heightened awareness of the experience we want our audiences to have.

Rehearsal Diary- Week Four

By Kimberley Sykes

In any rehearsal process it is a challenge to manage the passing of time and orchestrate those points at which the many elements involved in creating a show are brought into focus. There has been an accelerated effort to do this in week four, as we prepare to leave the familiarity of the rehearsal room for the, as yet, unfamiliar Courtyard Theatre.Three weeks ago, video and sound material that seemed premature to create is created now; the plotting of props that didn’t need setting two weeks ago, are set now and adjustments to staging, that didn’t feel right to decide on last week, are decided on now.

MR BRIGHTSIDE

The Killers

Listening to music can really help to evoke the world of the play. In the rehearsal room, we've been listening to some of the songs that remind us of our teenage years.

Rehearsal Diary- Week Three

By Kimberley Sykes

There’s been something very useful for us in changing rehearsal rooms (and cities) as we enter week three. The first half of the process involved lots of necessary and useful improvisations, exercises and exploration; laying down the foundations of the play and ensuring they are strong and solid.

Rehearsal Diary- Week Two

By Kimberley Sykes

It has been a busy weekend between weeks one and two; Anya has written up a new draft of the script based on the discoveries of week one, Ben has consolidated the facts and questions and the cast have been ‘googling’ specific research topics.

This work is shared on Monday with the whole company. We read through the changes in the script so that they can be heard out loud. It makes such a difference to actually hear them and whether they sound as Anya intended them to. We also go through our list of questions and see if we can now agree an answer.

Rehearsal Diary- Week One

By Kimberley Sykes

‘Meet and greets’ feel like something of an adult invention. The morning of our first day, we stand in an orderly circle and tell everyone our names and roles in this production of a new version of Frank Wedekind’s ‘Spring Awakening’ by Anya Reiss, but this is Spring Awakening and far from ‘well behaved’ so Jeremy Herrin’s (Headlong’s Artistic Director) challenge to the company to be radical in our creativity and to stand in the face of status quo, immediately makes us drop one hip, narrow our gaze and grin like the teenage rebels you know we all once were!