Spring Awakening Music By Duncan Sheik Book And Lyrics By .
Spring AwakeningMusic by Duncan SheikBook and Lyrics by Steven SaterDirected by Michael MayerChoreography and Musical Staging by Bill T. JonesOctober 29 – December 7, 2008Ahmanson TheatreDiscoveryGuideThis production of Spring Awakening is generously supported in part byArtistic Director’s Circle Members Debra & Norris Bishton.
How to Use ThisDiscovery Guide601 West Temple StreetLos Angeles, CA 90012“Shame. What isits origin? Andwhy are wehounded by itsmiserable shadow,”fumes Melchior Gabor, the fifteen-year-old freethinking protagonist of German playwright FrankWedekind’s 19th century coming-of-age play.For over one hundred years, Spring’s Awakeninghas weathered a storm of controversy for its rawsexuality and unsentimental portrait of young adultscoming of age in a society cloaked in taboos andbarely-whispered truths. As potent today as when itwas first written, the play has been reincarnated asa rock music sensation that has revolutionized theBroadway musical.This Discovery Guide will lead you through thelandscape of the controversial new musical, adaptedfrom the play that has fascinated and shockedaudiences for over a century.Objectives of this Discovery GuideConsider the attitudes of 19th century society as aninfluence on contemporary valuesExamine the origins and consequencesof taboo and censorship within a societyDistinguish between realistic and nonrealistictheatrical stylesSteve ShadeWriterRachel FainManaging EditorChristine MantillaProofreaderCharity CapiliGraphic DesignerDoug HamiltonCover PhotoDiscovery Guide FeedbackSpring AwakeningInformationTickets2 Spring AwakeningTrace the formative influences on thecreation of Spring Awakening as a playand as a musicalExplore avenues for communication betweenparents and children on issues of sexualityIdentify problems and pose solutionsto contemporary coming-of-age issues
Table of ContentsBEFORE THE PLAY“Mama Who Bore Me”Victorian Values4“The Word of Your Body”A New Morality6Synopsis of Spring Awakening8“I Believe”The Inspiration for a Musical9AFTER THE PLAY“And Then There Were None”Defying Theatrical Traditions10“All That’s Known”Adult Values in Spring Awakening12Resources for Further Study16lea michele and jonathan groff, original broadway cast,Spring Awakening. photo by Tim White.Center Theatre Group Discovery Guide 3
“Mama Who Bore Me”: Victorian ValuesWWhen Queen Victoria assumed the British throne in1837, she not only ushered in an era of great expansionfor Britain, but also a heightened morality that wouldcharacterize the rest of the 19th century. She and PrinceAlbert sought to restore public respect for nobility thatthe loose morals and debauchery of earlier reigns haddamaged. Due to the prominence of the British Empire,many of these values spread to continental Europe andAmerica. Therefore, far from a British phenomenon,Victorian morality became the model of 19th centuryideals.One such value that Victorian morality espousedwas the sanctity of the home and the importance ofreligion: reverence for the Sabbath forbade not onlydrinking and gaming, but even secular reading onSunday. Daily family prayer played a powerful role inthe training of children and servants, supplementedby spiritual readings and weekly sermons in church.Pilgrim’s Progress, a popular family book, emphasizedself discipline, piety and self-improvement. Womenand children were seen as innocents to be protected.The notion of a married woman seeking status andrecognition independent of her husband constituted abreach of family values.With chastity and temperance as ideals, prudishnessreached new heights: Despite already modest apparel,men and women were often segregated for oceanbathing, ultimately leading to the invention and use ofa bathing machine, a closet-like contraption on wheelsthat allowed the bather to change clothes and enterthe water completely hidden from people on shore.Fig leaves and other adornments were strategicallyplaced over genitals on museum sculptures. In someinstances, piano legs were covered with a protectivestocking out of respect for modesty. Couples wereencouraged to practice sexual moderation– indulging in sexual intercourse no morethan once a month. The Obscene Publications Actof 1857 forbade the distribution of information aboutcontraception and human biology to the working class.4 Spring AwakeningProstitution, homosexuality and masturbation wereattacked as threats to the social order. Homosexualitywas illegal, giving way to many well-attended trialsin which the accused were ruined. Masturbation wasincreasingly viewed as a pathological habit with direconsequences. A French physician warned, “neither theplague, nor war, nor smallpox, nor a crowd of similarevils have resulted more disastrously for humanity,than the habit of masturbation; it is the destroyingelement of civilized society.”Profanity became taboo; even words used in the Biblesuch as “fornication” and “whore” were forbidden.Any work of literature employing sexual themes orlanguage was attacked. Even Shakespeare’s works wereperceived as a corruptor of morals. Verbal or writtencommunication of sexual feelings was condemned,precipitating floriography, a means of communicationin which flowers bore coded messages which otherwisecould not be spoken.While G. Kitson Clark in The Making of VictorianEngland (1962) defends the era as “a battle forrefinement and civilization, and above all the betterprotection of women and children against promiscuity,animalism, brutality and grossness,” other socialhistorians are less generous in assessing the positiveimpact of Victorian morality. To many, it was an era ofabundant hypocrisy, where outward appearances ofdignity and restraint were often at odds with privatebehavior. Even Queen Victoria liked to draw and collectmale nude figure drawings – one which she made as apresent to her husband, Albert.
This cartoon from Punchmagazine features abathing machine.TabooDuring the Victorian era, there weremany taboos. Are any of these stillin existence in contemporary society?What other taboos are subject todisapproval or censorship today?ExercisesDid the Victorian desire to repress and suppress diewith Queen Victoria in 1901? Many argue that there willalways be a tension between what authorities view asdecent and appropriate and what people wish to readand see. “The corset of society,” as Edith Wharton calledit, is a measure of individual behavior with which thecharacters of Spring Awakening struggle.There’s Nothing Dirty in a WordVocabularyDebauchery: n. Excessive indulgence insensual pleasuresEuphemism: n. A word or expression substitutedfor one thought offensiveHypocrisy: n. Pretending to possess principlesthat contradict one’s behaviorTaboo: n. A subject considered forbidden orsensitive in a particular cultureEuphemism was abundant in Victorian times as a device for politelydiscussing what was otherwise considered inappropriate. For example,Victorian prudery deemed it improper to say “leg” in mixed company.“Limb” became the appropriate euphemism.In the first column below is a list of words considered inappropriatein Victorian conversation. In the opposite column is a euphemismfor each. Match the improper word with its more polite counterpart:1. Pregnant2. Delivering a child3. Sexual Intercourse4. Masturbation5. Toilet6. Wet Dream7. Vagina8. Homosexuality9. Have an orgasm10. PenisA.B.C.D.E.F.G.H.I.J.Giving the old man his supperWater closetThe love that dare not speak its nameTo spendWomanly passageAccouchementThe solitary viceLollipop; charmerNocturnal emissionWith childList 5 sexual euphemisms commonly used in contemporary culture:forforforforforCenter Theatre Group Discovery Guide 5
“The Word of Your Body”: A New MoralityTrust me, there areonly three ways aman can go. Hecan let the statusquo defeat him –like Moritz. He canrock the boat – likeMelchior – and beexpelled. Or he canbide his time, andlet the System workfor him – like me.—Hanschen inSpring AwakeningFFrank Wedekind is regarded as a daringly imaginativepioneer of sexual freedom on the stage. Beginningwith Spring’s Awakening, one of his earliest plays,much of his work was an attack on the bourgeoisconventionality and hypocrisy of his Victorianaudience. Early in his career, he found the restrictionsof middle-class morality intolerable and wasdetermined to preach a new morality, advocating for afreer, unhampered life.Wedekind’s desire to exercise this philosophy becamea constant source of antagonism between him andhis father. Upon his father’s death and a sizeableinheritance, Wedekind suspended his study of lawand moved to Paris. There he met a man who wasinfluential on his life philosophy: Willy Rudinoff, anacrobat, actor, painter and imitator of animal noises,provided Wedekind with backstage connectionsto a host of Parisian circuses. Wedekind spent thenext several years traveling with these circuses, anexperience that further refined his philosophies.Struggling against the Victorian conception of sexas filthy, and the hypocrisy that made the intelligentdiscussion of sex impossible, “the flesh,” he insisted,“has a mind of its own.”While other playwrights focused on political and socialissues, Wedekind took to task the established moralcode and the institutions responsible for its execution.Remembering his rebellion against his father, hisschool days in Switzerland and the rash of suicidesamong his classmates at the end of the academic year,he completed his first major work, Spring’s Awakening,in 1871, the publication of which created a sensation.VocabularyBourgeois: adj. Characteristic of the middleclass; n. the middle class, also bourgeoisieA trick horse named Emerald becamethe symbol for Wedekind’s pursuit of life:“In approaching the barrier that he must leapin front of thousands of eyes, he displays threequalities: a lack of self-restraint, an utterself-forgetfulness and a joy in youth (three qualitiesof the ideal Wedekindian hero). Upon landing,he almost stumbles and falls but, completelyunabashed before the audience by thisnear-tragedy, triumphantly leaves the ring.”Wedekind had an affinity for circus performers,who felt free to express themselves in totalignorance of cultural ethics.6 Spring Awakening
ExercisesA Parent InterviewAnswer these questions for yourself, then interview one or both of your parentsor other adult and sum up their responses beside yours in the space provided.SELFPARENTAt what age did you firstlearn about sex?How did you learn about it?From whom?With which family memberis (was) it easiest to discusssexual matters?What prior misconceptionsdid you have about sex?Is there anything that wouldhave been beneficial to haveknown earlier? Why?Do you think teens today aremore sexually aware? Moreactive? Why?Are (were) your parents strict orpermissive with you in regardsto viewing material with sexualcontent? Describe.At what age should a childshould be educated aboutsex? Do you think that sexualeducation is better handled byan educator or a parent? Why?What expectation that yourparents have (had) for youdo (did) you most disagreewith or ignore? Why?What attitidues about sexare (were) communicatedby society?Center Theatre Group Discovery Guide 7
ExerciseIn Defenseof ValuesWho or what most influencesyour personal values regardingsexuality and morality: Religion?Government? Parents? Peers? Movies? Music? Advertising?Personal experience? Identify one belief you hold and explain whyyou feel this way.Synopsis ofSpring AwakeningIInfluenced by a rash of suicides that occurred at hisschool during examination time, Wedekind penned hisfirst significant play, Spring’s Awakening, and subtitled it achildren’s tragedy. His play became the basis for this newpop-rock musical in which the parents, teachers and clergyof a hypocritical 19th century German society stifle theyoung adults, keeping them in ignorance regarding mattersof their sexual and intellectual “awakening.”Young Wendla begs her mother to explain how babies aremade but her mother, too choked with her own Victorianmorals, is unable to truthfully respond. Moritz strugglesineptly to balance his schoolwork with the distractions ofhis newly-aroused hormones. Their schoolmates contendwith similar stirrings: Georg lusts after his piano teacher;Hanschen channels his energies into rabid masturbationand a dance of seduction with one of his male classmates;while the girls fantasize over the free-thinking class rebel,Melchior Gabor.Only Melchior has managed to see his way through themoral contradictions to assert some independent thinking,declaring himself an atheist in rejection of his teachers’pious authoritarianism. He illustrates an informationalsexual pamphlet to aid his ailing friend, Moritz. A romancedevelops between Melchior and Wendla. However, they soonfind themselves in a situation for which they are emotionallyand intellectually unprepared, resulting in far-reaching anddisastrous consequences.The young adults, caught between their sexual urgesand society’s contradictory teachings, must reckon withsituations – pregnancy, abortion, expulsion, suicide, rape,sexual abuse – that threaten to destroy them.Wedekind was no stranger to censorship. His revolutionary themes and theatrical style relegated himto an obscure corner of the German theatrical scene. His efforts to undermine bourgeois morality andhis belief in a utopia of sexual perfection gave him a growing reputation as an exhibitionist. For the firsttwenty years of adult life, he was in continuous friction with the contemporary world, experiencinghatred, injustice and contempt as an outcast of society.Not only did Wedekind have to self-publish Spring’s Awakening, the play was not produced foranother fifteen years. Many of his plays could not be performed publicly during his lifetime. DuringSpring’s Awakening’s first American production in English in 1917, the New York Commissionertried to close it down, claiming that the play was pornographic. The production lasted only a singleperformance. Spring’s Awakening was banned in London by the Lord Chamberlain as recentlyas 1963.Due to Wedekind’s lifelong battles with censorship, after his death, his friends formed a “Wedekindbund” to assist other writers in conflict with censors. By this time, almost all of his plays, regardlessof theme, had been placed under some restriction by the Kaiser.8 Spring AwakeningWedekind and the Censors
ExerciseInvestigatingCensorshipThe MPAA (Motion PictureAssociation of America) RatingsReview Board is responsible forthe ratings systems that you see advertised on films releasedto theatres. Some filmmakers consider this system a form ofcensorship, since the board may restrict viewing for anyone underthe age of 17. On the other hand, some parent groups have accusedthe MPAA of being too lenient in their ratings.Your teacher will provide you with a list of films. Using the MPAAwebsite (www.mpaa.org/FilmRatings.asp), www.imdb.com andother resources, research your selected film to determine thespecific reasons it was assigned its rating.Prepare a short report considering the following questions: What is the film about? Why was the film assigned this rating? What controversialmaterial does the film contain? What specific examples within the film are provided tosupport the assigned rating? Would you consider the rating assigned to this film to beappropriate? Why or why not? Who do you foresee as the audience for this film?Have you seen it?“I Believe”:The Inspirationfor a MusicalWWedekind’s 19th century play might seem an unlikelysubject for a musical, containing as it does suicide,abortion, rape, homosexuality, masturbation,sadomasochism, sexual abuse and other sensitiveissues. Steven Sater, one of the creators of themusical, obviously disagreed, defending the play’suniversality: “It just felt like a timely metaphor for me,for how we were not paying attention. And sex is partof that, because sex is the thing we want to keep in thedark. I think it’s really difficult as a parent to recognizethe sexuality of your child.”In collaboration with Composer Duncan Sheik, hequestioned how the songs in Spring Awakening mightfulfill a purpose distinctly different from ones in atraditional musical:“The songs we love and that remain part of us, take usinto the heart and soul of the singer. The singer becomesthe song. That’s what we wanted to write – not songsforwarding the plot of the story. That is writing the surfaceinstead of the depth.”Although the characters wear period costumes andspeak in 19th century dialogue, this is juxtaposed byinternal thoughts that burst forth in indie-rock songs.Since rock music has traditionally been a means foryouth to rage against the machine and vent theiranguish and longing, the songs become a moment toescape the societal straitjacket. Sater comments, “Theidea [is] that we can all be rock stars in our bedroom but then at the end of the day you have to still comedown to dinner, you still have to go back to school,you still have to be a good kid.”In song, the young characters can give voice to thefears, confusions and anxieties about coming of agethat threaten to tear them apart, resulting in a songcelebrating masturbation and a chorus number aptlytitled “Totally Fucked.”According to Sater, even the adults who see theproduction identify with the adolescent urges thatexplode into songs: “There’s a woman who cameup to the actor playing Melchior the other night[who] looked like she was in her fifties, and she said,‘You sang that song ‘I’m Gonna Be Wounded’ and Iremembered that moment: 1978, across the bar atStudio 54, I saw him and everything changed.’”Center Theatre Group Discovery Guide 9
After the PlayExerciseIdentifying OtherNonrealisticElementsAs you watch the productionof Spring Awakening, see if youcan identify some of these theatrical elements that break theillusion of real life. Consider the effect that they have on you asyou watch: Actors doubling/playing more than one role Characters who are not part of the scenewatching the action The presence of a Chorus The actors’ use of microphones Movement and gesture that is more abstract andexpressive than realistic Staging that emphasizes the actors’ relationshipto the audience A stage set that does not actually represent aparticular place Dramatic shifts in lighting that occur between scenesof dialogue and songsWhat other elements of the production do youconsider nonrealistic?By contrast, what elements of the productionare most realistic?NOTES:“And Then ThereWere None”: DefyingTheatrical TraditionsNNot only did Wedekind rebel against his father andGerman bourgeois society, his theatre aesthetic flewin the face of the theatrical conventions of the day.By opposing popular tastes, Wedekind struggled tohave his plays appreciated or even produced.Although Wedekind associated with other realisticplaywrights, he had always been at odds with the true-to-lifedialogue typical of their style. Instead, Wedekind wanted hischaracters to speak the lines in a manner that would shockthe audience into a state of attentiveness. He also believedthat the bourgeoisie expected only entertainment, so hesought to give them tragedy in comic forms. These two ideaspropelled him towards a stage style that was a forerunnerof expressionism, a movement which flourished in the early20th century before being absorbed and softened into othertheatrical styles. Rather than depicting reality objectively,with little interpretation as realism attempted to do,expressionism offered a subjective, distorted view of realityas perceived through the eyes of the main character.Since Wedekind scorned realism, he refused to allow hischaracters to develop along realistic lines and wasted littletime in establishing motivation for characters. Wedekindlectured against what he saw as an antiquated acting styleand turned to acting in his own plays to provide example.He was not afraid to step right up to the footlights and speakto the audience – the school master hammering the lessonto his pupils. The result caused a large degree of frustrationand confusion to an audience geared for psychologicalrealism. However, the alienation effect that such a techniqueproduced was said to be a major inspiration to the youngplaywright Bertolt Brecht, who observed Wedekind’sperformance as a frequent spectator of German theatre.10 Spring Awakening
Bill T. Jones: Giving Form to FeelingIn seeking a movement style appropriate for this unorthodox musical, Choreographer Bill T. Jones foundhimself embracing the expressionistic elements of the original Wedekind play. “No matter what I’m doing I’m translating it in terms of what I know, which is abstract gesture in movement and time.” To discover anexternal physical choreography that would exhibit the explosive interior emotions of the characters, he began theprocess by coaxing organic movement from the actors: “Dancers don’t question why they do something, but actors needto understand motivation for gesture and movement,” he noted.During the rehearsal process, Jones shaped their impulses into movement, uncovering a language of rebellion:an abstract, gestural vocabulary that would express the angst, longing and repressed urges of the teenage characters.This was easier for the men than the women. “How does a rebellious young woman behave physically?” Jonesquestioned. The musical begins with the song “Mama Who Bore Me” in which Wendla stands looking at her bodyin the mirror. Jones realized that “her body is moving in a way that [shows] it knows the things she needs,[even though] she doesn’t know yet. That awakening is moving like a virus through her and all the kids ‘tilit explodes everywhere.”Jones’ “language” has struck an empathetic chord with young audience members. Some fans have taken toimitating the abstract gestures that they see the actors use during the production: a hand traces a circle onthe torso, elbows follow the impulse, lifting an outstretched arm in an expression of newly-discovered desire.The New York Times review of the Broadway production has praised Jones’ “inventive but unshowychoreography [that gives] potent physical expression to the turbulent impulses of adolescents livingsplintered lives.”“Sometimes musical theatre looks so dumb,” Jones comments, referring to the sometimes too literal,stock gestures often associated with musical comedy, when actors clutch their hearts as they sing aboutlove. Jones mused, “People are ready for this, for a gesture, for the abstract.”John Gallagher Jr., Original Broadway cast. Photo by tim white.ExerciseExpressive GesturesIdentify one abstract gesture that an actor performed in Spring Awakening. What did that gestureexpress about the character’s internal thought or feeling? How might that gesture have looked if thechoreographer were seeking a more literal and realistic expression?VocabularyExpressionism: n. A theatrical style in which theexternal world is shaped by internal perceptionsLiteral: adj. Strictly in accordance with surfacemeaning; unimaginativeMotivation: n. In acting, the psychologicalor emotional reason a character does orsays somethingRealism: n. A theatrical style which attemptsto recreate the world on the stageCenter Theatre Group Discovery Guide 11
“All That’s Known”:Adult Values in Spring AwakeningTThe values of the adult world in Spring Awakeningresult in destruction: Moritz commits suicide,Wendla dies from a botched abortion, Martha suffersnightly from her father’s physical beatings and sexualadvances, while Ilse’s dangerous adventures thrive onutter parental neglect. In order to escape the fate ofhis friends, Melchior must strike out on his own withonly the spirit of his lost friends for company:“You walk on by yourself, and not with themStill you know,They fill your heart and mind,When they say: ‘There’s a way through this’”Melchior rails against what he sees as the“parentocracy” of education, where children areviewed as blank slates needing to be filled. It is aneducational system characterized by rote recitation,humiliation, corporal punishment and an intolerancefor original thinking: “Teachers – like parents – viewus as merely so much raw material for an obedientand productive society a unified, military-like body,where all that is weak must be hammered away.”Of the adults, only Mrs. Gabor seems to counter thisapproach, trusting in Melchior’s instincts to find hisway even if he stumbles onto ideas he’s not preparedto fully understand. However, her husband later faultsher approach: “For fifteen years, my darling, I havefollowed your lead, we have given the boy room. Andnow we must eat of the bitter fruit. He has shownhimself utterly corrupt.”“My Uncle Klaussays, if you don’tdiscipline a child,you don’t love it.”—Thea inSpring Awakening12 Spring AwakeningIn his journal, Melchior determines, “Shame isnothing but a product of Education.” Indeed much ofthe adult behavior is guided by shame. When Moritzis not promoted, his father’s immediate concern ishow this failure will reflect on his own standing inthe community: “What do I tell them at the Bank?How do we go to Church?” Wendla’s mother leadsher daughter to the abortionist, promising to remainwith her, but as soon as Schmidt appears, she “looksaround nervously, then bolts up the block.” CertainlyMoritz’s schoolteachers are more concerned about theschool getting a bad reputation than the tragic suicideof one of their young pupils.It is a society of double standards, where even clergyfail to protect the young people.In his sermons, Father Kaulbach pressures the youngadults to consider, “In what ways have we honored,or dishonored, our father and mother?” without everasking the adults to turn the question around. Thisthinking fosters Herr Bessell’s nightly molestation ofhis daughter under the pretext that “the Lord won’tmind.”Who is to blame for the tragedies that result – theadults or the children themselves? Are the adultsunfeeling monsters bent on the destruction of theirchildren? Do they love and protect the children toolittle? Too much? Why do the teachers, doctors andclergy of the community, whose role it is to protect thechildren, end up causing them such harm?Consider the biblical story of Adam and Eve.Eating from the Tree of Knowledge ultimately broughtshame and pain, as they were banished from theGarden of Eden. Do children need to be protectedfrom knowledge? Or does such ignorance result inharm? Do the adult values of Spring Awakening stemfrom an attempt to preserve the Garden of Eden?
The Guilty OnesExercisesHow would you rank the adults of the play in terms of their value as a parent or authority figureto the young adults? Which character do you consider to be the most harmful? The least harmful?Consider their behavior/words as well as their intentions. Does it matter whether they cause harmout of ignorance, shame, fear or contempt?Rank the adult characters below by reorganizing the list from top (most harmful) to bottom (least harmful). Be prepared to discussyour rankings with the class.Frau Bergmann1.Herr Sonnestitch2.Herr Knockenbruch3.Fraulein Knuppeldick4.Frau Gabor5.Herr Gabor6.Frau Bessell7.Herr Bessell8.Father Kaulbach9.Herr Steifel10.Doctor Von Brausepulver11.Five ScenariosDraft a written plan for each of the scenarios below. Using your plan, you will be asked to discuss or improvise these scenariosbefore the class, playing the role of the parent. Consider how your child might respond to your words and your approach.What is your intended outcome and how can you best accomplish it by what you say and how you say it? Your 10-year old daughter asks you to explain where babies come from. The doctor has just informed you that your 15-year old daughter is pregnant.You have never discussed any sexual matters with her. You have just walked in on your son masturbating. He is embarrassed and refuses to face you.You have never discussed sexual matters with him. Your son has just told you that he flunked out of high school and will not be continuing his education.You feel that he has been distracted by girls and has not focused his energies on his education,and you want to keep him from making this mistake. You have found a love letter in which your child discusses having had unprotected sexwith a same-sex classmate and his/her intent to do so again.Center Theatre Group Discovery Guide 13
Innocence vs. IgnoranceExercise14 Spring AwakeningWe live in a society where most young people are exposed to very grown-up images and ideas at a veryyoung age. Is that good or bad? What is the difference between innocence and ignorance? What are thebenefits of knowledge? Is there a time when not knowing is a good thing?Write an essay supporting your point of view.
ExercisePublic Service AnnouncementBased on your work on the scenarios on page 13 and the interview on page 7,brainstorm on the following three questions:What are the most important problems facing adolescents and young people as they grapple with becoming adults?What warnings or messages need to be communicated that could help them through these issues? What message might be the bestsolution to the problem?How might you best reach an audience of adolescents or teens with such a message? In what ways might you capture their attention andmake an impact with your message? Meet with the group that your teacher assigns and share your ideas. From that discussion, as a group design a Public Service Announcement that is directed to a particular audience ofadolescents or teens with the aim of getting across a specific message. Consider the best ways of getting the attention ofyour intended audience. If the information is already out there, how will your campaign make a difference in getting themessage across? As a group, create, rehearse and prepare a one-minute Public Service Announcement. This “commercial” can be performedlive or recorded as a DVD, video or PowerPoint presentation. You will need to write the text, plan the images or movementsa
Synopsis of Spring Awakening 8 “I Believe” 9 The Inspiration for a Musical AFTER THE PLAY “And Then There Were None” 10 Defying Theatrical Traditions “All That’s Known” 12 Adult values in Spring Awakening Resources for Further Study 16 LEA MICHELE AnD JOnATHAn GROFF, ORIGInAL BROADWAy CAST, Spring AwAkening. PHOTO By TIM WHITE.
Thyrsus MET Awakening 96; Tome of the Watchtowers 130 Orders Seeming Title & Page Number Adamantine Arrow MET Awakening 99 Free Council MET Awakening 103 Guardians of the Veil MET Awakening 107 Mysterium MET Awakening 111
duncan village - from past to present 14 duncan village today 15 .a part of east london 15 III inventory 20 city structure - three neighborhoods 20 duncan village west 22 duncan village central 24 duncan village east 26 dwelling structure 28 public space 30 douglas smit highway 30 commercial activities 30 public facilities 32 .
Spring Awakening, Barber, 8 p.m. Spring Awakening, Barber, 8 p.m. Spring Awakening, Barber, 2 p.m. Valentine’s Day Spring Awakening, Barber, 8 p.m. . to working with no script at all, Zimmerman had too much material for Candide: the score by Leonard Bernstein (H57)
1005 Malcolm II kills Kenneth III. 1018 Duncan, grandson of Malcolm II, becomes king of the Britons of Strathclyde and Cumbria. ca.1033 Duncan’s son Malcolm is born. 1034 Malcolm II, grandfather of Duncan and Macbeth, dies, leaving his throne to Duncan I. 1039 Duncan I leads
DM1758 Box Bearthday Duncan 4.00 DM1360 Base Lantern Fish Duncan 6.00 DM1359 Lantern Top Fish Duncan 6.00 DM141a Apple Bowl Duncan 3.00 DM1006 Heart Box Duncan 4.00 1821 Box Round Gare 4.25 DH519 Potpourri Cup and Pedestal Doc Holliday 4.25 D955ab Satin Cord Heart Box and Lid Don
SPRING AWAKENING BOOK AND LYRICS BY Steven Sater MUSIC BY Duncan Sheik BASED ON THE PLAY BY Frank Wedekind . All That’s Known The Bitch of Living My Junk Touch Me The Word of Your Body . Totally Fucked The Word of Your Body (Reprise 2) Whispering Those You’ve Known The Song of Purple Summer ELIZABETH HUTSON (WENDLA) is a sophomore at .
Spring Summer Melody Sheet Music Download spring summer melody sheet music pdf now available in our library. We give you 2 pages partial preview of spring summer melody sheet music that you can try for free. This music notes has been read 4069 times and last read at 2021-03-08 13:33:44. In order to continue read the entire sheet music of spring .
The Audit and Accounting Thresholds . AAT is a registered charity. No. 1050724. 3. Accounting Threshold The . regulations apply in respect of financial years beginning on or after 1 January 2016 whereby the audit threshold and the accounting threshold have become the same for private limited companies. The requirements for a private limited company that is also a charity are different. Please .
