Interview: Gerilyn Brault of SPRING AWAKENING at Oceanside Theatre Company

Aug 29

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Winner of eight Tony Awards, SPRING AWAKENING is a rock musical that dives headfirst into the messiness of growing up—identity, desire, rebellion, and all the forces that try to hold you back. Nearly twenty years after its Broadway debut, the show feels as urgent as ever. Oceanside Theatre Company is bringing it to the Sunshine Brooks Theater through September 14th, featuring a cast that combines seasoned professionals with student apprentices through the STAGES program.

Director Gerilyn Brault to talks about why SPRING AWAKENING hits so hard right now, and how mentoring emerging artists is shaping the production.

SPRING AWAKENING has been experiencing a revival lately, popping back up on stages across the country. Director Gerilyn Brault says that’s no coincidence, this is a show the world needs again right now. After seeing it when it first premiered, Gerilyn says this is a show that has always stood the test of time because of the topics it covers.

“I saw the first national tour two or three times in my twenties, and I was hooked.

My students at college know it and love it, and I always think about shows like HAIR, JESUS CHRIST SUPERSTAR, and RENT. It's like every decade or so, a show speaks to young people and has lasting power.

SPRING AWAKENING is the early 2000s staying power piece, I think, but it's fascinating because the script is very, very close to the 1891 play (of the same name) from Germany.

There's not as much adaptation as you would think. So many things that people assume from the musical are so inflammatory and must have been added; they were not. Those scenes are in the original show, and that show obviously is very controversial and always has been.”

As both a theatre artist and a college educator, Gerilyn sees firsthand how the artistry of the show blends with the story and why its themes continue to resonate nearly two decades later, reinforcing why this is the perfect time to stage it.

“There's something about the script and the music that has always really interested me as a director that I wanted to explore. When we started pitching this, the Roe v. Wade things were occurring, and attacks on gay relationships were ramping up again.

Once we were set to do it, what really struck me was the censorship of education with the teenagers and how that is ramping up again for our society. I think this show offers a great cautionary tale about adolescence. It comes down to them needing to understand these things; if we don't teach them, they will figure it out, and they may not do so in a safe way.

To me, the song ”All That's Known” has become such a warning and rallying cry for the time we are living in right now. I really think that the show may have been written in 1891, but it's still happening right now.”

The cast of SPRING AWAKENING Photo Credit: Ken Kacques

SPRING AWAKENING is also known for its raw and unflinching nature. Its intimacy and emotional weight have sparked controversy since the 1890s, and they still land with force today. With a cast that includes both seasoned performers and student apprentices, Gerilyn shared how she approached the intensity from auditions to rehearsal, while ensuring the work remains safe and sustainable for everyone.

“I take intimacy and vulnerable work very seriously, and I am trained in best practices from theatrical intimacy education. I also knew that, because I have been or am their teacher at times, I thought it was really important to have an intimacy coordinator.

Intimacy Coordinator Kandace Crystal came in, and I adore working with her. I've worked with her as an actor, and I find that her approach to intimacy is really accessible.

We had a very detailed breakdown of the script's needs for certain characters right from the start. Everyone had to look at that when they auditioned so they were very aware of the content that they could be asked to do.”

Prioritizing her performers’ personal safety along with their performances meant it was equally crucial to Gerilyn that everyone could “turn it off” and not carry the shadows of these stage situations with them when leaving the theatre.

“I always told them, even at callbacks, having to read some of these very emotionally fraught scenes, I said, ‘I need to be able to see you turn it off.’

I always encourage my actors to work in imaginary circumstances and grounding their work in a way that they can walk away each day feeling okay and candid. We want to leave this show on stage.”

The music of Spring Awakening is as bold and evocative as its story, with lyrics that often read like poetry. For this production, Gerilyn is collaborating with music director and choreographer E.Y. Washington, whose dual role is shaping both the sound and the movement of the show, and feels like the perfect fit for this piece.

“E.Y. has been saying they're kind of tone poems on eroticism. Every song is about a different reflection, and it's almost like an etude on something about this journey.

I knew because of E.Y.'s love of poetry that I wanted them as music director. Then, when the opportunity came for them also to choreograph, I thought how wonderful to have someone who can do both.

We can craft the messaging that they are finding and instilling in them through the music into the movement as well.”

This production also marks a milestone for Oceanside Theatre Company, with the majority of the ensemble comprising student apprentices from the STAGES program, a unique blend of emerging artists and seasoned professionals sharing the stage.

“E.Y. and I have built in longer periods of time to learn the music, longer periods of time to learn the movement work in the show. We're also trying to offer them the realistic experience of being in a professional show, with the grace that they are students, and they can come to us and talk to us in ways that in the profession, they perhaps might not feel comfortable coming to a director.

I have had the privilege of working with a few of them at different colleges before this. So I also knew that several of them were definitely ready for this challenge. It's been really rewarding to have them in the room and notice slight differences in discipline or experience level, and watch that push them to excel.

They seem to be thriving in this higher-pressure environment, which is also a testament to the programs that they come from; these schools are instilling professional behavior, and they were able to hit the ground running.

The goal is that unless you check the program, no one's going to know who the apprentices are.”

Beyond directing, Gerilyn is also a college professor, which gives her a unique perspective on the energy that student artists bring into the room. Working alongside seasoned professionals, these performers are not only learning but also infusing the production with something fresh and vital.

“There is an eagerness and amazing energy that pops in the room when college-age students are involved. They are not jaded yet to it, and they're so excited to be a part of this production. I think SPRING AWAKENING means a lot to a lot of them.

We had a large turnout of students for this piece because I think it still really speaks to them, even though it's almost 20 years old.

They want to sing this score; they want to be a part of this production. It also helps that our professionals involved are all exceedingly talented and delightfully lovely humans, and they lead through kindness.

That is just infecting our show with positivity; so it's becoming really cyclical, with students bringing in this eagerness, and the professionals bringing kindness and showing them how to do the work. It’s this really positive, amazing journey so far, and I love that, especially for this show.”

With a show as powerful and provocative as Spring Awakening, the impact on the audience is just as important as the performers' experience. When asked what she hopes people take away from the production, Gerilyn pointed to something more profound than entertainment, something that lingers long after the curtain falls.

“In a show like this, I genuinely hope that people leave contemplating the messages from 1891 that are threatening a resurgence right now.

Even with our content warnings, people may still be concerned about this. I would encourage folks, because it's been around so long, that if anything in our content warning worries them, to do their own research on the play, but I would really encourage them to, if they can sit with their discomfort and see beyond that, to see the messages of the show.

It is really such a beautiful show; hopefully, audiences will leave and work towards improving our own local community as well as our national community.”

Content Advisory from Oceanside Theatre Company: “Spring Awakening” contains mature subject matter that may be activating for some audience members. The production includes depictions and themes of suicide, sexual assault, domestic violence, abortion, and sexuality. Viewer discretion is advised. We strongly encourage patrons to care for themselves during and after the performance and welcome any questions or concerns about the content.

How To Get Tickets

“Spring Awakening” by Oceanside Theatre Company runs through September 14 at the Sunshine Brooks Theater in Oceanside. For ticket and showtime information, go to www.oceansidetheatre.org