Jan 222018


Audition Dates – Tuesday 6th, Wednesday 7th, Thursday 8th, Saturday 10th February
with CALLBACK WORKSHOP Sunday 11th February

Please note: All audition nights are fully booked out. A fourth and final audition night has opened up for Wednesday 7th February. Please email Rhylee Nowell rhylee@live.com.au

Audition Requirements
Please bring your completed audition form with you to your audition, along with a basic theatre resume and a current headshot with you for the production team to keep. Audition Info Pack

Book your audition slot by emailing auditions@mloc.org.au

You will only have one initial audition in front of the production team. You must prepare:

Two contrasting songs that show both your vocal range and your ability to show emotion. Each song is to be no longer than 2 minutes
The song is your own choice – do not make it one we will hear over and over again. Keep it interesting; it will make us enjoy your audition a lot more.

Make sure it is a song you can perform to, something with intense emotion behind it. Spring Awakening is a rock musical, which relies completely on performance and angst. Not only will the song test your vocal skills, but as we have limited time to see your audition, we rely on this as an opportunity to see how you perform and portray emotion in the song.

Please bring music for the accompanist in the correct key and with any cuts clearly marked. No backing tracks are allowed.

A monologue from our selection
Please pick one of the following monologues to interpret and perform

1.I am dying… of love… That is how it is… I loved her so!… And I love her still… and I am dying of love for her, I… I tell you!… If you knew how beautiful she was… when she let me kiss her… alive… It was the first… time, the first… time I ever kissed a woman… Yes, alive… I kissed her alive… and she looked as beautiful as if she had been dead! I kissed her just like that, on her forehead… and she did not draw back her forehead from my lips!… Oh, she is a good girl!… She is a good, honest girl, and she saved your life, at a moment when I would not have given two pence for your Persian skin. As a matter of fact, nobody bothered about you. Why were you there with that little chap? You would have died as well as he! My word, how she entreated me for her little chap!

2.I had heard him for three months without seeing him. The first time I heard it, I thought, as you did, that that adorable voice was singing in another room. I went out and looked everywhere; but, as you know, my dressing- room is very much by itself; and I could not find the voice outside my room, whereas it went on steadily inside. And it not only sang, but it spoke to me and answered my questions, like a real man’s voice, with this difference, that it was as beautiful as the voice of an angel. I had never got the Angel of Music whom my poor father had promised to send me as soon as he was dead. I thought that it had finally come, and from that time onward, the voice and I became great friends. It asked leave to give me lessons every day. I agreed and never failed to keep the appointment which it gave me in my dressing-room.

3.Being alone, and conscious two yards of loose earth was the sole barrier between us, I said to myself –“I’ll have her in my arms again! If she be cold, I’ll think it is this north wind that chills me; and if she be motionless, it is sleep.” I got a spade from the tool-house, and began to delve with all my might – it scraped the coffin; I fell to work with my hands; the wood commenced cracking about the screws; I was on the point of attaining my object, when it seemed that I heard a sigh from some one above, close at the edge of the grave, and bending down. “If I can only get this off”, I muttered, “I wish they may shovel in the earth over us both!” and I wrenched at it more desperately still. There was another sigh, close at my ear. I appeared to feel the warm breath of it displacing the sleet-laden wind. I knew no living thing in flesh and blood was by; but, as certainly as you perceive the approach to some substantial body in the dark, though it cannot be discerned, so certainly I felt that Cathy was there: not under me, but on the earth.

4.I assure you that I was not in the wrong. If you had seen the beginning, you would have seen. I swear to you by the good God that I was not to blame! That gentleman, the bourgeois, whom I do not know, put snow in my back. Has any one the right to put snow down our backs when we are walking along peaceably, and doing no harm to any one? I am rather ill, as you see. And then, he had been saying impertinent things to me for a long time: “You are ugly! You have no teeth!” I know well that I have no longer those teeth. I did nothing; I said to myself, “The gentleman is amusing himself.” I was honest with him; I did not speak to him. It was at that moment that he put the snow down my back.

You do not have to memorise your chosen piece, however looking over it a few times before your audition will really help.

You may be asked to sing a section of your song or read part of the monologue again with some direction, but this is nothing to worry about! It is to test how well you respond to direction and your variation.

There will not be a dance audition in the first round.

Character Descriptions


MALE ROLES – All male roles have to be able to go into falsetto.

Vocal Range: G2–G4 (Baritone/Tenor)
Atheist, radical and highly intelligent, Melchior refuses to bow down to society’s rules. A free thinker, his parents allow him to read whatever he wants so he is educated in other topics his school doesn’t teach him, such as religion and sexual reproduction. He is aggravated by the oppression and close-mindedness of this world. He is cynical, confident and disheartened.
Challenges: Heterosexual kissing, heavy petting and simulated sex scene with Wendla, various states of undress (bare buttocks)


Vocal Range: Top A4 to Bottom C3 (Tenor)
Moritz is Melchior’s best friend. He is a highly troubled young man who can never impress his father, despite his best efforts. His haunting sexual dreams and academic pressures eventually drive him to suicidal thoughts. Moritz is volatile, emotional and loyal.

Vocal Range: Top D5 to Bottom Ab2 (Baritone/Tenor)
Hanschen is easily the most comfortable with his sexuality in this group of boys. He uses this to seduce Ernst. He is narcissistic, touchy-feely and over-confident.
Challenges: Homosexual kiss, simulated masturbation (no nudity).

Vocal Range: Top A4 to Bottom Ab2 (Tenor)
Ernst is a young and naïve gay classmate who struggles with his own sexuality in this oppressive school. He falls in love with Hanschen. Ernst is shy, tentative and longing.
Challenges: Homosexual kiss

Vocal Range: Top D5 to Bottom Ab2 (Baritone/Tenor)
Georg is a clumsy boy in lust with his piano teacher.
He is bumbling, nervy and comical.

Vocal Range: Top D5 to Bottom Ab2 (Baritone/Tenor)
Otto is a schoolmate confused by his inappropriate sexual fantasies. He is boisterous, loud and ambitious.

ADULT MEN (Played By One Man)
Vocal range: Top E5 to bottom E3 (Baritone)
Plays a variety of rigid adult roles. Characters include: Herr Sonnenstitch, the boys’ teacher; Headmaster Knochenbruch; Herr Neumann, Ilse’s father; Herr Rilow, Hanschen’s father; Herr Steifel, Moritz’s father; Father Kaulbach; Doctor von Brausepulver; Herr Gabor, Melchior’s father; and Schmidt.
We require an outstanding actor who is able to quickly transform into a variety of characters.


Vocal Range: Top E5 to Bottom E3 (Mezzo Soprano)
Innocent. With every passing day, she grows more curious about the world around her and her changing body. Both vulnerable and a willing participant in her evolution. Explores her newly-found sexuality with Melchior.
Challenges: Heterosexual kissing, heavy petting and simulated sex scene with Melchior, various states of undress (no nudity).

Vocal range: Top E5 to Bottom E3 (Mezzo Soprano)
Martha’s sister, who was abused by her father, has run away from home to live in an artists’ colony. She reaches out to her old friend Moritz in the last moments of his life. Isle is free-spirited, wistful and wise.

Vocal Range: Top E5 to Bottom E3 (Mezzo Soprano)
Martha faces constant physical and sexual abuse from her father, which her mother ignores. She harbours a crush for Moritz. She is strong-willed, melancholy and optimistic.

Vocal Range: Top E5 to Bottom E3 (Mezzo Soprano)
Thea is Wendla’s best friend. She is a schoolgirl who tries to stay innocent and pure. Thea is naïve, optimistic and afraid.

Vocal Range: Top C5 to Bottom E3 (Alto)
Anna is Martha’s best friend. She uses her naivety to ignore the trials of Martha’s life. Anna is oblivious, sweet and afraid.

ADULT WOMEN (Played By One Woman)
Vocal Range: Top A4 to Bottom D3 (Alto)
Plays a variety of rigid adult roles. Characters include: Frau Bergman, Wendla’s mother; Fraulein Knuppeldick; Fraulein Grossebustenhalter; Frau Gabor, Melchior’s mother; and Frau Bessell, Martha’s mother.
We require an outstanding actor who is able to quickly transform into a variety of characters.

Please consider these before your audition…

There is a love scene in the production between the characters of Melchior and Wendla, and this will entail a certain degree of nudity as well as performing a simulated sex scene. Please do not let this affect you auditioning for these characters, however do bear this in mind that it is in the director’s vision that this is necessary for the show.

There are certain musical numbers, such as “Touch Me” and “My Junk”, which focus on the topics of masturbation and longing for physical contact. This requires a high degree of maturity and professionalism from the cast in rehearsals, workshops and performances.

Tips for auditions…

Apart from being a challenging musical vocally, we want you to prove your skills as an actor and show that you leave nothing back. We’re looking for a cast of enthusiastic and open-minded people, willing to do ensemble work, throw away inhibitions and completely embody a character.

Callback Workshop…

Sunday 11th February 12pm to 5pm

You will be notified by 8pm on Saturday 10th February if you are required for the Callback Workshop.

If you are invited for a callback, be prepared for a long day!

During the first part of the callback workshop you will learn vocals and movement to Totally Fucked and will perform in small groups.

Some people will be asked to stay back and learn vocals and dialogue for the principal characters of Melchior, Moritz, Otto, Georg, Wendla, Isla and Martha. Both Adult roles will also be required throughout the day to workshop scenes with other characters.

The show does not require that you have any technical dance training, but does involve movement. What we will be looking for in callbacks is high levels of energy and a good sense of timing. Most of all we want to see you throw your all into the movement. The plot line follows teenagers trying to come to terms with their frustration and sexual longings and this will be expressed through the physicality of the show. It is important then to be comfortable in your own body and give the dance callback your all.

Some parts will require learning individual songs for that character and performing some dialogue from the script. Testing chemistry between certain characters is vital in this part of the

Winner of eight Tony Awards, including Best Musical, Spring Awakening celebrates the unforgettable journey from youth to adulthood with power, poignancy, and passion. Adapted from Frank Wedekind’s 1891 expressionist play about the trials, tears, and exhilaration of the teen years, the themes explored are as relevant today as they were back then, particularly when considering the skew that social media and the online world impact upon youth development and navigation of the world’s pressures. Thematically, we’re aiming to portray the joy, fear, beauty and energy of what lies underneath in a repressed society.

MLOC are looking for a cast of approximately 13. (7 males and 6 females)

Please Note: You must be 18 years of age or older in order to audition.

Suburb & state
Parkdale, Victoria

Contact info
Audition Coordinator Rhylee Nowell rhylee@live.com.au

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