Oberlin Musical Theatre took campus by storm in the fall of 2025, introducing a third department to the conservatory. Having transferred across Northeast Ohio from Baldwin Wallace, they found a new home in Conservatory East. Oberlin students are spoiled with high standards of music and art on campus. The prospect of a new department of this calibre joining this community is very exciting, celebrating musical theatre alongside jazz and classical music. After a few months of settling in, they had their second official Musical Theatre Production at the Beck Center for the Arts — Spring Awakening.
The musical’s book & lyrics are by Steven Sater, with music by Duncan Sheik, and is based on the play by Frank Wedekinda. The music is reflective of its time, being a product of early 2000s pop and rock influences. The plot follows the multiple awakenings of 14 year olds, navigating their entrance into young adult life. With mature and heavy themes throughout such as sex, suicide and insecurity, it follows the lead characters Melchior Gabor, and Wendla Bergmann played by Ethan Flanagan and Ruby Moncrieff-Karten. Their love story is one that feels forbidden, but remains enticing throughout.
On February 21, the lights went up on the evening’s cast of Spring Awakening opening with Soprano Ruby Moncrieff-Karten singing the iconic ‘Mama who bore me,’ a melody of classical influences. Her soft tone and light vibrato combined with her stage presence immediately had the audience clinging to every word she sang. The song reprises when we are introduced to more cast members, specifically a group of young women with powerful voices. This time, the song has a punk rock feel to it, reflective of its rebellious themes. We soon enter a classroom setting where the schoolboys are introduced and the show continues its juxtaposed themes. The boys recite Latin phrases to the audience, before breaking out into the song ‘The bitch of living,’ carried by Ethan Flanagan, the musical’s leading man.
The consistent balance of comedy and tragedy is echoed through strong performances of the leading cast members. Another standout was Seth Crawford, who played Moritz, a struggling student, who is deeply affected by his new desires. Crawford nailed every note he sang, and made the audience believe his struggle through his youthful energy. Technique-heavy dance routines lingered behind the main characters, adding more depth on stage. Jimmy Metz and Nicholas Rhew particularly stood out in their dance abilities.
The one drawback of the show was the sound design which took the audience out of the story quite drastically. It was not until the end when the live band came out to bow that it could be realised that there was a live band. During some songs, the actors sounded as if they were singing along to quiet karaoke tracks. The punk/pop music was supposed to feel heavy and almost jarring, yet instead sounded mellow and gentle. Similarly the set design felt too modern: it didn’t quite fit and seemed unintentional and random.
This aside, the show was enjoyable and well put together. It did not shy away from anything it was talking about, and showed the level of technical skill possessed by each cast member. It is safe to say that the future of Oberlin musical theatre is exciting, and has been a much appreciated addition to the conservatory and community.
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