e
Thank you for such a great outpouring of support for this new series. We received some great feedback from our first post (you can read it HERE). We are so excited about this show and with this blog we hope to extend the excitement to our friends and supporters as well. 
Next this week on the blog is Eric Deutz who plays Moritz (one of the show’s lead characters). Keep reading to find out about the tablework process and the discoveries he is making about his character. 

One week down!!

My name’s Eric Deutz, and I’ll be playing the role of Moritz in Spring Awakening at Three Brothers Theatre. It’s going to be quite a journey, and I’m excited to take along any of you out there who want to join in via this blog!

Our first week focused mainly on tablework – with a show like this, there’s a lot to get through before we ever even get on our feet. 

The first thing we talked about is the director’s concept. Our director, Marie, wants us to focus on the cyclical nature of humans, and to highlight those warning signs found throughout this show. Spring Awakening takes place in 1890s Germany – hardly a time period we read or hear much about in the 21st century United States, which makes it all the more fascinating just how much the themes and issues of the show very specifically connect those two places and time periods. 

As the tablework got underway, I was overwhelmed by the thought and passion that I already felt had gone into this project by everyone involved.  The same way all the kids in the show are so desperate for their voices to be heard, I feel that everyone here is desperate for people to hear and understand this story, and for good reason. It’s exactly the way you want to feel during tablework. 

Speaking specifically about my character, we’re focusing a lot on the way Moritz is treated right from the beginning of the show, and why. At the time that the original play was written, most mental diseases went undiagnosed and unnamed in people – anxiety, depression, bipolar disorder, etc. Moritz is seen by nearly every adult in the story as unworthy of assistance, someone who’s slow and bound to live an unaccomplished life. But why? He’s not smart, but he’s also not unintelligent to the point of hopelessness, he proves that. He has no issues making friends, and nobody his age seems to have any problem with him. What we’re starting to find right away is that he probably had some undiagnosed mental disease, anxiety perhaps, and at that point in time, that would’ve been enough for most adults to give up on him. It’s a fine line to walk as a performer – becoming someone who the audience cares for, while also making it clear why so many people in his world don’t care for him. But my instinct is telling me right now that this is the most pivotal part of his story. 

That’s only a small sampling of what we’ve uncovered – and that was all while we were still sitting in chairs around a table! We’ve just started moving and devising, but I’ll save that for next week as we continue to explore. 

What I know for sure is, the most successful shows come from having a group of people who care about telling a story so much you can feel it from your seat. And that’s definitely what we have here!