Film/TVTheatreAudio productions
Arousal in Spring (Frühlings Erwachen)
(Frank Wedekind / Thalia Theater Hamburg)

Content: Melchior Gabor and Moritz Stiefel, Wendla Bergmann and her friends Ilse, Martha and Thea, are all young. Perhaps too young for this world and the emotional chaos in which they find themselves. They have their first sexual experiences, and look for answers to their question about the meaning of life. Wendla expects a baby from Melchior, Moritz Stiefel is not up to the requirements of school, and Ilse starts to hang around. Helpless parents and uncomprehending teachers watch the situation escalating. Melchior is put in an approved school, Moritz commits suicide and Wendla dies after a “treatment” by a quack doctor. In the end, a “masked gentleman” appears, bringing Melchior back to life, who is desperately wandering around between Wendla’s and Moritz’s graves. (Source:

Production: Tilman Gersch
Cast: Andreas Pietschmann, Susanne Wolff, Hinnerk Schönemann, Peter Kurth, Angelika Thomas, Marina Wandruszka, Clemens Dönicke, Björn Grundies, Benjamin Utzerath, Markwarth Müller-Elmau, Jörg Lichtenstein, u.a.
Stage Set / Costume Design by: Kathrin Frosch
Premiere: April 25, 2001


“Melchior Gabor, played by Andreas Pietschmann as a melancholic and brooding miniature Hamlet, was, for the final touch of his education, put into an “approved school”, whereupon he veers between to be or not to be, and is finally lead by a “masked man” back to life.”
(Die Welt, 5/26/2001, Thorsten Jantschek)

“The young actors in particular can show where their talents lie: they all play spontaneously, without giving a soul a false tone. Schönemann’s Moritz is a person in desperate search. He takes life too seriously and commits suicide when he has to repeat a year at school. Pietschmann’s Melchior is damned talented. Everything seems to be so easy for him. The fact that he is put into an approved school after he has made Wendla pregnant and slipped Moritz a treatise “About Sexual Intercourse”, will not really break him.” (Hamburger Abendblatt, May 26/27, 2001, Armgard Seegers)

“Thomas Gersch’s production found favour with the audience who  thanked him with thunderous applause for the three-hour performance.” (Hamburger Morgenpost)

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