“At our first rehearsal, we had a great conversation about where they’re at, what they’re feeling, and what they need to say,” she explains. The first step in her process was finding out why the students chose this production. “While I was performing in New York, I was also working as a teaching artist with an organization that used drama as a means of conflict resolution and drop-out prevention.” “Teaching is something I really love, even though I come from a strong performance background,” she says. Not an easy showīut Rios says she’s more than up for the challenge, seeing it as an ideal fusion of her experiences both on Broadway and working with young artists. despite the fact it was the students themselves who chose to mount Spring Awakening. Unlike the students Rios usually works with as part of the teaching faculty at the Canadian College of Performing Arts, UVic’s theatre program doesn’t specifically focus on musical theatre. In addition to these emotional pressures are the inevitable singing/dancing/acting anxieties that come with mounting a full musical. Therefore, safety, collaboration, and open communication are key.” I’m trying to keep this process safe-emotionally and psychologically-because I know that this piece requires a certain level of emotional connection and urgency.
“We’ve had several conversations, because some scenes are rather vulnerable. “There are a number of moments in this show that can be triggering for young actors,” says Rios. Yet, despite its impressive rock & roll pedigree, Spring Awakening-which runs November 10-26 at the Phoenix-remains a challenging show that never flinches from tackling youthfully sensitive topics like abuse, abortion, suicide, homophobia, teen pregnancy and the crushing pressure of unrealistic academic expectations.
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