Spotlight interview: Chloe Mae Tabor makes the role of Wendla her own in Fresno State’s ‘Spring Awakening’
Editor’s note: As a freshman at Fresno State, Chloe Mae Tabor is making waves in the Department of Theatre and Dance. She won the leading role of Wendla in the new production of the musical “Spring Awakening,” which is currently playing at the John Wright Theatre through May 11. As a young performer, however, she already brings impressive musical theater chops to the role.
Miguel Gastelum, the department’s communications specialist and box office manager, conducted this interview with Tabor for The Munro Review.
Q: “Spring Awakening” is a well-known title amongst musical theater fans. It swept the 2007 Tony Awards, winning Best Score, Best Book, Direction, and the coveted Best Musical awards. The original Broadway Cast Recording even won a Grammy. For those who might not be as familiar with this musical, can you give us a quick rundown?
A: “Spring Awakening” is all about self-discovery in adolescence. The audience is taken through the journeys of young teens as they encounter battles with mental health, newfound sexual desires, and the pressures of growing up in a harsh society. It is a rock musical based on the German play “The Awakening of Spring” by Frank Wedekind, which was banned for its content in 1890.
Q: It’s always a special treat when Fresno State produces a musical, since it only does so every other year. How does it feel to be a part of such a highly unique event for the campus and the community?
A It’s incredible to be a part of such a special production. Our department has so many talented actors with amazing voices, and it’s wonderful that we have this opportunity to sing with a live band onstage. Student designers also get to use their skills in a whole different kind of show. The creative freedom they have in working with big musical numbers is unfathomable.
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Q: Can you tell us a little bit about the particular world that has been created for this version of “Spring Awakening?”
A: In J. Daniel’s vision of “Spring Awakening,” we are transported into a universe of Victorian academia. Every wall is adorned with chalkboards etched in Latin and math equations, shifting into symbols and memorable phrases from the story. Each scene unfolds within this school setting, with choreographed set changes that magically transform this surreal space into a forest, a house, or a graveyard.
Q: You’re a new face in the Department of Theatre and Dance, although local theater audiences may recognize you from your appearances in Selma Arts Center’s productions of “Mean Girls” and “Ride the Cyclone.” How does it feel to be stepping into such a large and frankly, iconic, role as a freshman?
A: I am deeply appreciative of my mentors and directors for their irreplaceable guidance and support, which have had such an impact on me that they have empowered me to bring the very best I have to every role I undertake. The opportunity to portray these deep and rich characters has provided me with a platform to evolve as an actor, and for that, I am forever incredibly grateful.
Q: J. Daniel says that you “wanted this role” and proved yourself at auditions. “You can tell she loves the role and the show,” he said. How did you prepare for auditions?
A: I did a lot of research on the musical during winter break before auditions, and I noticed that Wendla was often interpreted in a more submissive way. I believe her character deserves so much more depth and emphasis on her strong-willed nature, which is why I love her so much. I had a song that portrayed this, so I took it to auditions.
Q: “Spring Awakening” is known for its controversial subject matter. It hits on challenging subjects like teen sexuality, sexual and domestic violence, and suicide. Your character in particular has a pretty challenging scene at the end of the first act. Can you tell me a little bit about how that is handled in this production?
A: The most significant element of tackling this material is communication. When we worked on these more challenging scenes, we had private rehearsals with our intimacy coach and scene partners, creating a comfortable environment. We had conversations with each other, setting boundaries and mapping everything out before staging anything. This makes it much easier to leave the heaviness on the stage and protect our mental health as actors.
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Q: Do you think your character has a consensual sexual encounter? Or is it forced on her?
A: In the original play, the encounter was purely non-consensual. However, it was rewritten to be less so when it was made into a musical. However, by today’s standards, the scene is still non-consensual because Wendla is coerced before she ever says “yes.”
Q: We live in a time that is so different from the setting of the show in terms of what young people know about sex that it’s almost like we’re on another planet. What commonalities do you see between the young people of Wendla’s time and today?
A: Even though our generation has much more education on the subject than the kids of the 1890s, our experiences with these feelings are still the same. We all love the same. We all feel the same feelings that we felt 150 years ago. That is what connects us to these kids, and it is why the show is so important to share.
Q: Many audience members might view “Spring Awakening” as a young person’s show that only appeals to those of a certain age. What do you have to say to those who might not be as inclined to see a production that feels so geared toward young adults?
A: While the narrative revolves around the lives of young adolescents, this show is of significant relevance for adults as well. While the younger audience can undoubtedly relate to the characters and their struggles, the play also offers adults a chance to reconnect with their youth and reflect on their past journey. I like to think this is a show for parents to see with their oldest, as it would generate deeply bonding conversations on the car ride home.
Q: One of the biggest draws of this particular musical is its gorgeous score, written by musical artist Duncan Sheik. It blends indie-rock with folk-infused writing. The lyrics are also more coded and symbolic, and can be interpreted differently. What is one of your favorite lyrics or musical moments and does it carry a particular meaning for you?
A: One of my favorite lyrics in the show is in Wendla’s song, “Whispering.”
“Listening for the hope, for a new life. Something beautiful, a new chance. Hear its whispering there again.”
She spends the song in anguish over a painful discovery she makes. Then, in the last verse, she finds hope in her circumstances. This is so relevant to our generation because it highlights that there is hope and a “new life” that comes out of despair. It speaks to the masses, emphasizing that all is not lost in hard times and that beautiful things can come from hardships.
