Teenagers have been tormented with angst as far back as the 1890s, as proved by Broadway’s latest touring hit, “Spring Awakening.”

The play touches base with suicide, sex, abuse, gay relationships, abortion and several other topics that have been considered taboo for hundreds of years.

“Spring Awakening” is based on the original play written by Frank Wedekind in 1891. However, because of its racy nature, it was censored into oblivion by the German government during that era.

With music by Duncan Sheik and lyrics by Steven Sater, “Spring Awakening,” directed by Michael Mayer, has managed to take Broadway by erotic storm.

However, distracting from the distinct lyrics and indie-rock on-stage performances is the band standing directly behind the actors, lack of set changes, and random people sitting on both sides of the stage. The only alteration made to the stage was the change of color produced by a limelight.

“Spring Awakening” emphasizes the impact of sex in the lives hormonal German teenagers. Melchior, played by Degrassi’s Jake Epstien, is the charming and intelligent alpha male, whose knowledge leaves him questioning and rebelling against the world he lives in. He falls into a deep desire for the ever-so-fertile and curious Wendla.

Wendla (Christy Altomare) is a young, naïve girl who makes mistakes on behalf of her inquisitiveness and her mother’s choice to poorly inform the girl about sex.

Another one of the main characters, Moritz (Taylor Trensch), lives a life plagued with the fear of failing in school, lack of parental love, and a new obsession with sex. This desire is further fueled by nocturnal visitations of long, sexy legs in his dreams, and his very informative best friend, Melchior. Moritz clearly expresses his frustrations and grievances through aggressive rock as he bursts on stage with hair-raising performances.

“Spring Awakening” not only speaks the unmentionable topics of teenage angst, but also shouts the underlying message of the beauty of life in the midst of tragedy.