As if it weren’t daunting enough to play the role of a suicidal, ill-fated pubescent German teenager circa 1890, Blake Bashoff’s task is compounded by the fact he’s filling John Gallagher Jr.’s Tony Award-winning britches in the rock musical Spring Awakening.

Bashoff, however, made a smooth transition into the Broadway company of the electrifying production, and has put his creative stamp on the role of Moritz, the tormented, sexually-repressed, burdened character in Michael Mayer’s hit show, scored perfectly by Steven Sater and Duncan Sheik.

With its timeless themes and electrifying rock score, the eight-time Tony Award-winning musical will make its San Diego debut at the newly restored Balboa Theatre Aug. 15-31.

The production, during its West Coast premiere, will be the first major Broadway production to play in the theater in its 84-year history.

In addition to its Tonys, the musical – about a group of soul-searching, convention-defying teens in repressive 19th century Germany – has received rave reviews and garnered a legion of fans.

Bashoff, who made his Broadway debut with the cast in December, is excited to take the show on the road, expanding its cult-like following. He took time out of rehearsal to chat with the Gay & Lesbian Times about the sexually-charged musical, the creative team behind it, and why it may be wise for parents and teens to sit separately when they see the production.

Gay & Lesbian Times: The story in Spring Awakening is set in 1891 – why do you think the story transcends time periods and becomes relevant to audiences today?

Blake Bashoff: I think it transcends time because the themes are universal; they’re timeless themes. Everybody knows what it’s like to be a teenager and go through adolescence. They can relate to the joys, triumphs, struggles and pain. Everyone who sees the show identifies with one characteristic of at least one of the roles. The themes are love, sexuality, morality, youth, suicide, abortion; themes that will be timeless and are timeless. Society has changed. The 1890s in Germany are certainly different from times today. Kids were so sexually repressed then. They had no outlets and everything was forbidden. Especially Moritz, if we’re talking about a specific character; he is a boy tormented by puberty in a very sexually repressed time, and there’s an enormous amount of pressure on him to succeed. Society’s loosened up a bit now, but puberty is a rough time and it can be a rough time for anybody.

GLT: Moritz, who is a troubled character, meets a dark fate – as an actor, is it exhausting to put yourself into that headspace day after day? How do you snap out of it?

BB: It can be exhausting and you have to be careful. Pre-show I just try to chill and do my vocal warm ups. My dressing room is always very dimly lit. One of the hardest things is keeping this new and fresh and alive. It is a demanding role and grueling schedule. You really have to take care of yourself and be able to unwind and leave the work in the theater. You have to step away from it and not let it consume you, which is tricky. When I first took the role, there were many sleepless nights thinking about it. I was physically exhausted, but my brain was wide awake. You have to force yourself to take care of yourself and put yourself first. That means, at times, saying no to social obligations, but when you do a show eight times a week, it’s so demanding and grueling, you have to step away from it, too.

GLT: The creative team – Steven Sater, Duncan Sheik and Michael Mayer among them – really can’t be beat. Tell us a bit what it was like working with them on this project?

BB: It is pretty overwhelming. It is one of the major reasons I signed on in the first place. From the producers to the director Michael Mayer to Duncan [Sheik] and Steven [Sater] and Kimberly Grigsby, our musical director, there are top, top-notch people working on this production. It is really something special. And it’s humbling. You find yourself pinching yourself at times because the show is a living, breathing entity. It’s always evolving and it’s going to be so exciting to see how it plays in different venues in different cities, and how we keep it alive and fresh and a living piece. As it changes, they still have their hands on it, which sometimes can be a little frustrating, but it’s still so great that they care enough to be so involved. It’s just amazing to see great minds work and collaborate.

GLT: You’re taking on the role originated by John Gallagher Jr., who won a Tony for his portrayal of Moritz in Spring Awakening, and you joined the company with original cast members still on board. What has the dynamic been like?

BB: It’s funny now that we’re rehearsing for the tour. I feel like the transfer student on the first day of school; it’s so bizarre. Working with the Broadway company was a seamless transition and I really couldn’t have asked for anything better. John Gallagher Jr. won a Tony for playing Moritz and he has been such a professional, so considerate, a true gentleman. He’s just been so gracious. But it is a daunting task to replace someone of his caliber and in such an esteemed role. It’s a complicated role, and so I’ve thought of it as recreating rather than replacing the work [John] has done. You do put your own stamp on it, though. The entire Broadway company was so embracing the moment I got there. I can be shy and keep my distance until I’m comfortable, but we made that transition into family on day one. They were so supportive and embracing. It truly is a family.

GLT: Spring Awakening focuses a good deal on human sexuality, in all forms, and sexual hypocrisy. Do the themes of sexuality in the musical still apply to teens and youth today? It seems teens today are more informed about sex and sexuality.

BB: One would hope that’s true, but I don’t think it is entirely true. There is still a grotesque amount of intolerance. Society has loosened up and has gotten better, but [adolescence] is still a confusing time, and I think that is where the music comes into play. It really is a classic play set in this dark, cold time with sexual repression and everything is forbidden; and then you have the contemporary rock and roll songs. There’s a lot more release for kids today, whether it’s in the arts, or in entertainment – but those kids [portrayed in the production] weren’t fortunate enough to have that.

GLT: Speaking a bit about the music, bringing a pop/rock musical to Broadway seems to be a roll of the dice. Why did it work with Spring Awakening?

BB: It’s funny; during orientation the other day, the director, Michael Mayer, said to us he never anticipated a Broadway run for this show. It just sort of happened. He never anticipated this. But the show kept its roots; from off Broadway to the Broadway production, it kept going back to its roots and that has made the production successful. It’s been true to itself.

GLT: In terms of staying true to itself, the production doesn’t stray from controversial content. With scenes of masturbation, S&M, homosexuality, this could be a play parents would think twice before taking a child to see. Do you think the musical act as a catalyst for conversation between teens and parents?

BB: Absolutely. There are mature themes touched upon, but I think they open an important and crucial dialogue between parents and kids that needs to be heard. On top of the fact the show is incredibly entertaining, it packs a punch and delivers a message; whether you’re for or against the message, it’s nice to be a part of something, as an artist, that stirs an opinion and begins a dialogue. It’s for the best for a parent and a child; if anything it opens up an important dialogue. Maybe you go with your kid and sit separately if it’s uncomfortable (laughs).