- February 2002
Alone. Alienated. Homeless. No family here, no friends, no jobs, nothing. Seeking asylum. Taking our money, our jobs, our housing. Filling the newspapers with their stories. Let them in? Throw them out? Halina has come to Britain to escape, to find a new life in our country. To many, she too is a just a statistic, a headline at best. But to the few who get to know her, Halina is anything but straightforward. Halina, an enigma, faces the ultimate dilemma: in an uncertain world, who can we trust? What is fact, what fiction?
- January–February 2002
Lust leads to adultery, adultery to murder, murder to revenge. Around this simple sequence Webster weaves his web of passion and pain, ambition and adversity, verse and violence. After years of neglect the first masterpiece of the man known to millions as the author of The Duchess of Malfi and as that little boy from Shakespeare in Love returns in a pacy modern production. As knives flash and disguises slip, no-one remains innocent in Webster's claustrophobic world of dazzling poetry, devastating violence and dark humour
- November–December 2001
In 1973, Elvis brought us Aloha From Hawaii. If, however, we swap the ‘9’ and the ‘7’ aroundwe find France in the throes of revolution. Only one man can make sense othe chaos, and as Presley is notable by his absence, the job falls to the elusivScarlet Pimpernel. While his next appearance is eagerly awaited by tremblinaristocrats, bored peasants, and makers of commemorative teacups, across thChannel in England a more emotional storm is brewing. Eyelashes flutter, bosoms heave and corsets seem fit to burst as love piercethe heart of one of England’s most impetuous bachelors. Can he be stupid enougto adopt the guise of his masked hero, and to provoke a series of enormousllavish and rousing showtunes detailing his plight? Why, yes he can. From the bestselling pens of Weeks and Macaskill (‘Hilarious!’ - Q1O3 FM, ‘Dazzling wit’ - Oxford Student, ‘Can get away with pretty much anything’ - The Cambridge Studentcomes a pantomime stuffed with some of Cambridge’s finest actors, singers ancomedians. Inspired silliness! Scathing wit! Bodice-shredding songs! Vive lrevolution!
- November 2001
Following the success of last year's One Night Stands, the Amateur Dramatic Club return with three more evenings of late-night theatre. Energetic. Experimental. Hilarious. Hell-raising. Funny. Flexible. Innovative. Interactive. And lasting about an hour. One night stands have never been this satisfying... An evening of improvisation and a cavalcade of (gory) excerpts from tragedies are two of the delights on offer, with the final instalment of term left tantalisingly open for anyone with a new idea, a theatrical challenge or a desire to be different.
- November 2001
Sounds like a typical evening in the ADC bar? Thespian bitchiness and backstabbing abound this week in the theatre, as the Amateur Dramatic Club initiate their freshers into the Cambridge theatre scene with style with this production of Berkoff's satire on the theatrical chattering set. In this short show originally written for TV, the audience eavesdrops on actors, producers, stars and wannabes dining out in London after the premier of the latest revival of The Three Sisters. Outside their incestuous theatrical bubble, Poll Tax riots course down the Strand, burning cars and attacking pedestrians as they go. The dark underbelly of the theatrical scene is exposed in Berkoff's hilarious satire - don't miss your chance to see it on the ADC stage!
- November 2001
A thrilling mix of ancient and modern hits the ADC stage with this year's freshers' mainshow. Cambridge's freshest new talent will stage Anouilh's compelling adaptation of Sophocles' Antigone, one of the world's oldest and most powerful dramas. Antigone's brother, Polixene, has dided in civil war. Disobeying her father's orders, she escapes the city at night to give him a proper burial. Her rebellious actions set in motion a chain of events which, as the Chorus comments, can only end in tragedy. Sophocles' original drama explores the themes of duty and honour, while Anouilh's adaptation adds an extra twist in illuminating the machinations of Greek tragedy. This moving and complex show should offer the freshers an exciting challenge, providing their audience with a thought-provoking and intelligent piece of theatre.
- November 2001
Under the menacing leadership of Stefan Golaszewski comes a group of disturbecomedians with a manifesto for change and a painfully funny show of threateninoriginality. The seedy underworld of the subconscious is to these writers whaimpressions of Mavis from Coronation Street were to Les Dennis. They are presentinCambridge with a new program for what is funny and new ways in which comedcan be performed. There will be no hilarious accents. There will be no fakbeards. This is the Real Comedy we have always secretly wanted but been toRuss Abbot-laden to face. What comes now is the ultimate variety show, a whirlinmix of comedy, music, magic, dance, and song. The change starts with this showand the first change to be made is to admit that jokes aren’t funny. See this show and you’lnever laugh at Ronnie Corbett again, except to mock his size.
- November 2001
Following the success of last year's One Night Stands, the Amateur Dramatic Club return with three more evenings of late-night theatre. Energetic. Experimental. Hilarious. Hell-raising. Funny. Flexible. Innovative. Interactive. And lasting about an hour. One night stands have never been this satisfying... An evening of improvisation and a cavalcade of (gory) excerpts from tragedies are two of the delights on offer, with the final instalment of term left tantalisingly open for anyone with a new idea, a theatrical challenge or a desire to be different.
- November 2001
Post-revolutionary France, 1808. In the baths of a lunatic asylum sits thMarquis de Sade, imprisoned for gross acts of indecency and sexual violenceHe has written a play about Jean Paul Marat, a revolutionary activist, whicis to be performed by the inmates. The story of an assassination unfolds withilarious black comedy entwined with tragedy in a collision of theatre, musicfilm and art. The Club’s ‘Elsewhere’ show is going to transform The Octagointo an Orwellian insane asylum. All hell is about to break loose... You are invited to watch.
- October–November 2001
Surrounded by his resentful assistants and embittered wife, and fearing that a new generation of architects will supplant him soon, Halvard Solness has become trapped in denial of all that he had once hoped for. Yet, when life-affirming Hilde Wangel arrives for a mysterious visit, his dreams of 'castles in the air' look set to be restored. First, however, he must confront his ultimate fears. The Amateur Dramatic Club use a vibrant, modern translation and original score to introduce nineteenth-century Norway and the story of Solness, the Master Builder, whose troubled life forms a tragic centrepiece to this beautiful play of tragic hope.
- October 2001
A woman was systematically raped and tortured for political reasons by a man whose face she never saw; years later her husband brings home a new friend for a drink, and his voice sounds horrifyingly familiar... This modern masterpiece is at once a claustrophobic suspense thriller and dizzying meditation on the nature of evil, defiance and forgiveness. In a world where so many countries are trying desperately to reconcile the dark and recent past with hope for the future, Death and the Maiden has never been more relevant. Written by Dorfman in exile from Chile during the Pinochet years, the plaputs torturer and victim face to face, and asks: "What next?"
- October 2001
Following the success of last year's One Night Stands, the Amateur Dramatic Club return with three more evenings of late-night theatre. Energetic. Experimental. Hilarious. Hell-raising. Funny. Flexible. Innovative. Interactive. And lasting about an hour. One night stands have never been this satisfying... An evening of improvisation and a cavalcade of (gory) excerpts from tragedies are two of the delights on offer, with the final instalment of term left tantalisingly open for anyone with a new idea, a theatrical challenge or a desire to be different.
- March 2001
- November–December 2000
- May 2000
- January 2000
- November 1999
