Student Applications
Applications to stage a show in Lent 2025 are now closed.
Key Dates:
- Saturday 5 October 2024: Applications open.
- Saturday 26 October 2024: Applications close. You will not be able to make an application if you have not submitted it before midday on this day;
- Saturday 02 - Sunday 03 November 2024: Most applicants will be invited to deliver a 5-minute pitch to discuss their application in more detail;
- w/b Monday 04 November 2024: One of the panellists will read the script (where applicable), and questions based on the script, written application and pitch might be sent over to the applicant to respond via email towards the end of the week;
- Saturday 09 - Sunday 10 November 2024: Most applicants for the ADC Mainshow slot are invited to a further, 20-minute interview. If you have applied for a different slot, you probably won't be invited to an interview, though please don't worry: we should have all the information we need to make a decision;
- w/b Monday 11 November 2024: You will find out via email whether your application has been successful.
More information about the application process can be viewed below:
Applications Guide
For non-student booking enquiries, please click here.
When applying, the application form will ask you for the following:
- Your name, phone number and email address;
- The name and author (if applicable) of the show;
- A synopsis of the show, genre, age suitability (see more information below), and any content notes you want the panel to be aware of;
- The expected cast size for the show;
- The expected run time for the show (please bear in mind the durations of each of the slots you can apply for);
- Whether your show has any intimacy content;
- Your answers to the following questions:
- Why are you passionate about your show?
- What ideas do you have about the process of bringing your show to the stage?
- How do you want the audience to react to the show?
- What ideas do you currently have about ways to allow for diversity and inclusion in your production?
- What are your ideas for marketing this production?
- Any supplementary material, if necessary;
- The slot and venue you would like to apply for (see the applications guide for more details);
- Whether you would like your show to be considered for one of the suggested categories (see further down this page for more information);
- Whether you would like your show to be considered for funding by one of our resident companies (see applications guide for more details). Please note that you do not need to worry about funding at the point that you apply for a show;
- Your availability to give a five-minute pitch;
- Your availability to conduct a twenty-minute interview to discuss your application further;
- A 100-word "long" marketing blurb, a 20-word "short" marketing blurb, and a publicity image;
- Details about how the panel can access the script (whether you decide to email it, provide a link to download, or deliver to the Administration Office prior to the application deadline. Please note that if applicable to your application, a script must be provided for your application to be considered);
- Any adjustments that you require to the applications process;
- Details about the applicant so that the ADC can publish anonymised data on the ethnicity, sexuality and disability of successful applicants (this part is entirely optional and any specific data provided will be kept confidential by the Theatre Manager).
Pitching your show
Once you apply with your show, you will be invited to deliver a five-minute pitch.
You can discuss whatever you'd like in your pitch, but if you're not sure what to talk about, we recommend that you provide answers to these questions:
- Why are you passionate about this show?
- What ideas do you have about the process of bringing your show to the stage, including any initial ideas for design/direction.
- How do you want the audience to react to the show?
You may be asked to attend a further interview the following weekend, especially if you have applied for an ADC Mainshow, to talk about your application in more detail. We will give you a small number of questions to prepare in advance.
We usually only invite the applicants for further interview when they apply for the ADC Mainshow slot, so do not worry if you are not invited to a longer interview. Please note that not all ADC Mainshow applications will be asked to attend a further interview. It may be that we are still considering your show for an alternative slot and/or venue.
What to consider before making an application
Rights
The rights-holders of most plays and musicals require you to purchase performing rights before a production can be staged.
Most rights for shows are held by the following three companies:
If you are looking at a show that is not held by one of these rightsholders, then you must check elsewhere whether amateur performance rights are available. If you are unsure whether the rights to your show are available, or if you have any questions, please get in touch here. If you are applying for any of the shows from the shortlists below you do not need to check rights as the Theatre Manager has already checked and secured them.
Please note that many rights agreements do not permit changes to be made to the show's script, period, setting, or characters (including their gender). If you wish to change these aspects within your production you will need to get in touch with the rightsholders in advance to see if this is possible. If you have any questions about this, please contact the Theatre Manager here.
Has the show been staged previously?
We are very unlikely to programme a show which has been on at the ADC Theatre or Corpus Playroom already in the last 5 years. Please check camdram.net for information on when shows have last been put on.
The ADC has an active programme outside of term time and a minority of these shows aren't listed on Camdram. If you are concerned about whether a show has been recently performed, please email us.
Available Slots
These are the slots we will be accepting applications for. More information about these slots can be found in the applications guide.
ADC Mainshows (Tuesday to Saturday at 7.45pm): Weeks 1-7 & LTM Weeks 8-9 & Week 1 of Easter Term
ADC Lateshows (Wednesday to Saturday at 11pm): Weeks 1-8
ADC One-Night Stands (Tuesday one-off show at 11pm): Weeks 1-8
Corpus Playroom Mainshows (Tuesday to Saturday at 7pm): Weeks 1-8
Corpus Playroom Lateshows (Wednesday to Saturday at 9.30pm): Weeks 1-8
Corpus Playroom One-Night Stands (Tuesday one-off show at 9.30pm): Weeks 1-8
ADC Bar Show (Sunday or Monday at 8pm): Weeks 1-8
ADC Larkum Studio Show (Wednesday to Saturday at 8pm): Weeks 1-2 & 4-7
Suggested Categories
Each term, the ADC show selection panel provides suggested categories that we would be keen to see applications for, in order to broader our season. For each of the categories below, a shortlist of shows has been selected which we encourage applications for. Rights for these shows have been checked already and they have been selected because we believe they are good examples of what we are looking for from shows in these categories, and that they would be fruitful and worthwhile projects to undertake. Links to read the scripts for these plays are included below if they are available to read online for free (the University of Cambridge allows students access to Drama Online for free). A copy of each script is also available in the CUADC Library in the Production Office. Nevertheless, the shortlists are NOT exhaustive (other than for the Lent Term Musical) and we invite applications for other shows, pre-existing or new writing, that fit these category headings.
We emphasise that you can apply with any play and that the below category headings only serve to act as a guide. If we do not receive any applications for a category, or if all applications in a category are not of sufficient quality the panel will revert to selecting from the open applications field to fill the slots. In all cases the quality of submissions will continue to be the guiding principle in show selection.
This year we will only be accepting applications for the Lent Term Musical from the below list so as to guarantee the availability of performance rights.
If your show would also work as a one week show and you would like to be considered for a one week slot, we typically also offer an opportunity for a one-week musical around week three of Lent term. This does not have to come from the below shortlist but performance rights must be available. If your Lent Term Musical application is unsuccessful, you may be considered for a slot earlier in the term.
- 42nd Street by Harry Warren, Al Dubin, Michael Stewart and Mark Bramble
- At the height of the Great Depression, aspiring chorus girl Peggy Sawyer comes to the big city from Allentown PA, and soon lands her first big job in the ensemble of a glitzy new Broadway show. But just before opening night, the leading lady breaks her ankle. Will Peggy be able to step in and become a star? 42nd Street celebrates Broadway, Times Square and the magic of show biz with wit, humor and pizzazz.
- American Idiot by Green Day, Billie Joe Armstrong and Michael Mayer
- Johnny, Tunny and Will struggle to find meaning in a post-9/11 world. When the three disgruntled men flee the constraints of their hometown for the thrills of city life, their paths are quickly estranged. An energy-fuelled rock opera, American Idiot, features little dialogue and instead relies on the lyrics from Green Day's ground-breaking album to execute the story line.
- bare by Damon Intrabartolo and Jon Hartmere
- A group of high school seniors at a Catholic boarding school faces issues of sexuality and personal identity. As they struggle to come to terms with who they are, and who the world thinks they should be, they seek answers from their Church, their friends, and ultimately, from within themselves.
- Be More Chill by Joe Iconis, Joe Tracz and Ned Vizzini
- Jeremy Heere is just an average teenager. That is, until he finds out about "The Squip," a tiny supercomputer that promises to bring him everything he desires most: a date with Christine, an invite to the raddest party of the year and a chance to survive life in his suburban New Jersey high school. But is being the most popular guy in school worth the risk?
- The Bridges of Madison County by Marsha Norman and Jason Robert Brown
- Based on the best-selling novel The Bridges of Madison County captures the lyrical expanse of America's heartland along with the yearning entangled in the eternal question "What if...?". This sweeping romance about the roads we travel, the doors we open and the bridges we dare to cross will leave audiences breathless.
- Bring It On by Tom Kitt, Lin-Manuel Miranda, Jeff Whitty and Amanda Green
- Bitingly relevant, sprinkled with sass, and inspired by the hit film, Bring It On The Musical takes audiences on a high-flying journey that is filled with the complexities of friendship, jealousy, betrayal and forgiveness.
- Everybody’s Talking About Jamie by Tom MacRae and Dan Gillespie Sells
- Jamie New is 16 and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation. Supported by his brilliant, loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies, and steps out of the darkness into the spotlight.
- NOTE: This title has just become available for licensing for one year only from Summer 2024 to Summer 2025.
- The Hunchback of Notre Dame by Alan Menken, Stephen Schwartz and Peter Parnell
- Quasimodo, the deformed bell-ringer who longs to be "Out There," observes all of Paris revelling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful Esmeralda.
- Fiddler on the Roof by Joseph Stein, Jerry Bock and Sheldon Harnick
- A musical theatre tradition, Tevye the milkman tries to protect his daughters and his way of life from a changing world.
- *Ride the Cyclone by Brooke Maxwell and Jacob Richmond
- In this hilarious and outlandish story, the lives of six teenagers from a Canadian chamber choir are cut short in a freak accident aboard a roller coaster. When they awake in limbo, a mechanical fortune teller invites each to tell a story to win a prize like no other — the chance to return to life.
- Young Frankenstein (2017) by Mel Brooks
- The grandson of the infamous Victor Frankenstein, Frederick Frankenstein inherits his family's estate in Transylvania. With the help of sidekick, Igor, and lab assistant, Inga, Frederick finds himself in the mad scientist shoes of his ancestors. "It's alive!" he exclaims as he brings to life a creature to rival his grandfather's.
*Performing rights for Ride the Cyclone are in the process of being confirmed. If you would like to apply for this show please email the Theatre Manager first to check whether the rights have been confirmed.
The following list are suggested pre-existing plays, but other existing plays can be applied for if the rights are available, or original writing if the rights for the source material are available or out of copyright. We encourage applications for this category with both long-form and short-form pieces.
We’ve chosen this category as Lent programming will coincide with LGBTQ+ History Month (February). The category is intended to highlight Pride and queer joy, alongside all the facets of LGBTQ+ History.
- A Day in May by Colin Murphy
- On May 22nd, 2015, the people of Ireland voted resoundingly for marriage equality - making Ireland the first country in the world to introduce gay marriage by popular vote. Colin Murphy's documentary drama, based on interviews by the journalist Charlie Bird, charts the arc of that fight - culminating in the fervour of the final campaign weeks - interwoven with the personal stories of some of those who were touched by it.
- 2025 will be the tenth anniversary of the vote.
- NOTE: We have been offered the exciting and unique opportunity for a Lent Term 2025 production of this play to be involved in a documentary currently be worked on by the playwright.
- Read online here or copy available in the CUADC Library
- No I.D. by Tatenda Shamiso
- Tatenda Shamiso tells the story of his experience as a Black transgender immigrant in the UK. Using the songs he wrote throughout his first year on testosterone alongside letters, signatures and a whole lot of paperwork, he guides us through what it takes to validate Black and queer identities in the eyes of the law.
- Available in the University Library and copy in the CUADC Library
- One of Them Ones by Charlie Josephine
- Frankie is desperate to be understood, accepted, loved. But LGBTQ alphabet soup has got Michael’s head spinning. Why’s it gotta be so complicated? Why can’t they understand? Why can’t things go back to the way they always were? Unpicking the complexities of identity and the fierce family love that hopefully holds us together.
- Monologues for 'Others' by Charlie Josephine
- "This book is for the 'others'. For anyone who's ever felt othered. For us lot. Who deserve celebration and opportunity. Each one is written with love, with the actor in mind. I hope they make your body feel fizzy, I hope they get you all the jobs, I hope your flowers bloom."
- NOTE: This is a collection of monologues. Please mention in your application which of the monologues (one or multiple) you would like to perform.
- What it Means by James Corley
- September 1970, Harper's Magazine publish the article Homo/Hetero: The Struggle for Sexual Identity in which Joseph Epstein states "If I had the power to do so, I would wish homosexuality off the face of the earth". The Gay Activists Alliance stage a sit-in at the Harper's office. But there are many ways to protest. In his Glass House, hidden in the woods outside Brewster New York, Merle Miller - acclaimed journalist and former editor of Harper's Magazine - sits at his desk and begins to write.
- Read online here or copy available in the CUADC Library
- Beautiful Thing by Jonathan Harvey
- Jamie and Ste (short for Steve) are teenage neighbours in a working-class housing project in London. Jamie is bookish and shy while Ste is more athletic. Neither one has an ideal home life. As their friendship grows, Jamie begins to realize he has stronger feelings for Ste. Both realizing they’re gay, Ste and Jamie begin a tentative relationship. The play ends with the two boys feeling less alone in the world than before; they have each other.
- A screen adaptation of the play was released in 1996 by Channel 4 Films.
- Read online here or copy available in the CUADC Library
The following list are suggested pre-existing plays, but other existing plays can be applied for if the rights are available, or original writing if the rights for the source material are available or out of copyright.
A particular consideration would be a show that focuses on a woman/women in history to be placed in a Week 6 slot, meaning that their final performance would take place on International Women’s Day.
- Stitchers by Esther Freud
- Lady Anne Tree – one of the most aristocratic women in England – spent her life in prisons. As a visitor, she saw first-hand the aggression, low self-esteem, and high reoffending rates among the most hardened criminals. Lady Anne thought she had the answer. She would teach them needlecraft.
- NOTE: Lady Anne Tree was related to the Cavendish Family (i.e. Lucy Cavendish)
- Copy available in the CUADC Library
- Brontë by Polly Teale
- A compelling literary detective story about the turbulent lives of the Brontë sisters. In 1845, Branwell Brontë returns home in disgrace, plagued by his addictions. As he descends into alcoholism and insanity, bringing chaos to the household, his sisters write… Polly Teale's extraordinary play evokes the real and imagined worlds of the Brontës, as their fictional characters come to haunt their creators.
- Emilia by Morgan Lloyd Malcolm
- A riotous, witty reclaiming of the life of an exceptional woman. Four hundred years ago, Emilia Bassano wanted her voice to be heard. It wasn't. Could she have been the 'Dark Lady' of Shakespeare's sonnets? What of her own poetry? Why was her story erased from history?
- NOTE: The performing rights stipulate that all characters in Emilia - male and female - must be played by female-identifying actors. The role of Emilia was written for non-white actors. Please read and consider the casting guidelines before preparing a pitch for this production.
- Read online here or copy available in the CUADC Library
- The Gift by Janice Okoh
- Brighton, 1862. A day in the life of Sarah, an African girl, adopted by Queen Victoria and raised in the Queen's circles. Today is the eve of her having to return to Africa, but will she go? The Present. A day in the life of Sarah, a black middle-class woman living in a Cheshire village with her husband and small child. They are paid a visit by well-meaning neighbours who have something to confess. The two Sarahs meet Queen Victoria for tea. This won't be your regular tea party…
- Read online here or copy available in the CUADC Library
- 2nd May 1997 by Jack Thorne
- The Tories, eighteen years in power, are defeated as New Labour sweeps into government. From the euphoria and despair, three deeply personal stories emerge. Tory MP Robert prepares to attend the count. With defeat looming large, he fears becoming a forgotten man, while his wife Marie counts the cost of her own sacrifice to politics. Lib Dem footsoldier Ian is no hero, but party-crasher Sarah is determined to make him one. Best mates Jake and Will wake up with a new world order to memorise before their A-level Politics class. Jake dreams of Number 10. Will dreams of Jake.
- Read online here or copy available in the CUADC Library
Footlights Presents is a comedy show – typically a sketch show, but not exclusively – that aims to showcase up-and-coming comedians in their second undergraduate year or above, or postgraduate students in any year of study. The show is an ADC Lateshow slot that usually occurs early on in Lent Term, and is fully funded and supported by the Footlights.
It should be pitched as a sketch show concept by one person in the capacity of a writer, director, writer/director or writer/performer. This concept should be both innovative and with strong roots in sketch comedy as a medium (although applicants are free to draw on other inspirations as well).
There are no specific requirements on who may pitch or take part in Footlights Presents, although it should be noted that the show is targeted as an opportunity for those with some, but not a huge amount of experience with Cambridge comedy. If you have any questions about applications, email secretary@cambridgefootlights.org.
The show typically features a cast of six writer/performers, as well as at least a Director and Assistant Director (who may also be involved as writers). Applicants may adapt or alter this format with sufficient reasoning for doing so. The Footlights committee would also like to stipulate that they aim for Footlights Presents to be a fair and diverse representation of the Cambridge comedy scene and encourage those applying to keep this in mind.
Marketing
During the application process you will be asked to answer a number of questions pertaining to the marketing and web listing of your show were it to be programmed, including a marketing blurb, image, content notices and age suitability. This is because due to the tight turn around for season programming, at the point the season has been confirmed, all of the season marketing materials (including the brochure) are compiled and we start to upload key information to our website.
If your show is programmed, you will have a short window to suggest changes to any of these prior to publication by the Theatre.
When determining an age recommendation for your show, you should consider the following matrix:
Does your show contain?
| All Ages |
|
| 8+ |
|
| 12+ |
|
| 16+ |
|
| 18+ |
|
For clarification on any of the above, please speak to the Production Manager.
Other Information
You can apply with more than one production, or for more than one venue or slot. You should be aware, however, that spreading yourself too thinly can weaken all your applications: we are interested in a passion for a specific production rather than a general desire to stage something.
We are committed to open auditions and applications for cast and crew positions. If you are applying with a show that has been pre-cast, or has filled all of its major crew positions, please consider that this could be detrimental to your application.
We are only accepting electronic applications via the Google Form found above. Please get in touch here if you experience any technical issues.
There is a space on the application form to mention any adjustments that you require for the pitching process. Please note down if you would prefer to have more time in an interview, or any other adjustments.
Access information for our venues can be found here. Of note is the fact that the ADC Theatre is a fully accessible space, and that the Corpus Playroom is regrettably not wheelchair accessible.
We are only able to programme student productions during University term time. If you would like to enquire about other hire opportunities, please visit our website here.
Protected Characteristics
The ADC Management team publishes anonymised data on how many show applicants fall under certain protected characteristics including ethnicity, sexuality and disability, and how many of these applicants successfully had a show programmed. This data is collected as part of the show application process and is entirely optional for candidates to complete.
For the Michaelmas 2024, Easter 2024 and Lent 2024 application rounds, we received a total of 195 applications, with an average acceptance rate of 56%. This varies depending on the season, venue and type of show applied for (e.g. ADC Mainshows and Musicals tend to be our most competitive slots). The below does not include applications for the CUADC/Footlights Pantomime 2024, for which demographic data was not collected.
The University of Cambridge publishes anonymised equality and diversity data every year, with the latest report being published for the 2022 admissions cycle. Students with a disclosed disability comprised 10.5% of all undergraduates. Students from a BAME background who disclosed their ethnicity made up 34.2% of all undergraduates. In 2022, the University of Cambridge did not report on student numbers by sexual orientation.