A lot can happen in a year. And so, it was a no-brainer to check in with this year’s freshers, now at the end of their first year in the Cambridge theatre scene, and hear about the ups and downs they experienced along the way. Talking to Rosie Nicol, Kaitlin Pryce, and Jude King (who you may know from Bloody Poetry, Doctor Faustus, and MESSIAH, to name a few) gave me a better idea of what a year can look like for those committed to balancing theatre alongside their first year in Cambridge.

“If you’ve heard of anything going into Cambridge theatre, you’ve heard of Footlights. That’s what everyone’s mum knows about”

What were your expectations of theatre coming into Cambridge?

All three admit to not knowing just how big the theatre scene truly is in Cambridge until getting here. To Rosie, “Cambridge was the domain of rugby lads and rowers,” before she was promptly introduced to Cambridge theatre by her college spouse, going on to audition for her first play in Lent. This kind of introduction was similar to Kaitlin’s, who got into theatre through friends after hearing about their auditions. Jude, who also didn’t get into theatre until Lent term, was, however, aware of its comedy scene: “If you’ve heard of anything going into Cambridge theatre, you’ve heard of Footlights. That’s what everyone’s mum knows about.”

What is something that surprised you about Cambridge theatre?

This question easily provided the most range of answers. “Literally everything was a surprise as I had no idea what to expect!” Rosie says, going on to mention welfare, the concept of Get-Ins, and rehearsal times as things that she needed time to wrap her head around. It comes as no surprise that it was also a struggle to “push through [without a] uni rehab centre for a Camdram addiction,” something that many of us can relate to.

For Kaitlin, “the whole audition season at the end of every term can be very stressful,” pointing out how the seriousness of student theatre has its downsides, making it necessary to “remind yourself that it is something that you’re doing for fun”. She is keen to point out that this also has its merits, with people ready to put “their heart and soul into theatre”.

This is shared by Jude, who was surprised by the sheer ambition of Cambridge theatre. Discussing MESSIAH, an experience that he felt was “almost professional” in its execution, he goes on to praise the writing of Aisling Towl, and highlights James Critchley, who he says was “magical as a director”. Perhaps it was this sense of professionalism that led the cast and crew to treat “this new piece of writing as something fairly sacred”.

What has been the highlight of your Cambridge theatre experience this year?

“A common theme that runs throughout […] is the sheer fun involved in making a play”

A common theme that runs throughout each of their answers is the sheer fun involved in making a play, especially when it comes to socialising. For both Kaitlin and Jude, their respective May Week Shows of Much Ado About Nothing and Twelfth Night are clear highlights.

Jude again points to MESSIAH as another highlight, especially with it being staged at the ADC, making it a project he “probably won’t forget for a while.” As for Kaitlin, the upcoming 1816: The Year Without A Summer at the Camden Fringe is “a really exciting opportunity that you don’t get everywhere”.

Rosie mentions the “friends we made along the way” as one of her favourite aspects of the theatre scene, although she admits that the “funny reviews” can also be memorable. As for a standout show, she cites Doctor Faustus and its “epic” cast as a particular highlight.

What advice would you give to incoming freshers about acting in Cambridge?

This question is met with more of a unanimous answer, with the main take-away being that it’s the perfect chance to try something new. Kaitlin highlights her behind-the-scenes experience in Cambridge, particularly her role as assistant director for Bloody Poetry, as something she enjoyed trying out. Even when it comes to acting, she’s embraced new challenges, noting that “doing a serious play for the first time was new,” after previously being mainly involved in musicals.

Jude adds, “don’t be wary about how it’s viewed,” pointing out that “you won’t be the most annoying person because the rowers will be more annoying than you”. Whilst he admits that there can be nepotism when it comes to casting, he is keen to add that it shouldn’t deter you and the important thing is to “get involved” as much as possible.

Rosie’s advice ends on a high: “Just do it. Be lovely to everyone. Eat lots of welfare snacks.” So, to any incoming freshers, or to anyone who is considering trying out theatre next year: what do you have to lose?