Have you ever wondered just how Cambridge theatre enthusiasts possibly balance plays alongside the constant deadlines and workload that already prove difficult enough to keep track of? I reached out to a number of ADC regulars and asked them to explain how exactly they managed to keep on top of academic priorities amid the commitments of these shows…

A large factor that all contributors noted was time management. Well seasoned producer, Josh Pritchard, says that he manages to balance his theatre involvement by keeping “a few interspersed hours a day free for correspondence”, ensuring that theatre commitments are separate from the academic demands and relaxation. He explains though that some roles do involve spontaneous extra calls and correspondence – being a producer, for example. Considering this, I believe that a key aspect of time management in Cambridge theatre is being willing to adapt to the demands of all commitments.

“With enough organisation, the Easter show does not have to take a toll”

Helen Brookes, a Cam Dram connoisseur with an incredible amount of experience in balancing theatre, pinpoints preparing work during the breaks and creating a schedule to achieve the art of “the ADC time warp”. Helen’s other time-related advice, however, prioritises “taking breaks from theatre and academics” to “reset”. What remains clear to me, is that neither Helen nor Josh’s time management involves the sacrifice of personal wellbeing at the expense of Easter shows. Both show that with enough organisation, the Easter show does not have to take a toll.

Also, beyond this, many responses focused on the positives that theatre can actually provide to lessen the stress of academic commitments. An NIH survey observed the opportunity theatre and similar extracurriculars provide to strengthen a range of cognitive abilities and mental health, also reducing exam term’s intensity. Helen said that “being creative and collaborating with other people is really beneficial to the mind and helps you work better academically too”. She, importantly, stresses that in the average nine-12 terms at Cambridge, every one of them should be equally enjoyed. This highlights that there is one piece of vital knowledge to keep hold of in Easter term: that your passions are worth pursuing as well as exams.

“Your passions are worth pursuing as well as exams”

The ability for Cambridge theatre to provide this productive break is very much demonstrated by Caitlin Gillard’s moderation-focused approach. As the assistant stage manager of the very successful Medea and director/carpenter of week four’s Wind in the Willows, Caitlin described her approach as an amalgamation of “treating my degree as a 9-5”. She also recommended being open with your DoS and supervisors about commitments. She shares that “a lot of people try to keep commitments under wraps from them, but in my experience a lot of them are very supportive”. Through knowing your own limits in terms of commitments, Caitlin highlights that Easter term productions offer an opportunity to maintain passions amongst studying. This was definitely demonstrated by her own dedication to set building for Wind in the Willows, leading her to redraft her coursework amidst “being covered in sawdust and babysitting PVC pipes we had bought for the build!”.

Managing personal limits stands out as an essential aspect in maintaining academic and theatrical success in Easter term. Another responder noted that the Cambridge theatre scene occasionally tends to prioritise the quality of shows over welfare, making it clear that the ability to balance Easter term theatre must be self-lead. Despite this, the positives of being involved in student theatre seem to heavily outweigh any negatives. H Sneyd notes that theatre is a “lovely” motivation in exam term, providing “built in socialising time” and the opportunity to “meet new people”.

“The ability to balance Easter term theatre must be self-lead”

Thomas Gladstone, director of The House at Pooh Corner, explains that directors and producers are aware of the commitments of Easter term when establishing shows, and often account for this in rehearsal schedules themselves. He notes that they recognise both actors and audience alike are attending the theatre in Easter term as a way to escape exams, therefore shows should be approached through a lens of fostering that “fun” that everyone needs.

The positives of doing a show largely outweigh any stresses as long as you remain honest and realistic with time commitments. An openness about this with friends, supervisors, Director of Studies and directors alike will ensure that your survival kit for Easter term includes a wonderful show too!