The beginning of the new university year does not only mean new classes, Edinburgh-Autumn-aesthetic and lots of Subway Tuesdays, but for those theatrically-inclined, the beginning of the long and grueling process of (a word that hardly encapsulates the trauma it induces) auditions. A cynic might suggest that the question of ‘how to get involved with student theatre at Edinburgh University’ is really a desperate cry of ‘who will let me get involved’: Edinburgh University Theatre veterans (Fringe survivors, committed Bedlamites, many varied and talented performers of previous productions) know all too keenly just how competitive student theatre here can be. Initially, it seems to be a case of too few opportunities for too many talented performers. It is a wonder The University of Edinburgh does not offer a course in ‘Theatre’, however it is probably for the best; it, like our student theatre, would certainly be over-subscribed.
Nonetheless, as September and October come around, performers fight Freshers flu, brush off hangovers (or at least try to), and must muster up the courage to show face at these dreaded auditions. Whether that entails hour-long dance auditions (not for the faint-hearted), performing Shakespeare, or, the insanity-inducing self-tapes, it might all seem vastly demoralising.
However, the Tree of Life that is Edinburgh student theatre, has many branches that extend far and wide and can be surprisingly bountiful. For example, not only will Shakespeare Society be putting on their ‘Main Play’ of ‘Much Ado About Nothing’ this year, they will also be doing a show called ‘Shut Up Shakespeare’; no need to be disillusioned with what feels like statistically an inevitable failure, there are always more opportunities unveiled. Different societies have their equivalents: Footlights have their main shows but also other opportunities like ‘Footwork’, Savoy Opera Society will put on a musical as well as a later Gilbert and Sullivan production, let alone all that our student theatre Bedlam has to offer.
The opportunities, once one has acquired the knowledge about just how many there are, seem to be an ever-growing branch, winding and winding until the seeker finds the show best suited for them. It therefore feels necessary to stay on top of the potential opportunities out there: follow society Instagrams, attend theatre events, face all the daunting auditions, network and enjoy opportunities to meet like-minded people. But most importantly, stay hopeful, give every opportunity a go, and remember, every good performer has a traumatic audition within their repertoire.
“Bedlam Theatre, Edinburgh” by Kim Traynor is licensed under CC BY-SA 3.0.