Detailed Content Warnings
These content warnings are provided so that you can still consume the show if you want to avoid one or more of the content warnings. ‘Cues’ are visual changes onstage that you can use as a signal that a certain content warning will come up imminently. A ‘discussion’ is characters talking about the topic, while a ‘depiction’ involves an abstract staging of a character experiencing the topic (note that Adamandi does not feature any practical blood effects or gore). However, many of the content warnings are incorporated throughout the show, so please consider your overall comfort with murder, student death, Catholic guilt, and discussions of self-harm when deciding whether to see Adamandi.
Loud Noises
Loud noises (books dropped from a height/shouting) occur in scene transitions after Where Can I Run (Act I, cue: Vincent leaves the stage), A Little More In Love (Act I, cue: Quincy leaves the stage), and Quincy and Vincent’s discussion of Vincent’s project (Act I, cue: Quincy proposes they team up).
Self-harm through Exercise
Self-harm through exercise is discussed in Sound Body, Sound Mind (Act I, cue: Ambrose and his friends surround Vincent), and Me, Myself and I (Act I, cue: Quincy sings ‘Me, Myself, and I’ the first time), and depicted abstractly in the scene transitions after Where Can I Run (Act I, cue: Vincent leaves the stage), A Little More In Love (Act I, cue: Quincy leaves the stage), and Quincy and Vincent’s discussion of Vincent’s project (Act I, cue: Quincy proposes they team up).
Self-harm through Burning
Self-harm through burning is discussed during the scene where Portia and Quincy are on the stage left balcony (Act II), the scene after Quincy and Vincent talk to the Administration (Act II), and On The Other Side of Failure (Act II, cue: Quincy enters holding a broom). It is depicted abstractly during Litany of the Martyrs (Act II, cue: Saint Lawrence says “One life, one death, one hell’), and I Hate and I Love (Act II, cue: Quincy lights candles on the balcony).
Internalized Homophobia
Internalized homophobia is discussed in the scene where Ambrose and Vincent talk in the gym (Act I, cue: Ambrose leaves the Marmorei in the gym), throughout I Love You, I Swear, and depicted in the scene before I Love You, I Swear (Act I, cue: Beatrix and Portia finish their interview.)
Body/Corpse Mutilation
Body/corpse mutilation is discussed in Oh, Ms. Reporter (Act II, cue: Vincent sits down in a chair at the lip of the stage) and implicitly depicted in the final scene of Act II (cue: the pyre is wheeled in)
Murder
Murder is discussed in the scene between Beatrix and Vincent in the newsroom (Act I, cue: Beatrix unlocks the file cabinet) as well as throughout Act II, and depicted abstractly at the end of Act I (cue: The ensemble sings ‘Me, Myself, and I’), and the end of Act II (cue: Quincy sings ‘I Hate and I Love’ for the second time)
Suicide
Suicide is briefly discussed in Word to the Wise (Act I, cue: Quincy and Vincent are pushed towards the lip of the stage), discussed in Perfect at School (Act I, cue: Quincy stands from the interview table), Read All About It (cue: start of Act II), the scene after Student Body (Act II, cue: Vincent enters Quincy’s room with Ambrose), Where Can I Run (Reprise) (Act II, cue: Quincy holds out their hands to Vincent), and the scene that takes place on the Pyre (Act II, cue: the pyre is wheeled in).
Gender Dysphoria and Internalized Transphobia
Gender dysphoria and internalized transphobia is discussed in the scene after Sound Body, Sound Mind (Act I, cue: Ambrose leaves the Marmorei in the gym), throughout I Love You, I Swear (Act I, cue: Ambrose speaks to his girlfriend offstage), and Me, Myself, and I (Act I, cue: Quincy sings ‘Me, Myself, and I’ the first time).
Stalking
Stalking is discussed in the scene after Quincy sees the saints for the first time (Act I, cue: Saint Jude leaves), and depicted in the scene transitions at the end of Where Can I Run (Act I, cue: Vincent leaves the stage), A Little More In Love (Act I, cue: Quincy leaves the stage), and the scene after Student Body (Act II, cue: Vincent enters Quincy’s room with Ambrose).
Catholic Guilt
Catholic guilt is discussed in the scene after A Little More In Love (Act I), Me, Myself, and I (Act I, cue: Vincent leaves the newsroom), and throughout Act II.
Lying/Manipulation
Lying/manipulation is discussed in The One Who Pulls The Strings (Act I, cue: Portia tries to leave the newsroom), the scene where Beatrix is interviewed by Portia (Act II, cue: Beatrix and Portia bring out the interview chairs), the scene after Where Can I Run reprise (Act II, cue: Quincy storms off with the saints) and the final scene (Act II, cue: the pyre is wheeled in by the Marmorei), and depicted in the scene where Vincent and Beatrix are in the newspaper archives (Act I, cue: Beatrix opens the archive drawers) and the scene where Beatrix and Portia discuss Portia’s new assignment (Act II, cue: Portia takes scissors out of the archive drawer).
Student Death
Student death is discussed the scene where Vincent and Beatrix are in the archives (Act I, cue: Beatrix unlocks the Archive drawers) and throughout Act II (particularly in the opening number), and depicted abstractly at the end of Act I (cue: The ensemble sings ‘Me, Myself, and I’), and the end of Act II (cue: Quincy sings ‘I Hate and I Love’ for the second time).
A Note from the Writers
We would like to honor and acknowledge the memories of Kevin Chang ’23, Jazz Chang ’23, Justin Lim ’24, and Misrach Ewunetie ’24, students who passed away during our time at Princeton. Our hearts go out to those that knew them, their friends, and their families – we can’t imagine the impact their loss had and continues to have on your lives. We encourage everyone to support and donate this GoFundMe in memory of Misrach Ewunetie ’24, organized by her family.
While Adamandi is not intended to respond to or highlight any student’s death in particular, the story involves student death in a high-pressure academic setting, especially throughout Act II. We want to acknowledge that despite the horror-style framing of these fictional deaths, students at elite institutions passing away during their time there is sadly not yet fiction. Therefore, it is inevitable that this story will affect different members of our community in different ways.
Please heed the student death, murder, and suicide content warnings if you do not feel comfortable following a story that contains these elements tonight. If you unexpectedly feel unwell during the show, please feel comfortable leaving the theater by the side or rear exits.
— Elliot Valentine Lee and Mel Hornyak
