Have you made up your razoodocks what to do with the weekend? Maybe hit the sinny for the newest flick? Perhaps a little of the old in-out in-out with that special someone?

You can do that any time.

Use your gulliver and celebrate the end of another week of skolliwoll with some theater, Anthony Burgess style. Gather up your cutter, grab some droogs and head to Shanley Pavilion to viddy “A Clockwork Orange.”

The classic coming-of-age story turned X-rated Stanley Kubrick film turned stage show is now hitting campus after a long gestation. Communication sophomore Andrew Perez began work on the adaptation last spring. He and his roommate, Weinberg sophomore Ali Yurukoglu, secured a grant from Northwestern’s Center for the Interdisciplinary Research in the Arts.

Perez and Yurukoglu then approached Ian Forester, now a Communication senior, to direct the production, which later received a sponsorship from Vertigo Productions.

The story centers on a young man, Alex, who spends his nights in orgies of drugs, sex and violence, until he is nabbed by the police and forced to undergo an experimental treatment program to cure him of his thirst for destruction.

More than anything else, though, the story is about growing up, Forester said, which is why the story is so appropriate for a college audience.

“(The late teens and early twenties) are an age of self invention,” Forester said. “There are people who choose to act like adults and get into heavy relationships and buy houses and have kids and then there are people who don’t do that and take another route…When you grow up, it’s a passing. You can’t make the choice to act like a child anymore; you have to give it up.”

The play incorporates two actors playing Alex at different points in his life. The older Alex, played by Communication sophomore Bob Turton, serves as the plays narrator walking among the characters as he recalls the events of his youth. Perez plays the younger Alex.

“(There is) something about the character, something about his intelligence, his style, his aesthetic,” said Perez.

Perez has discovered, though, that there is a great deal more to the character than fake eyelashes and a rabid libido.

“What I’ve been realizing in the past week is he’s a tough person to inhabit,” Perez said. “He goes through so much.”

Indeed, the scenes of the treatment program are among the more memorable from Kubrick’s 1971 film. At that crucical juncture in the story, Alex turns from a villain into a more sympathetic character, subjected to inhumane treatment by an oppressive government.

“Alex loses complete control of his life,” said Turton. “There’s such an interesting story there that was part of the novel that wasn’t in the movie of how Alex suffers.”

Both Turton and Perez said they hope they alter the audience’s preconceptions of the story, ones clouded by vivid images from the movie.

The play, for instance, includes Burgess’s final chapter, omitted from the movie adaptation. That chapter, Perez said, ends on a very different note from the movie version.

Perez said the opportunity to perform the last chapter was one his main reasons for wanting to do the play in the first place.”

“I saw there was a noble thing about doing the play,” he said. “It’s showing a totally different thing than the movie. It takes a fable and turns it into a novel, it shows the character changing.