Culture

Is the dancefloor really dead?

Tongue-in-cheek as it may be, Charli xcx’s ‘Rock Music’ speaks to the structural issues actively decimating nightlife across the world, even if her motivations may be more aesthetic than political.

Culture Emma Heagney -

Testing my patients: ‘The Effect’ at the BT Studio reviewed

Necessarily navigating the difference between ‘side effects’ and reality, the play strikes a fine balance between what one thinks and what one feels.

Culture Billy Skiggs -

‘The Harrowing of Hell.26’ reviewed

Fundamentally, The Harrowing of Hell.26 is a finely acted, well-produced play which was enjoyable enough to watch, but its conclusion is unsatisfying.

Culture Arun Lewis -

Circadian Renaissance

Clara Leonard Davies writes about the beauty of summer light and the memories that we associate it with.

Culture Clara Leonard Davies -

Latest

Oxford Oddities #1 – Oriel

Exploring the history of Oxford colleges to discover eccentric artistic personalities. This week the focus is on Oriel alumnus 'Beau' Brummell.

Preview: Dangerous Liaisons

Dangerous Liaisons director Christina Drollas discusses the upcoming Playhouse production

Interview: Lemony Snicket

Hattie Soper asks Daniel Handler, official representative of Lemony Snicket, a series of unfortunate questions

Stiff as a Stoker: 100 years of Dracula

On the 100th anniversary of Bram Stoker's deathday, the Culture staff find themselves under the Count's spell.

The Two Gentlemen of Verona: Actor’s blog 3

Stephen Hyde on the trials and tribulations of his character's canine companion

Working Titles

Xin Fan digs up a few first titles from a selection of perennial favourites

Lauri Saksa in London

The inimitable Lauri Saksa's take on London - in colour

Celtic Waters

Sophie Baggott reflects on the waters of Wales

Review: Delilah – 2-4am Mixtape

Delilah's mixtape leaves Patrick Scott wanting more and eagerly awaiting the upcoming LP

Review: Chromatics – Kill For Love

Kyle Sawhney finds Chromatics' new LP cementing their reinvention as brooding synth-poppers, despite erring on the side of self indulgence at seventeen tracks