Saturday 18th April 2026
Blog Page 1132

Junior doctors hunt for the truth

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Over the last week, the issue of the junior doctors contract has been eclipsed by the debate over Britain’s membership of the EU. Heated public debate always suffers from fatigue, and the media eventually run out of interesting photos to accompany their articles, so they move on. However, the dispute over the contract is still very much unresolved — negotiations have broken down and Jeremy Hunt is still trying to impose the new deal against hostile opposition from the BMA. So as we gaze into the future and wonder what will happen next, how do we begin to make sense of the mess?

It can be hard to see clearly through the blur of conflicting statements surrounding the proposed contract. Opposing groups often appearing to be talking about such different deals that is leads you to question whether they are even reading the same document. What is clear is that the debate has drawn incredibly strong emotions from both doctors and the public. With the first doctor strikes since 1975 and the risk of alienating an entire generation of junior doctors, the stakes could not be higher.

It is worth starting off by looking at the facts, but the devil is in the detail, and however anyone may try and put it, the contract is complicated. Will doctors get a pay cut? Well, probably not. Most junior doctors will either be paid more than they were this autumn, or the same amount, for at least three years. This is due to “pay protection” measures that were introduced to the contract in November, but doesn’t completely eliminate the possibility of some loosing out, particularly if their salary in the autumn was for some reason lower than usual. It is also true that the protected salary will not rise with experience or inflation, so their salary may end up lower than it hypothetically would have been and they get more experienced. It all gets even more complicated when you try to consider the huge variation in the out of hours patterns of different specialities.

Adding to the confusion is that there have been a number of different proposals made at different points in the negotiations. The proposals in July would have meant a pay cut for some junior doctors, but the NHS employers have stated that the deal put forward at that point was never considered perfect, but rather somewhere to start negotiations.

As devoted as the team at Cherwell is, it would be near impossible to try and apply the details of the deal to every single junior doctor to see whether they would be losing money, and it doesn’t get any easier when you turn to the big organisations for help. The BMA stand defiantly with their objection to the contract, and on the other side of the fence, Jeremy Hunt accuses them of misleading doctors. NHS Employers (firmly on the government’s side) talks about it positively, but they are drowned out by the numerous medical organisations who have come out against it. It is hard to get either side to put down an unbiased and systematic argument in their favour, and it therefore seems to boil down to a game of trust. As one would perhaps expect, the BMA current has the favour of the public.

It is also worth looking at the commonly quoted issue that patient safety will be compromised by the removal of the pay banding system for unsocial and its associated safeguards. Unsurprisingly, the camp is once again divided. The BMA argues that the removal of financial penalties for employers subjecting doctors to “fatiguing” work patterns will put patients at risk — The Royal College of Paediatrics and Child Health and The Royal College of Obstetrics agree. NHS employers says that it is not these safeguards that are responsible for reducing working hours, but rather it is down to the European Working Time Directive.

All this talk of fact is beginning to make me weary, but it is also unlikely to help us in a dispute that is as much about sentiment as it is about details. The major factors contributing to this is the state of the current NHS, the way in which the government has gone about the negotiations, and suspicion over the motivations of the government.

The NHS is under huge strain, with rising patient numbers and shortages with regular staffing, to name but a few of its many symptoms. This has left many NHS staff, from consultants to GPs to junior doctors to nurses, feeling under immense stress and pressure. The changes in the healthcare system under the conservative government have created strong feelings of resentment towards the government and this has inevitably made negotiations difficult.

It is also impossible to ignore the actions of Mr Hunt in this debate. The fact that the negotiations have got to this point is a very poor reflection on his skills as a mediator, and at some points, his rhetoric has been outright misleading. This leads us to the greatest point of contention in this debate: the inclusion of Saturdays in what are considered ‘normal working hours’. The health secretary continues to claim that poor care on weekends is responsible for excess deaths, and that the solution to this is a 7 day NHS. This is misrepresentation of data. Although it is true that research suggests that there are ‘excess deaths’ at weekends, to claim that this is due to sub standard care is simply incorrect. There are many possible explanations for increased weekends deaths, for example those that wait until the weekend to go to hospital may be more unwell, and in the case of strokes (another claim recently made my Mr Hunt) it is possible that people who suffer less serious stokes on the weekend do not seek immediate treatment. As the researcher put it: “It is not possible to ascertain the extent to which these excess deaths may be preventable; to assume that they are avoidable would be rash and misleading”.

During the strikes, Mr Hunt also claimed that doctors were putting patients at risk by going on strike. Consultants covered much of the extra work and this attempt by the government to win over public support is not substantiated by evidence, nor is it agreed with by most medical organisations. Mr Hunt has also appeared to deliberately avoid debate with doctors over the issue, only increasing suspicion that he is unwilling and unable to defend his ambitions.

The suspicion among many health professionals is that this deal is the first step in a series of changes to all NHS employees that will gradually see the erosion of standard working hours and weekend pay in order to make it easier for hospitals to roster staff in the weekends. Junior doctors were perhaps the easiest targets for the government to start with, and the fear is that the continual ambition to make a 7 day NHS on the same funding as a 5 day one is only possible by making the staff cheaper. These feeling and resentment among junior doctors meant that the BMA has felt unable to move on this disagreement.

So, we can safely conclude that it is a mess. Short term ideology sailing on the prevailing economic winds continues to plague health policy (and let’s face it, this is politics, it always will) and the NHS continues to go from crisis to crisis. David Cameron has already tried to draw attention away from the dispute with a ‘new’ focus on mental health, and the EU debate is helping distract the press. Meanwhile, the BMA are still standing strong, and have recently announced they will be mounting a legal challenge against the imposition of the deal. So here is my prediction: the government will water down the contract as they realise that the fight isn’t really worth it, the new contract will go through and both sides will claim victory. Jeremy Hunt will be promoted to a cosy cabinet position as a thank you for withstanding the abuse, and all will be calm before the government think the time is right to push for another reform. Some doctors will leave the country, or leave the profession — how many is hard to say. The morale may increase for while (depending on the rhetoric surrounding the final deal), but otherwise continue as before and the NHS will continue to suffer the same problems that have been plaguing it for years.

I would argue that responsibility for this conflict mainly lies with the Department of Health, but neither side have acted in the most honest of manners. Whatever happens, having a health service workforce that is at odds with the government will help no one. This must change if the NHS is going to make any progress at a difficult time, and the duty lies on both sides to try and make it work.

Preview: Mercury Fur

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On my way to attending this preview, I read the Wikipedia page of the play – it’s a classic ploy for secretly and profoundly ignorant theatre critics to maintain their veneer of omniscience to construct the absurd notion that we actually know what we’re talking about. The Wikipedia entry for Philip Ridley’s Mercury Fur actually made me more, rather than less, anxious about the rehearsal I was about to witness. It features such choice quotes as “at least 10 walkouts reported each performance” or “In 2010 police almost raided a production of the play (which was staged in a derelict office block) when a resident living next door believed the play’s violent scenes were being carried out for real”. At this point I should warn readers that I will not only be lightly spoiling some of the plot of this production, but will also be reporting some quite frankly horrifying events that unfurl over the course of the play.

Mercury Fur is set in a post-apocalyptic London; where roving criminal gangs fight over the market for hallucinogenic butterflies. Several of the main characters are addicted to these butterflies, which send you on bizarre journeys into the surreal, and cause severe memory loss. This is pretty much the dictionary definition of ‘dystopian’, on steroids – our loveable band of drug addicted and/or homicidal protagonists scrape together a livelihood in this hellish future by throwing ‘parties’ for the tiny minority of the hyper-rich. These aren’t the standard champagne, coke and porcine necrophilia beset sort of parties which the hyper-rich enjoy today – rather, the gang promises to fulfil the very deepest and darkest desires of these individuals, which, in the context of Mercury Fur, turns out to be the dismemberment of a child dressed as Elvis Presley for sexual gratification (I did warn you).

This production has a stunning cast, who have really come to grips with the darker side of Ridley’s work – Director Jonny Dancinger reflected that he is effectively orchestrating a “social experiment.” The cast have been following Artaud’s ideas of ‘Theatre of cruelty’ (yet another occasion for some Wikipedia reading) – basically they’re tired of dramatic performances that fail to make the audience feel anything, so they want to bring people to the edge of an emotional breakdown, to force you to engage with the characters. All I can say is that over the course of my half an hour in their company, the cast certainly brought me to the edge of an emotional breakdown.

Centre stage we have Calam Lynch as Eliot, whose mastery over Ridley’s bizarre, vile and lyrical phrasing draws a sense of poetic profanity to the genuinely disturbing imagery (“I’ve known gang-raped toddlers to act with more alacrity”). Mia Smith’s Darren, whose bizarrely sensual description of hyperviolence painfully evokes a sense of infantilised desensitisation, joins Lynch. The preview was so packed full of highlights that I could ramble on for several more pages – for example a soundscape made entirely out of The Sound of Music’s ‘Do Re Mi’ at various levels of distortion – basically, go and see this show, if you can stomach it, it promises an evening of drama nonpareil.

Spotlight: From Stage to Screen

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noticed recently that often the best actors in film have a strong theatrical heritage. What was it that drew them together, I asked myself. Here I want to show that, funnily enough, what draws this selection of actors together is a shared sense of how acting should be done that often makes them stand out – I think that it’s what they garnered from their time in the theatre.

Daniel Day-Lewis, for one, started his career in the National Youth Theatre, continuing his theatrical development well until he took his first major role
in
My Beautiful Laundrette. The method acting for which he is famed, however, was not fully evident until My Left Foot some years later. I believe that this method acting, which has won him three Academy Awards, is a legacy of having  been educated in acting by the gruelling and very different experience of acting in theatre. The ferocity of the monologues and the intensity of his gaze, evident in There Will Be Blood (arguably his career-defining performance) show a theatricality that should come as no surprise to anyone with a knowledge of his background. Other actors such as Ben Kingsley, Chiwetel Ejiofor and Derek Jacobi share this background of having studied at the National Youth Theatre, and what becomes immediately apparent is their shared interest in fiery, distinctive character studies. Between them, they possess some of the most widely-known and instantly recognisable roles in film history.

The translation of stage success to film success is so pervasive because of the distinct ability to bring a convincing and authentic possession of a role that comes from having sharpened one’s chops on the stage rather than going straight into the daunting world of film.

 

Spotlight: Eliot as playwright

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Murder in the Cathedral is one of the stranger plays I have had the pleasure of reading. Full of both highly lyrical meditations on life and faith and passages of religious obscurity, it ultimately fails to toe the fine line between theatricality and poeticism.

Many of the speeches run on for far too long and the play even includes a sermon half way through. Completely dissipating any sense of pace that the play may have had, the character of Thomas A Beckett monologues for
several pages on Christian ideas of peace. Although it is true that Eliot’s poetic power never deserts him, it doesn’t translate at all well to a genuine stage performance that will entertain the average theatre-goer.

From my point of view, it is a play to be read and not seen. Once this fact is accepted, it seems as strong as much of his poetry, employing themes of existential purpose, temptation and the relations between church and state. These renewed focuses, combined with the novel idea of changing historical setting, reinvigorates much of this play – as read on the page, at least. Subtly drawing parallels between Beckett’s individual resistance to authority to the rise of anti-individualistic Fascism in 1935 when it was first performed is, in my opinion, one of Eliot’s defter artistic ploys, and makes the play both timeless yet also powerfully pertinent to the period. Watching this would be perplexing – trying to understand complex references and nuanced verse in the theatre would probably be too much of a strain for the average viewer.

Yet as an English Literature student, studying the play reveals much of its complexity in an enjoyable way that shows how good it really is.

In short, I’m not saying I don’t like Eliot. All I am saying is, don’t go and watch his plays. 

How similar is pro-Israel discourse to apartheid apologism?

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Attacks on Israeli Apartheid Week often claim the apartheid analogy is inappropriate and inaccurate. So I thought I’d put the analogy to the test, and it passed.

The analogy between the modern State of Israel and apartheid South Africa is a highly controversial one. This week has seen another scandal ignite, with Labour Party personalities signing open letters condemning Oxford University Labour Club for its endorsement of Israeli Apartheid Week (IAW) – not to be confused with the separate, highly concerning allegations about anti-Semitism at the Club. In a letter published on the website LabourList, a host of former OULC co-chairs declared, “It is wrong to contend that Israel – a multiracial democracy – even remotely resembles the horrors of South Africa’s racist dictatorship.”

I was genuinely curious, then, about what the reaction might be when I changed the words “South Africa” for “Israel” in a 1980s pro-apartheid screed, and submitted it to The Oxford Student. Surely, they wouldn’t fall for it? Surely, we would have made some progress since the 1980s, when the defence of racist chauvinism was commonplace?

In the end, they published it largely unchanged.

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The original version of the article is here, in a 1,300-word essay from 1989 for the US-based Christian Science Monitor. I’ll leave it to readers to judge whether the argument was faithfully compressed in the shortened version I submitted to The OxStu, but I believe that most fair-minded observers would say it was. (The editors made a couple of tweaks – a long paragraph denying the historical reality of black people/Palestinians having been driven from their lands was cut, though few would dispute that such denials are, indeed, commonplace in pro-Israel discourse). Barring the opening sentence, there is nothing in this defence of Israel – a cogent, typical and superficially quite compelling one – which was not cribbed directly from the racist diatribes of pro-apartheid white South African academic Anne-Marie Kriek.

Of course, there are differences between Israeli apartheid and its South African counterpart. The key difference is that Israel does give the right to vote to a small sub-section of the Palestinian population, namely the 1.5 million Arabs who reside within ‘green-line’ Israel. This allows liberal apologists for Israel to argue that, despite the oppression of 4.5 million Arabs in the occupied territories, “Israel proper” is nonetheless a “multiracial democracy”.

But Arab-Israelis are allowed to vote solely because there aren’t enough of them to make an impact. When asked about the Palestinians expelled in 1948, Israeli authorities are perfectly explicit: they and their descendants are not allowed to come home, because if they did, they might vote the wrong way (i.e. for Arab, rather than Jewish, leaders). A ‘democracy’ that gerrymanders its own electorate at gunpoint to ensure an ever-lasting ethnic monopoly on politics is no democracy at all.

Then there are the 4.5 million Arabs, second-class, non-voting Israeli citizens in all but name, who live in the occupied territories. These people rely for everything, even drinking water, upon a state that openly regards their very existence, their very ability to reproduce, as a threat. No wonder South African anti-apartheid leaders like Desmond Tutu and Dennis Goldberg have concluded repeatedly that Israel’s system of race management is, if anything, more brutal than classic apartheid.

But if The OxStu’s decision to print the article demonstrates anything, it’s that the parallel is at its most visible in the discourse of these systems, the arguments they deploy in their defence. We are told that the natives are barbarians who will slaughter their former rulers as soon as they get freedom; we are invited to look at a troubled region, and then at the little island of repressive stasis under discussion, and draw the conclusion that oppression works better than freedom in such a savage, unruly part of the world. The OxStu published my/Kriek’s article with a picture of glittering Tel Aviv harbour, and the caption, “Israel has one of the highest standards of living in the Middle East.” It’s an achingly beautiful photograph, but the message couldn’t be uglier: “Look at this civilization; look at everything colonialism has built. If the natives take over, they’ll run it into the ground.”

These are the arguments used today to justify Israel’s system of oppression. They are precisely the same ones that were used to justify South Africa’s system of impression, utterly indistinguishable to a student editor, not because that editor was at all incompetent or was dozing on the job, but because they are the exact same thing.

My little experiment is hardly the final word in the debate over the nature of Israeli apartheid, but it did help underscore that, sensible and mainstream as it feels to us now, making excuses for Israel’s systematic racial oppression is something that few people will feel proud of in 20 years, 30 years, 40 years or whenever it is that justice and equality are instituted in Palestine, as they surely will be. If you want to know about that struggle – if you want to know how you can be on the right side of it – come to our events at Israeli Apartheid Week, running Monday to Saturday of 6th week.

NOTE: This project was undertaken on the sole initiative of the author, and was subsequently presented to Cherwell. The editors of The Oxford Student have submitted the following statement in response:

“We have been made aware that the article submitted to us, ‘Criticism of Israel is disproportionate’, was heavily based on a pro-South African apartheid article. We were unaware of its source, and must conclude that it was written as an act of provocation which we do not endorse.

“We also observe that Cherwell received no such article. We heavily edited the article, even removing entire paragraphs of content which we viewed as particularly problematic, but felt that the article should be published in order to voice both sides of the argument and avoid prejudice or bias on the part of our publication.

“The content in Comment in no way reflects the views of The Oxford Student. We were disappointed to note the article in Cherwell, which seems like a blatant attempt to politicise the role of our respective newspapers, even as we attempt to include both often unbalanced perspectives on this issue to synthesise them into a balanced overall discourse, which is especially important considering the topical nature of this debate within Oxford.

“However, we apologise for printing false statistics which present a distorted picture of the Israel / Palestine conflict.”

 

Louise Richardson backs EU membership

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In a joint open letter released in this week’s edition of The Sunday Times, Oxford University’s Vice Chancellor, Louise Richardson, has expressed her support for Britain’s membership of the European Union (EU.)

The letter urges the British public to consider the impact of the UK’s withdrawal on its university system. The letter claims that among the benefits at stake are the possibility of collaboration on economically advantageous research. The signatories argue, “We are better able to collaborate with partners across Europe to carry out cutting-edge research, from medical and healthcare advances to new materials, products and services.”

The letter places a general emphasis on the economic dimension of ‘Brexit’ claiming, “This has a direct impact on our economy, driving growth, generating jobs and improving people’s lives.” In addition to the financial question, the signatories cite a reputational issue, that “Leaving would mean cutting ourselves off from established networks and would undermine the UK’s position as a global leader in science and the arts.”

Among other senior figures that joined Professor Louise Richardson are Professor Sir Leszek Borysiewicz, Vice Chancellor of the University of Cambridge, and Professor Dame Julia Goodfellow president of Universities UK. While the letter states that the signatories are writing as, “As university leaders,” it is not clear if they are representing their individual opinions or the more general position of their respective institutions to the upcoming referendum.

The UK’s referendum on EU membership will take place on Thursday 23rd of June.

The letter is reproduced in full below:

Brexit will cost universities valuable education alliances

NOW the prime minister has announced the referendum date, we urge the British public to consider the vital role the EU plays in supporting our world-class universities. Inside the EU we are better able to collaborate with partners across Europe to carry out cutting-edge research, from medical and healthcare advances to new materials, products and services. In the EU the UK is also a more attractive destination for global talent, ensuring that our students are taught by the best minds from across Europe. This has a direct impact on our economy, driving growth, generating jobs and improving people’s lives. 

While no one is suggesting that UK universities could not survive outside the EU, leaving would mean cutting ourselves off from established networks and would undermine the UK’s position as a global leader in science and the arts. 

Throughout the referendum campaign, as university leaders we are committed to highlighting the value of EU membership to our universities, ensuring that a range of views are heard on campuses and debating why the EU matters now and for the future.

 Professor Dame Julia Goodfellow, President, Universities UK; Vice-Chancellor, University of Kent, Professor Janet Beer, Vice-President, Universities UK; Vice-Chancellor, University of Liverpool, Professor Colin Riordan, Vice-President, Universities UK; Vice-Chancellor, Cardiff University, Professor Sir Pete Downes, Vice-President, Universities UK; Vice-Chancellor, University of Dundee, Professor Simon Gaskell, President and Principal, Queen Mary University of London, Professor Sir Leszek Borysiewicz, Vice-Chancellor, University of Cambridge, Professor Louise Richardson, Vice-Chancellor, University of Oxford, Professor Michael Arthur , President and Provost , UCL, Professor Alice Gast, President, Imperial College London, Professor Sir Steve Smith, Vice-Chancellor, University of Exeter, Professor Craig Calhoun, Director and President, London School of Economics and Political Science, Bill Rammell, Vice-Chancellor, University of Bedfordshire, Professor Julie Lydon OBE, Vice-Chancellor, University of South Wales, Professor Timothy O’Shea, Vice-Chancellor, University of Edinburgh, Professor Anton Muscatelli, Vice-Chancellor, University of Glasgow, Baroness Valerie Amos, Director, SOAS, Professor Sir Ian Diamond, Principal and Vice-Chancellor, University of Aberdeen, Sir Anthony Seldon, Vice-Chancellor, University of Buckingham, Professor Julia Buckingham, Vice-Chancellor, Brunel University London, Baroness Brown of Cambridge, Vice-Chancellor, Aston University, Professor Mary Stuart, Vice-Chancellor, University of Lincoln, Sir David Bell, Vice-Chancellor, University of Reading, Peter Horrocks CBE, Vice-Chancellor, The Open University, Professor Paul Boyle CBE, Vice-Chancellor, University of Leicester, Professor Paddy Nixon, Vice-Chancellor, University of Ulster, Professor Patrick Johnston, Vice-Chancellor, Queen’s University Belfast, Professor Hugh Brady, Vice-Chancellor, University of Bristol, Sir Alan Langlands, Vice-Chancellor, University of Leeds, Professor Stuart Corbridge, Vice-Chancellor, Durham University, Professor Helen Marshall, Vice-Chancellor, University of Salford, Professor Kathryn Mitchell, Vice-Chancellor, University of Derby, Professor Dominic Shellard, Vice-Chancellor, De Montfort University, Professor Edward Peck, Vice-Chancellor, Nottingham Trent University, Professor Tom Inns, Director, The Glasgow School of Art, Professor Graham Upton, Vice-Chancellor, Glyndwr University, Nigel Carrington, Vice-Chancellor, University of the Arts London, Professor Richard B Davies, Vice-Chancellor, Swansea University, Professor Chris Brink, Vice-Chancellor, Newcastle University, Professor Sir Keith Burnett, Vice-Chancellor, University of Sheffield, Professor Sir David Greenaway, Vice-Chancellor, University of Nottingham, Professor Sir David Eastwood, Vice-Chancellor, University of Birmingham, Professor Gerald Pilay, Vice-Chancellor, Liverpool Hope University, Professor Judith Petts, Vice-Chancellor, University of Plymouth, Professor Graham Baldwin, Vice-Chancellor, Southampton Solent University, Professor Sir Paul Curran, Vice-Chancellor, City University London, Professor Gavin Henderson CBE, Principal, The Royal Central School of Speech and Drama, Professor John Raftery, Vice-Chancellor, London Metropolitan University, Professor Cliff Allan, Vice-Chancellor, Birmingham City University, Professor John Cater, Vice-Chancellor, Edge Hill University, Professor John Vinney, Vice-Chancellor, Bournemouth University, Professor David Phoenix, Vice-Chancellor, London South Bank University, Professor Andrea Nolan OBE, Vice-Chancellor, Edinburgh Napier University, Professor Bob Cryan CBE, Vice-Chancellor, University of Huddersfield, Professor Craig Mahoney, Vice-Chancellor, University of the West of Scotland, Professor Aldwyn Cooper, Vice-Chancellor, Regent’s University, Professor Nick Petford, Vice-Chancellor, University of Northampton, Prof Clive Mulholland, Principal and Vice-Chancellor, University of the Highlands and Islands, Shirley Atkinson, Vice-Chancellor, University of Sunderland, Professor Christina Slade, Vice-Chancellor, Bath Spa University, Professor Margaret House, Vice-Chancellor, Leeds Trinity University, Professor Chris Husbands, Vice-Chancellor, Sheffield Hallam University, Professor Julius Weinberg, Vice-Chancellor, Kingston University, Professor Mike Thomas, Vice-Chancellor, University of Central Lancashire, Prof John Latham, Vice-Chancellor, Coventry University, Professor Paul Croney, Vice-Chancellor, Teesside University, Professor Barry Ife CBE, Principal, Guildhall School of Music & Drama, Professor David Maguire, Vice-Chancellor, University of Greenwich, Professor Paul Layzell, Principal, Royal Holloway University of London, Professor Peter Piot, Director, London School of Hygiene & Tropical Medicine, Professor Calie Pistorius, Vice-Chancellor, University of Hull, Professor Michael Farthing, Vice-Chancellor, University of Sussex, Professor Anthony Bowne, Principal, Trinity Laban Conservatoire of Music and Dance, Dr Paul Thompson, Rector, Royal College of Art, Professor Karen Stanton, Vice-Chancellor, York St John University, Professor Malcolm Press, Vice-Chancellor, Manchester Metropolitan University, Professor Michael Gunn, Vice-Chancellor, Staffordshire University, Professor Ed Byrne, Principal and President, Kings College London, Professor Nigel Weatherill, Vice-Chancellor, Liverpool John Moores University, Professor Alistair Fitt, Vice-Chancellor, Oxford Brookes University, Professor Steven West, Vice-Chancellor, University of the West of England, Professor John Hughes, Vice-Chancellor, Bangor University, Professor Gerry McCormac, Vice-Chancellor, University of Stirling, Professor Stuart Reid, Principal, The Royal Veterinary College, Professor Geoff Layer, Vice-Chancellor, University of Wolverhampton, Professor Andrew Wathey, Vice-Chancellor, University of Northumbria, Professor Pamela Gillies CBE, Glasgow Caledonian University, Professor John Joughin, Vice Chancellor, University of East London, Professor Richard Williams OBE, Vice-Chancellor, Herriot-Watt University, Professor David Richardson, Vice-Chancellor, University of East Anglia, Professor David Green, Vice-Chancellor, University of Worcester, Professor April McMahon, Vice-Chancellor, Aberystwyth University, Professor Sir Adrian Smith, Vice-Chancellor, University of London, Professor Jenny Higham, Principal, St. George’s, University of London, Professor Anthony Forster, Vice-Chancellor, University of Essex, Professor Trevor McMillan, Vice-Chancellor, Keele University, Stephen Marston, Vice-Chancellor, University of Gloucestershire, Professor Michael J Kearney, Acting Vice-Chancellor, University of Surrey, Professor Sir Christopher Snowden, Vice-Chancellor, University of Southampton, Professor Patrick Loughrey, Warden, Goldsmiths, University of London, Professor Debra Humphris Vice-Chancellor, University of Brighton

Shakespeare al fresco

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Arriving back at my college, Regent’s Park, I was somewhat dismayed to find a crystal clear evening and sub-zero temperatures. With gloves and hat donned, two jumpers and (for the second half) flask and blanket, I felt as though I bore an admittedly pensioner-esque look as I took my seat to see the opening night of director Lucy Clarke’s production of Coriolanus. However, there was no need to be dismayed, in what turned out to be a thoroughly streamlined three-hour production of one of Shakespeare’s least performed plays.

Set in the days of the Roman republic, Coriolanus charts the age-old struggle between the aristocracy and the people. Having not seen or read the play beforehand, I was shocked by the cultural resonances with both the dictatorships of the twentieth century and the unsettling political environment of today. The play follows the changing relations between the political hierarchy formed by Rome’s consulship and the tribunes of the people, with the fairly priggish eponymous warrior Coriolanus at its centre and a populace disgruntled by corn laws and political corruption.

Lucy Clarke succeeded in extracting the full force of Shakespeare’s psychological treatment of how the desire for power affects the individual.

The Ronaldoesque physique of Will Taylor (Coriolanus) was only a minor point in what was otherwise a tremendously moving portrayal of Shakespeare’s protagonist. Victoria Gawlik gave remarkable force to what was both a disturbing and very moving representation of Coriolanus’ mother Volumnia. Sicinius (played by Laura Gledhill) and Brutus (Hugh Tappin) embodied the political scheming of the slightly fascistic tribunes of the people. However, it was the silent decorum of Ethan Knightley (Senator 1) that stole the show at the very end, leaving the audience slightly stunned as the lights fell.

Lucy Clarke’s production took full advantage of the quad at Regent’s; the play was performed outside Helwys Hall with full length republican banners being unfurled for a large part of the evening from the top of the library, 30 feet above. The cast made full use of the quad’s enclosing force:its size meant it was somewhat cosy to begin with for the 100 members of the audience before it began to emulate the increasingly confining walls of power and human malice. Shakespearean diction has a tendency to isolate the characters of the play on the stage. However, the four walls of Regent’s Quad and the excellent craft of the stage production team forced the full implications of Shakespeare’s play onto the audience.

All in all, the production is a must-see for not only keen Shakespeare fans but anyone even vaguely interested in the psychology of power. As I rose from my many, many clothes, I felt a great sense of not only of satis- faction, but, perhaps more significantly, of unsettling Brechtian ‘Unhomeliness’ at the thought of the power and the human will to it. 

Spotlight: Gender

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Dear reader, in my last days of secondary school I was utterly typecast as ‘the one boy who’d put a dress on for a play’. Not that I’m complaining – as a slightly podgy and profoundly uncool year 11, the experience of having people pay attention to me made for a thrilling departure from the norm. Obviously the practice of men portraying women on the stage as a long and illustrious history; Shakespeare’s plays would have initially been performed by all male casts, with prepubescent boys filling in for a Juliet or an Ophelia.

This practice was often carried out with gay abandon by the English teachers at my single sex school, who took an remarkable pleasure in casting the most ruggedly good looking footballing types as the femme fatale in group readings in classrooms. Getting to dress as a woman on stage was not only enormous fun, but it played an important role in the on going development of my understanding of, and interaction with sexuality. It made me conscious of the ‘acting out’ of masculinity that happened off stage – the intentional and the subliminal, the former of which I was never any good at, but the latter, I began to realise, formed a massive and unanticipated portion of my identity. By building up the persona of the towering and screeching Lady Bracknell, or the saucily conspiratorial nurse, I began to deconstruct some of the assumptions I’d had about my identity, and the role that gender plays within that.

However, in recent months, especially given the increased prevalence and discussion of trans issues, I’ve begun to question the very simple narrative I’d formed with regard to portraying different genders on stage. As a cis person, I have a degree of privilege with regard to my gender, which allows me to stand on stage one minute, portraying a woman, then step off the stage and continue being Matt. Whilst this has been useful for me in exploring and understanding my own gender, I’ve begun to worry that this might actually be damaging to the cultural acceptance of transgender identities.

There is still a sad lack of understanding around LGBTQ issues even in an age where Caitlin Jenner can embrace her identity on the national stage – and a distinct lack of space for trans identities in popular culture. My instinct is that playing other genders can help in the fight for greater equality, but that it needs to be done sensitively – for much more delicate exploration of trans identities in theatre, I strongly recommend you go an see both Cashiered and Binding at the BT this week.

Review: Cashiered

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Cashiered is an exciting, bold and pithy piece of new writing from Hannah Greenstreet. Its set during the American civil war and examines the story of transgender soldier Albert J.D. Cashier. The writing effectively relates an easily identifiable narrative – of the right to your gender identity in conflict with the powers that be – a story that resonates today. Bold staging choices make this piece shine with anxiety and suspense. The play begins with a curtain separating the actors and audience, who are only allowed to see the shadows of Albert’s past follow him into his hospital bed. The curtain, once dramatically removed to reveal Albert, weak and powerless, constantly comes back into play to represent the division of his character with society. We constantly get small insights into Albert’s world, understanding his pain at being forced to defend the fact he is the man – and not the woman – he claims to be, only to then get shut out and left as an outsider by the pulling across of the curtain. This dramaturgical strategy, which metaphorically paints the divide between society and transgender people at that time, keeps the audience engaged throughout.

This dark and threatening beginning foreshadows the tragic moroseness of the rest of the play, throughout which we will constantly be reminded of the injustice of Albert’s treatment and condemnation. Combining careful research with vivid insight, Greenstreet’s script definitely has potential in the dialogue and portrayal of characters. Franni Ball’s rendering of Nurse Danby steals the show. She encapsulates the struggle of the generous and caring members of society who try to be understanding towards the fate of transgender people, despite being constantly faced by backlash from those around her. Throughout the play, she stays strong in the face of Sister Baterman, Nurse (Lara Marks), who epitomizes the unempathetic state of mind of the majority towards trans identities. Marks’ ability to switch smoothly between this role and that of army-bully Fred Carter is proof of her skill as an actress, and her presence greatly increases the sharpness and brutality of the play. Luke Martin was convincing in his range of characters, standing head above the others to embody the powerful positions of the Investigator and Sergeant.

The interview scenes when he depicts Reporter Ralph illustrate the role of the media in public humiliation, and how fraught with untruth the public understanding of these issues really was. Thea Keller was faced with an insurmountably difficult role, and the temporal transition experienced in the writing occasionally leaves his characterization feeling a little stilted. To his credit, he manages very effectively to portray the sheer breadth of emotional response experienced by Cashier. The American accents throughout sometimes felt a bit forced, and often I thought the dialogue and manor of speech were not very representative of that during the American civil war. Despite this, the most interesting relationship was that of Albert and Robert (played by Laurence Bialy).

The awkward but sweet conversations between the characters exemplify the confusion experienced by both at the discovery of undemonstrated feelings. The audience is kept in suspense as to whether or not there are any romantic feelings between them. Overall, this was an effective portrayal, evoking the very difficult questions of gender identities. The plot avoided unnecessary twists, and hit home a powerful message with great pathos. I felt outraged at the struggle Albert had to endure in being open about his gender identity, and disgust at society’s treatment of him. Both emotions are what the play was trying to get out of the audience, so in that regard it was definitely a success. Although lacking in some domains, the piece has a great deal of potential and is worth a watch.