Saturday 18th April 2026
Blog Page 1133

Review: Phantom of the Opera

0

★★★★★

Every reviewer probably dreams (secretly) of writing at least one particularly savage review. Some, like A. A. Gill, have even made a career out of it. But, fortunately, this review will not be my A. A. Gill moment. This production of Andrew Lloyd Webber’s Phantom of the Opera, put on by Milk and Two Sugars, was simply draw-dropping. Fantastic, sublime, awe inspiring (forgive me if I gush – but as you can probably tell I loved it).

Phantom must be a daunting musical to stage. Lloyd-Webber’s musical score is rightly famous as one of the most famous in the history of musical theatre. The challenge of doing justice to the original, while also making it one’s own, is a large one. Inevitably, the question must always be: can the performance live up to the writing? This production has emphatically lived up to the original.

For this alone much praise must be given to the Director, Sarah Wright, the Musical Director, Callum Spiller, and the Choreographer, Laura Day. Putting such a huge musical on requires a certain amount of courage, making it work requires definite skill. Both were on show here and it is welcome to see something like this come off.

But, of course, the greatest directors are in need of a good cast. One gets the impression that this cast pretty much picked itself, as it is of an unusually high standard for a university performance. Perhaps most impressive was Indyana Schneider – fresh from the Sydney Opera House – as a Carlotta that was at once terrifying and hilarious. Laurence Jeffcoate, who himself has a West End pedigree as a former Oliver at Drury Lane, was admirable as Raoul (though having met his family in the queue I could hardly have said otherwise). Crucially, Charles Styles was excellent as a darkly menacing yet tender Phantom and Rachel Coll’s Chrstine was brought to life by virtue of a beautiful voice. Neither of these parts are in any way easy and both were carried with aplomb.

These were well supported by Josh Blunsden and Adam Carver as very humorous Andre and Firmin (both of whom threatened to steal every scene they were in). They, together with Harry Redish as Piangi offered some light relief which were juxtaposed nicely with more dramatic parts. All this was held together by strong performances from Zoe Firth and Kathy Peacock as well as a well-drilled chorus and Corps de Ballet. Special mention must also be made of the set, which was supremely impressive in its ingenuity.

Of course, as a student production, there were some minor things that didn’t go quite as planned. But really nothing could diminish the strength of this performance, which never dropped in energy and provided many touching moments. This was a show which has been worked on for months, and it showed. A standing ovation was what this cast and crew deserved and the audience did not fail to oblige. It was a fittingly powerful end to a wonderfully powerful evening.

The Cherwell Encyclical: HT 5th Week

0

[mm-hide-text]%%IMG%%13031%%[/mm-hide-text]

I can understand why picking your kids up from school could be quite a stressful experience, what with the responsibility of making sure they don’t kill each other or burn the house down. At a primary school in Manchester, the head teacher has had to ask parents to stop smoking marijuana at the school gates after it was noticed by several older pupils. Presumably this would also explain why the parent committee at the same school recently opted to install seventy eight unicorns in the library.

[mm-hide-text]%%IMG%%13032%%[/mm-hide-text]

This week also saw the un-momentous occasion that is the No. 10 charity bake off, and in light of the Manchester incident David Cameron has taken the opportunity to assure the press that there was no cannabis added to any of his baked goods. Though with the Lib Dems plans to legalise the drug, it is perhaps unsurprising that judges described Nick Clegg’s entry as “chill” and “deep”. There are reports of a slight moment of tension during the competition though, as George Osborne was said to be very adamant that everyone only took their fair share of the cake, and gave him part of their slice as part of his spare room tax. He later referred to Paul Hollywood as a “greedy scrounger”, after he did not bring a cake of his own.

[mm-hide-text]%%IMG%%13034%%[/mm-hide-text]

There was some surprise in the media at the discovery of the love letters from Pope John Paul II to a married woman. It would appear that in writing love letters (and surname), the Pope and I have much in common. Unfortunately, unlike him, I am still waiting for replies. I am hoping number 472 will be the lucky one.

The most exciting thing to happen this week was undoubtably when the Daily Telegraph copied my ‘deal or no deal’ blog post from 3rd week for their front page. I would have been flattered, but unfortunately it was 2 weeks late and not nearly thirty percent as funny.

 

LMH in row over Emma Watson "sneak picture"

0

There was excitement amongst LMH students this week after one of the College’s new visiting fellows, Emma Watson, was spotted being shown round on Friday.

The actress, famous for her role as Hermione Granger in the Harry Potter films, was first spotted by a student as she made her entrance into the College. There was initially some confusion amongst JCR members as to whether Watson was in fact present in the College. Her visit was later confirmed, however, by a student on the LMH JCR page.

[mm-hide-text]%%IMG_ORIGINAL%%13029%%[/mm-hide-text] 

The visit of Watson follows the appointment of 11 new visiting fellows by LMH Principal and ex-Guardian editor Alan Rusbridger earlier this month. The appointments included public figures from a variety of backgrounds, including actor Benedict Cumberbatch and Pet Shop Boys singer Neil Tennant.

One student managed to capture a photograph of Watson as she took a tour of the college library with Rusbridger. There was concern for the actress’s privacy following the publication of the photo on Twitter, however.

[mm-hide-text]%%IMG_ORIGINAL%%13030%%[/mm-hide-text] 

In an email sent to the whole of LMH JCR, the JCR President, Emma Andrews, passed on a message from the Principal which confirmed that Watson had visited the College for “a preliminary discussion”.

Rusbridger added, “I showed her the library. A student evidently took a sneak picture of her which is now on Twitter.

“I can’t think of anything more guaranteed to undermine the programme of visiting fellows than our students refusing to respect the privacy of our guests.

“Emma is keen to have contact with students and has imaginative plans for engaging with LMH. But it simply won’t work if our students behave in this way.”

The message went on to ask students to remove the photo of Watson from Twitter, with Rusbridger reminding students of “the basic courtesy we owe to our visiting fellows”.

Despite the Principal’s caution, LMH students expressed considerable excitement following the news of Watson’s visit, with one student commenting on the JCR page, “Going for a reconnaissance ‘laundry run’. Will report back unless her sheer beauty causes me to spontaneously combust.”

An LMH student who was in college on Friday told Cherwell, “A friend of mine at LMH was leaving a college building when our Principal, Alan Rusbridger, and what appeared to be Emma Watson walked straight past him and into one of our main college sites – Deneke, home to the Principal’s Office (among other rooms).

“He managed to snap a far-off picture of their distant backs as they neared Deneke. From there, he posted a declaration akin to “Emma Watson is in LMH!” at the end of a Facebook post or something, and I heard about it through a group chat. Another initially-sceptical friend then concurred that Watson was in college by stating that her car seemed to be in the LMH car park (how she knew it to be hers I don’t know).

“I asked our college JCR page if anyone could corroborate this news but no-one had seen anything else. As news spread, small groups started not-so-subtly hanging around Deneke and the idea that Watson was here to attend our weekly Friday formal became popular.

“However, when I went to Deneke to ask around, a woman who worked in college passed us asking if Watson was indeed around, when I explained what people had seen, she said that she would check when she went up to the Principal’s Office. She returned a few minutes later confirming that Watson was there but seemingly trying to keep a low profile and not attending for any event or appearance.

“Personally, I then returned to my work deciding that there was no justification for bothering Watson’s visit, which was seemingly of neither public interest nor involvement. People kept hanging around Deneke for a while after, but I haven’t heard of anyone meeting or seeing her later in the day.”

The College has been contacted for comment.

 

Shia LaBeouf slaps fresher in lift upon request

0

A first year St John’s student was slapped by Shia LaBeouf upon request during the 29-year-old Transformers star’s #ELEVATE performance art piece, which involved LaBeouf standing in a lift for 24 hours talking to various members of the public.

The student claimed to be a performance artist himself before asking LaBeouf, “can you help me with the completion of my next piece by punching me in the face?”

The student told Cherwell that the reason behind his request was motivated by the fact that LaBeouf was probably “bored”.

[mm-hide-text]%%IMG%%13027%%[/mm-hide-text]

In response to the St. John’s student’s Facebook post in a closed group designed “to sell streetwear as well as provide general discussion” in which he asked for suggestions on what to ask LaBeouf, another student commented, “Say, ‘Hi, I am an artist who specialises in performance art, can you help me complete my next piece by punching me in the face”.

[mm-hide-text]%%IMG_ORIGINAL%%13028%%[/mm-hide-text]

Upon hearing the request, LaBeouf expressed concern, saying “I don’t want to punch you very hard.”

The student, who was in the lift with four other members of the public, responded by telling LaBeouf not to be “a p***y”. A slap can be heard from behind the closed doors of the lift after the student asked to be slapped instead.

In the build-up to the event, the Union wrote about the piece, “Visitors will be able to join LaBeouf, Rönkkö & Turner inside the elevator during this time, and are invited to address the artists, the debating chamber, and the internet, so that their collective voices may form an extended, expansive and egalitarian Oxford Union address.”

LaBeouf was in the lift with Nastja Säde Rönkkö and Luke Turner from 9am on Friday until 9am on Saturday, leavng only to use the toilet and talk in the Union Chamber at 8pm on Friday.

Warhol in fresh light

0

It is not controversial to assert that Andy Warhol is the most instantly recognisable artist for the latter half of the 20th century. This makes the task of putting on an exhibition of his work rather problematic – presenting Warhol in a fresh light is challenging when the man has had so much exposure. An unimaginative exhibition of his work would no doubt still draw crowds, so it is particularly exciting when an exhibition attempts to put together something genuinely fresh, to carve a new-fangled lens through which to view him. Last year, the Barbican did so by displaying (a portion of) his private collection in their delightful exhibition Magnifi cent Obsessions: The Artist as Collector. This year the Ashmolean Museum presents, in public for the fi rst time, over a hundred works from the collection of Andrew and Christine Hall. The collection is predominantly formed of various portraits – of celebrities, naturally, but also of politicians and other artists. It also includes other work, such as some of his Oxidation paintings and an attempt at replicating a Rorschach test, as well as a number of films loaned from the Warhol Museum in Pittsburgh, Pennsylvania.

Curated by veteran Sir Norman Rosenthal, the exhibition is brightly lit. Each piece has a number of lights from a variety of angles pointed at it, creating a criss-crossing overlap of shadows. Jonathan Jones suggests that there are shadows everywhere in Warhol’s work and Rosenthal’s careful curation reflects this notion in the exhibition space itself.

Contextual information is usefully, but not excessively, provided, in each of the rooms, and is sometimes even quirky. A highlight is the backstory of a series of portraits of Ethel Scull (1963), which explain how Warhol, armed with a hundred dollars’ worth of change, took her to a photo-booth and shot image after image after image, before picking the best 36 to use in the commissioned work. The result is a series of images of Scull in a variety of positions and a variety of colourways, which, when placed next to each other, produce a notable sense of movement – as if we are seeing her facial reactions throughout an average day.

A similar effect is enacted by the films included in the exhibition. Two Screen Tests, where people were asked by Warhol to sit and ‘do nothing’ in front of a rolling fi lm camera, are displayed on screens side by side. The focused gazes, combined with the participants’ minute twitches, make for a strangely transfi xing (and utterly disarming) experience. A 50-minute excerpt from Empire State, Warhol’s eight hour film of the changing daylight on the eponymous New York skyscraper, is shown on a screen on the perpendicular wall. The juxtaposition leads one to draw parallels between the building and the faces, both standing still in front of the camera but also minutely changing.

Warhol seems fascinated with the motion created through repetition, with his portraits of Watson Powell (American Man) providing an early illustration of this. Later on, we get a small selection of the hundreds of society portraits produced by the Warhol Factory, displayed in a large grid on a colossal wall. The portraits are often repeated with minor changes in colourways. In the same room hangs Twenty Fuchsia Maos (1979), which takes the official image of the leader disseminated throughout China in The Little Red Book and repeats it again and again in a gaudy colourway. Rosenthal’s note to the piece likens the image to the widely disseminated Coca Cola logo, and highlights Warhol’s transformation of a necessarily static image – a logo, or official portrait – into something changing and mutable.

The final room of the exhibition is, in this respect, unexpected, and more than a little jarring. Devoted to his late work, it is fi lled with black and white pieces which often focus on religious subjects. Subtle changes and the resultant movement they create give way to a preoccupation with dichotomies: between black and white, or ‘Heaven’ and ‘Hell.’ Repetition only occurs in the form of positive and negative versions of the same work, further emphasising a focus on the opposition of these extremes (or lack) of colour.

Postulating about the purpose or meaning behind Warhol’s work will always present a problem, particularly given the man himself continually refused to share his system of beliefs. Such an ambiguity can, perhaps, be seen as a refl ection of Warhol’s diffidence in regards to his own image – he wore a wig from his 20s, narrowed his nose, and had repeated collagen injections in his later years. The self-portraits included in the exhibition are thus remarkable insights into a man of mystery, in that they articulate a desire for control over self-image. None are repeated like his other portraits, but rather each exists as a singular expression of himself. Yet that is not to say that these expressions are lucid or unaffected – rather, they are personas. As such, the resounding feeling upon leaving this exhibition is that we may never quite know what made the man under the wig tick.

A letter to…

0

Let me set the scene and demonstrate why I hate you. It was a Wednesday, a universally recognised okay day. Mediocre in almost every possible way, Wednesday is a day which is far enough away from the weekend to make the little things really, really matter. So I go to Hall.

The roast beef is great, accompanied perfectly by the classic fizz of an ice-cold Fanta: things are looking good. So I move on to my fruit crumble, something I had been thinking about all day and something I dream about all night until I get to Hall that evening. Crumble and I have had a pretty damn-near perfect relationship over the years; it’s always been there for me, in large helpings, ready to give me a big warm fruity hug. But this time was different, wasn’t it, prunes? A

s I delved my spoon deep into the crumbly goodness, and brought it to my mouth, I spotted you there, an intruder, a foreign object in stark contrast to the calming yellows and light greens of the apples and pears. A single, insolent, and black-as-darkest-night prune. You were staring with pure audacity up at me. I was furious. Like every sane person, I hate you. And not without reason. Let’s get this straight: you are, in most cases, dried, greasy, and horrible to eat. You look like you belong at the bottom of the deepest, darkest lake. I have had horrible and unforgettable experiences purely because I have encountered you and your cousins in several horrible meals over the years. And its not just for your mild laxative qualities, although mild isn’t the word that comes to mind when I think of my reaction to consuming your ilk at Christmas of 2010. ‘Explosive’ might be more apt. By the law of association, the whole of the crumble was now off-limits, purely because of you. I was sincerely unimpressed. Why did this have to happen? Usually our rivalry consists of long distance Tarantino-esque staring contests, as I express my disgust in the markets or stalls by throwing serious shade in your direction. This time you crossed the damn line. You hit me in my most personal of comforts: crumble.

One of my friends pointed out that it might not be a prune; maybe it was a plum. We are friends no longer. She just didn’t get it – the damage had been done. It wouldn’t have mattered if you had been a plum. You are so evil that even the idea of you puts me off. I know taste is subjective; I’m sure there’s a small group of people who can’t get enough of you – probably the Westboro Baptist Church or Katie Hopkins – but generally you are the rightly rejected member of the fruit family.

It’s of no surprise that the portion of our society known for their lack of senses, namely the elderly, love you, as they have the pleasure of neither being able to see or taste you. Stay in your corner, prunes, don’t make this personal and please, for God sake, leave the crumble out of this. It did nothing to deserve it.

Torpids 2016: Women’s form guide

0

Women’s top 18:

[mm-hide-text]%%IMG_ORIGINAL%%13015%%[/mm-hide-text]

[mm-hide-text]%%IMG_ORIGINAL%%13017%%[/mm-hide-text]

[mm-hide-text]%%IMG_ORIGINAL%%13019%%[/mm-hide-text]

 

 

Its not them it’s their…

0

Dear readers, allow me to tell of a truly awful set of circumstances. It is, as you know, the season for internship applications. I know, I know, if I were in your position, I wouldn’t either. But you must keep reading.

The story begins one day as I sat at the Missing Bean. Extremely flattering turtle – check, bitterly elitist coffee – check, the week’s magnificent edition of Cherwell – most definitely check. It’s the early afternoon and the stuffy heat of the café is thick enough to make the ‘atmosphere’ almost tangible. It is the bubbly Oxford illusion embodied, where hot air seems substantially real.

Because it is the Oxford illusion par excellence I stress the ‘almost’. Oxford’s rarefied airs compose clouds that one alas can never catch. It is also the place where floaty dreams get punctured by stony spires. Right on cue, as I raised the liquid punishment that is my double espresso, a wave of icy malevolence broke onto the shores of my island-like pretension (that is to say, solitary.)

I attentively peered over the rim of my cup and gulped in horror. An incarnation of evil had just walked in. We’re talking about the sort of person who wears their utter worthlessness on their sleeve – literally, they dress like the H&M catalogue that befits their shameless boringness. I had to act. Cup at the ready, I made my attack.

“Oh sorry, did I spill my coffee on your (chromatically subnormal combination) of chinos and hoodie. I’m, so terribly sorry”.

The reference to a soulless commercial retailer is not passing. The villain in question had not only dared to invade this sacred space but had the audacity to betray a certain sense of buoyancy. It’s that buoyancy that the blaring soundtrack of H&M megastores attempts to enforce upon you, confusing your shopping experience with a trip to Wahoo. Or perhaps Wahoo is trying to confuse you into thinking you’re going to H&M – I don’t know. In any case, the smile on his face was as fake, miserable and momentary as any club that promises a ‘good time’. He needs to smile so that we might be believe that he is in possession of the satisfaction that is missing. Woe is me, if only he knew how hollow he is.

“Mate,” he said to his accomplice (for our purposes, lets call him H&M 2), “I just heard back from *insert anonymous management, legal, relations, trading, money corporate neoliberal capitalist something*”. H&M 2 appeared visibly animated. “Really, ‘mate’, like what did they say, ‘mate.’” The villain’s empty eyes flash. It’s like the moment on a stormy night in the middle of nowhere when the flash of a lightning bolt momentarily reveals the void around it. “Yeah, like legit, yeah ‘mate’; *insert anonymous management, legal, relations, trading, money corporate neoliberal capitalist something* said they so wanted to take me.”

And that’s when I got mad. A coffee cup results when you push water with 16 bars of pressure at a temperature of 92.7 degrees centigrade through 20 grams of meticulously selected, roasted and ground Arabica coffee. It also contains my spit. A coffee cup is the product of a brutally systematic process. It also contains the product of one’s most sordid and intimate biological depths. It is ironic that in attacking H&M 1 and 2, the weapon of choice was the synthesis of myself and the system.

Its impossible to understand how Mr H&M so happily accepts the system. Because of that, I hate him. Like my coffee cup – he can mix the most repugnant depths of himself with the produce of a murky, ethically questionable and ironically international system.

He’s happy to spend ten of his best years living in zone 78 of greater greater greater London in a semi-impervious box in order that he might spend half his monthly salary to perform a two-hour commute to a soul-crushing office at which to beg his manager for the opportunity to work past 22:00 in order to edge out the equally tortured competition.

He’s happy to forego his friends and family by living out his frustrations over cheap water cooler talk and indiscriminate office sex. He’s happy to delude himself that the problems of the world will be solved by the ethically responsible corporate outreach of *insert anonymous management, legal, relations, trading, money corporate neoliberal capitalist something*. He’s happy that the company-funded mindfulness session will be adequate reparation for the impoverished wreck of an existence that the simple quest of a reasonable living will cost him. But most of all, he’s happy that what he’s doing is what he ‘wants’ to do. The lesson I learned, dear reader, is not that we need the revolution, nor that we need to accept the inevitable submission. No the lesson is, I shouldn’t have wasted the coffee – it might be the last I can afford

I’ll swipe you off your feet

1

Where have all the good men gone? And where are all the gods? After a combination of a first term’s attempt at half-hearted self-loving and failing to fi nd the requisite ‘streetwise Hercules’, I have made the executive decision to join Tinder. The theory: what a lark! What a joy! The ability to choose people I find attractive, go on dates with them, live happily ever after. Tinder is weighed down by none of the late-20s desperation of match.com: a light-hearted essay distraction.

The reality: I didn’t expect Tinder to be what it is. I wasn’t prepared for the feeling of power. The premise is deceptively simple: a clear and easy-to-use interface masking a complicated algorithm which sees your inputted preference, your swish of the finger left or right, and ‘matches’ you with others in the local area. I become the maker of my own destiny. I am the playwright and the protagonist. I am the alpha and the omega. ‘With great power comes great responsibility’, I think to myself, as a scroll through Oxford’s ‘finest’ with increasing speed. The trouble is that the power is simultaneously wielded in the hands of the individual and the masses. Really, I’m not special – someone else has the power to reject me just as equally as I do them. Egalitarianism in online dating – who would have thought it?

And so comes the anxiety – which version of ‘me’ will promote me best to potential mates? Funny and irreverent, or a little more serious? A picture of me looking arty and wistful, or a club photo with aggressive flash to prove that I not only have friends, but also have left the library this term. Extra kudos for the ‘SE10’ logo to up the #edge. Self-selecting tells one a lot about oneself; when boiled down the absolute primacy of attraction, it’s easy to see trends in our attraction, and our prejudices too (shamefully, I haven’t yet swiped right on a Brookes student). Economists love Tinder for its almost perfect randomized controlled trial-like ability to test people’s preferences, and its creation of a marketplace for romance. Indeed, with or without Tinder and its compatriots, we are all consumers of romance – Valentine’s Day’s relentless capitalism infiltrates our consciousness more and more each year – so why not capitalise on the fi rst stages of attraction?

As a semi-failing economist with far too little time on my hands, I decided to set up a social experiment on Tinder. One particular specimen tells me that I have a ‘delicious face’, and another that I am the emoji for ‘bomb’ and the emoji for ‘shell’. Top class emoji play; I salute you.

Frankly, though, I’m disappointed with the men Oxford has presented me with. Horror stories from friends at other universities prepared me for the worst. There have been no unsolicited photos of the nether regions, few horrible pickup lines, and most fundamentally, no acts of aggression or sexism towards me. But also no conversation. Or very little at least. Perhaps I’m attracting the wrong type of men. Perhaps telling people that I’m only on Tinder as a social experiment may clue them up to the fact that I’m not entirely serious about who I swipe left and right upon. The most exciting moment was when I matched with popular reality television star Jamie Laing from Made in Chelsea – it was an ad, of course. My advice for the Tinder rookie? Prepare for disappointment.

What one does notice, is that when confronted, nobody is seriously on Tinder in Oxford. Oxonians, never willing to be caught dead conversing via a medium so direct and (dare I say) louche, are all ‘joking around’, or ‘procrastinating for collections’. It’s the handy get-out clause for those moments when you recognise a match in lectures, or on a night out, or realise that they are your college mum’s college dad. I suspect that this is a bashful cover-up for a real desire for love (or sex). Not for me, of course – I only downloaded it as a joke with my girlfriends. You may well wonder what Tinder says about modern romance. Who cares? In my opinion, it does not require much strenuous thought. Like many other irrefutable technological aspects of our day-to-day living which did not exist in the golden years – Instagram, mobile banking, cyber-bullying – there’s little point theorising. Tinder is here to stay for the foreseeable future. Its magnifi cently swift appearance in nearly all of the iPhones and Androids in my friendship circle is staggering. A hackneyed cynic would have mind to say that Tinder’s reduction of romance into the bare minimum is symptomatic of the modern consumer’s short attention span and insatiable desire.

This is probably true, but is so much the voice of a disheartened Generation X-er who mourns the loss of vinyl to synthetic princess pop. We are no stranger to human attraction stripped down, words on a page, a snapshot of a life and an imagined future together – lonely hearts columns have been going for as long as there have been newspapers. Tinder replicates this in a form easier to digest for the technically literate, and goes further to mimic the real-life ‘hot-or-not’ aspects of face-to-face dating.

Yes, oftentimes the onus is on sex rather than love, and I will concede that it is probably not a route for mating for life. But perhaps when all you want is another warm body in your bed for the night, Tinder is all that is required. For now though, my foray into mobile dating has been fun. Viva la Tinder!

Creaming Spires: Week 5

0

close friend once told me that there is something strangely attractive about sleeping with someone in a relationship. That, at its essence, is the allure of adultery and while certainly not something to be celebrated, the guilt is always intermixed with pleasure.

The scene is set late one Friday in Wahoo. A friend from home has disappeared off with a fresher and I’m left stranded on the upstairs R&B floor. Soon enough, I’m grinding up against a pretty blonde. We get off almost immediately and pretty soon we were approaching second base. I thought my luck was in. Suddenly, pounding footsteps. I’m grabbed from behind. “Get your hands off my girlfriend!” At last, the dreaded words I thought I’d never hear. Before me stood a squat, bearded fellow in a Hawaiian shirt. And flip-flops. Luckily, my blonde bombshell then removed any doubt I might have in my mind. She put her hands down my trousers and began to caress my groin. “He’s not my boyfriend,” she whispers in my ear. The game was up for this poor guy. I was no doubt the rebound, a tool in a long, sordid breakup.

Muttering in my ear that she wanted to go back to hers, I willingly obliged and before I knew it we were snogging our way down George Street, passing all the usual landmarks of a pre-coital stumble back to hers. Mystery Hawaiian man was forgotten as we played passionate tonsil-hockey all the way down the road. Pounding footsteps again. “Get your fucking hands off my fucking girlfriend!” Clearly Hawaiian shirt wasn’t going down that easily. Charging towards me in a jealous rage, he hit a jagged paving stone and face-planted just outside the kebab van. Torn between my instincts to put him in the recovery position and a desire to go to bed with his supposed girlfriend, I once more found myself in a dilemma. My blonde friend quickly solved this quandary, grabbing my hand and leading me on. The next thing I know, we’re in her room, grappling at the buttons on my shirt and the zipper on her skirt. It was animalistic, raw passion a combination of victorious elation and her purely physical desire. What happened next was entirely what you would expect. As she approached an orgasm, our moment of passion was rudely interrupted by a fierce knocking at the door. Then that terrible, anguished howl starts-up. “Get your hands off her, you disgusting man, leave her be.” Before I could muster a reply, the blonde replied, “Fuck off, you three-incher”. His protestations ceased. That, or her moaning simply drowned out Mr Hawaiian shirt’s futile protestations. We finished up, collected our clothes and went our separate ways. I recalled that my opponent might be waiting for me outside.

At first glance, the corridor seemed empty. But as I left her room, he appeared out of nowhere. Panicking, I searched his form for a weapon. But he stood there, helplessly morose. I held the door open for him and left.