Monday 13th October 2025
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Review: Man and Superman

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 â˜…★★★☆

George Bernard Shaw couldn’t have described Man and Superman more simply or more adequately when he labelled it in 1903 a “comedy and a philosophy”. Incessantly verbose but always scathingly witty, there is socialist tact and moral didacticism at the heart of its four-hour running time. More often than not, the famous “Don Juan in Hell” scene is cut, but having experienced Simon Godwin’s triumphant production at the National Theatre it seems strange to imagine the play ever being performed without it.

The Don Juan myth is, after all, integral to the play. Shaw revamps the classic story with a Nietzschean twist in order to debate issues of man, marriage, and mutability. Ralph Fiennes is Jack Tanner, a notorious revolutionary cynic who wholeheartedly intends to remain a bachelor for the rest of his life. His self-assured path is shattered, however, at the persistence of young “boa constrictor” Ann Whitefield, who wishes more than anything to become Mrs. Tanner. At the whim of this basic narrative, Shaw catapults the play to and fro across an erratic global course – ranging from London to Granada, and of course casually stopping by in Hell itself. 

Godwin’s production is wise to take advantage of the ever-changing locations, which follow the course of Jack’s unpredictable odyssey to escape Ann’s clutches. The handsome study of Roebuck Ramsden morphs effortlessly into the sandy plains of Sierra Navada, but most spectacular of all is the stage assembled to depict Don Juan’s voyage to the underworld. Almost blinded by light, we find ourselves squinting at a bleached desert of emptiness, marked by a glistening elevator that travels back and forth between Heaven and Hell (equipped with a signature ding!). Upon the enormous upstage panels are ambiguous glacial images – surreal waves of movement – designed to subtly float and glide against the backdrop of Don Juan’s electric debate with the Devil. We see a colossal eye slowly blink, and shadowy figures walk briskly back and forth. These mirages are on the brink of becoming distracting, but the central discussion is just too fascinating to ignore. 

Fiennes is superbly charismatic and contradictory as both Tanner and Don Juan, not so much a Casanova as a Socratic substitute. His face-off with the Devil – deliciously played as a suavely baritone aristocrat by Tim McMullan – is richly compelling from start to finish. The entire scene isn’t essential to the narrative, of course, but it’s an enthralling consideration of the philosophy of man and the ‘life force’ that guides him. Adding impeccable blustering and pompous comedy is Nicholas le Provost as both Roebuck Ramsden and the Statue Don Gonzalo in Hell (sporting a delightfully tiny pair of angelic wings). Ramsden’s stoic conservatism is the perfect contrast to Tanner’s whirlwind revolutionary. Topping the leading cast off is Indira Varma as the domineeringly free-spirited Ann Whitefield (or Ana, in Hell), whose elegant man-eater is the ideal poised and cogent counterbalance to Fiennes’ irrationally slippery Jack Tanner.

The pseudo-modern setting is momentarily perplexing – an old-fashioned car is complicated by the brief and perhaps unnecessary use of a smartphone, but these are minor hiccups. The main issue of the play’s updating is that many of its central shock factors are diminished by our modern society; an unmarried pregnant woman and the struggles of an uneducated chauffeur are hardly scandalous or distressing to us now. In spite of this, however, Shaw’s play has aged remarkably well. We still muse every day on the hypocrisy and philosophy of humankind. We still fiercely debate the differences between men and women. We are still incessantly perplexed by the ‘life force’ pumping through our veins.

France: Qu’est-ce que c’est?

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“Qu’est-ce que c’est?”. I was inquiring as to what my new boss had just ordered for me, staring at a plate of what appeared to be a large slab of slimy meat congealed in brown gravy.

It was the end of June, one week after finishing my exams, and I had fled Britain for a tiny, medieval village in the south-west of France called Beynac. Several months previously I had decided on a whim to apply to be an au pair, hoping it would be a relatively easy way to earn a bit of money while escaping England for a couple of months. So there I was, having my first meal with the family that was to adopt me into their lives for the summer, trying to understand what exactly was in front of me.

Amongst the ocean of French slang I grasped that it was a local delicacy and that I had to try it. The only catch was they were only willing to tell me what it was after I’d eaten it. I had been open-minded, but now was getting a little suspicious. Not wanting to live up to the French nickname for us British (roast-bif), or meet their expectations of us only eating fish and chips, I decided to brave this unappetising meal. To my happy surprise it was quite delicious. Having lived off Tesco reduced-price meat and dubious college meals for the past year, I relished the tender meat. “Delicieux”, I announced. Then they told me: it was tongue.

I laughed, and finished my meal. That’s what I was here for; to taste French cuisine. I soon realised it’s not all about crisp baguettes and gooey camembert! This was to be the first of many experiences of French cooking and I was not disappointed. Most evenings Tom (the nine year old boy I was looking after) and I would lay the table before his parents got home. After they’d prepared some culinary delight, we’d spend an hour or two at the table, chatting and eating. The locally sourced delights included pâté and a never-ending supply of patisseries, in seemingly endless flavours. But it wasn’t the type of food so much as the whole event that I relished the most. It was like going to formal every night, only I drank a glass of wine rather than a bottle and my attire was far from formal.

Despite them getting up at 6am every morning and me being up at 8 when Tom woke, alcohol was always a part of the evening routine: a glass of red one night, prosecco the next. The French really do grasp the concept of drinking to moderation that I have rarely witnessed in Britain. Even the young French people I met always ordered a ‘demi’ of beer rather than a pint. They laughed at me when I questioned this; after all it is cheaper to buy a pint than two ‘demis’. It was refreshing to drink alcohol, have a lively conversation, and remember all of it the next day-plus (for the most part) I was able to wake up at 8 without requiring a small first aid box and all the coffee in Cardews.

Often Tom (the nine year old boy I was looking after) was allowed a sip of his parent’s beverage of choice while I looked on in mild amusement. One evening he took things a little further than usual and grabbed the bottle himself to pour some into his glass. This was thoroughly encouraged by Dad (apparently a small splash would put him off) but Mum gave her son a firm look: he hesitated. Then we suddenly realised he’d picked up a bottle of whiskey rather than wine and Mum vetoed it: wine flows freely, but spirits are still out of bounds for minors even in libertine France.

Another benefit to lengthy evening meals was the improvement to my language skills. It turned out there was only so much French I could learn from a nine-year old by himself (although several nine-year olds made for a hilarious listening exercise.) However, listening to two adults in addition was far more challenging, especially when the teenage stepbrothers came for a couple of weeks. My bilingual godmother assured me my French was “good – for an English person”. But I understood little for the first fortnight except on a one-to-one basis. A tsunami of words peppered with slang would bombard my ears every night for the first few weeks. I went to bed with my head spinning full of half-understood jokes and conversations. But gradually words become phrases and phrases conversations. I’ve never been one to sit back and passively listen. So soon I found myself finding the confidence to join in, even gaining a small smatter of laughter when I attempted to use French humour.

If you’re hoping to improve your fluency and want to experience a snapshot of life in a foreign country, I would 100% recommend au pairing. My only advice? Ensure you not only like, but love kids; five days a week starts to take its toll on even the most enthusiastic of babysitters! It’s not all about relaxed evenings and tasty food, dipping into the free fridge whenever you feel like it. I did have to learn how to drive on the right side of some very narrow and windy French roads and be responsible for a small child: one who continually tried to swim across the river Dordogne while I wasn’t watching.

But the opportunities outside of the host family are truly endless. On my weekends off I visited more cosy French towns than I care to remember, met plenty of locals, some of whom I’ve been to visit since. And if nothing else, I’ve achieved one of my life goals. I can now hold a French conversation with a handsome stranger, bedecked in a polo and smoking a Sobranie in a crowded, noisy bar and understand (almost) every sweet nothing whispered in my ear. 

What not to do at a music festival

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1. BYOG*
(*Bring Your Own Guitar)

One of the great things about music festivals- dare I say it, the greatest in fact- is that there is (shock horror!) lots and lots of music. Funny that. This however never stops some bold soul from bringing his own guitar on the off chance his friends tire of hearing world-class musicians, and require his tuneless reprieve instead. Always bewilderingly close to my tent, said BYOG-er has an inexplicable tendency to arise at 9 am to indulge the whole field in their Oasis covers, while their gazebo’s fake French doors can only flap mercilessly in horror. A warning- if you sir make such a decision to sit in your ill-fitting Olly Mur’s-esque fedora and un-ironic puka necklace, and strum that opening Em7 of Wonderwall any time before 11am, I can safely inform you that today is going to be the day that I brutally smite you with tent pegs.

2. Participate in cultural appropriation in the name of fashion

I’m afraid that sleeping in your glamping tee-pee for one night does not give you the right to whip out a Native-American style headdress. Likewise, many would find it insensitive and inappropriate for you to adorn yourself with a bindi you bought from Claire’s, just because you think it really sets off your septum ring. Please stop, and remember the old rule- just because Urban Outfitters sells it, doesn’t mean it’s okay.

3. Push to the front three minutes before a set starts on the premise you’re on the phone to your friend who is most definitely [not] at the front

I may have stood in the rain for forty minutes, and have seriously considered the sweet relief of urinating in a paper Bulmer’s cup, but I am certainly not an idiot. If, three minutes before a band whom I’ve been waiting half a decade to see starts, you decide to push everyone out of your path with the voiced intention of finding your friend ‘Steve’, who I’m pretty sure is not standing smack bang in the centre at the front, then I am going to be slightly annoyed. What’s more, if you nonchalantly abolish said mission directly in front of me, meaning that my view becomes solely your bucket hat, I am going to be well and truly peeved.

4. Wear a massive rucksack in a mosh

Boom, boom, boom- that’s not the base reverberating through me, but your enormous day-sack of God-knows-what. Recent fashion trends for fringed and studded rucksacks have regrettably resulted in people appearing in moshes who look like Top Shop made over the Teenage Mutant Ninja Turtles. I never thought that I’d enjoy being whipped by a 100-pronged whip, but I can now definitely conclude that it is not my thing. I came out from one set this year with a bleeding head wound due to one particular River-Island-made missile. Not cool.

5. Film all of a set on a selfie stick

In today’s society, cramped spaces and long metal poles no longer just exist in the vicinity of strip clubs. As with strip clubs though, there is never any need, or flattering way, to take a picture as proof of your presence; you’ll have many an anecdote you don’t want to explain to your mother to verify that. I don’t want to be melodramatic, but selfie sticks are the literal invention of the devil. They are the only proof I need that evil exists in this world, and that when a zombie apocalypse does come, we have no chance in our selfie-stick-filled hell of surviving. They are on a level with people carrying around iPads as cameras. At a festival, the BBC is likely to be filming every minute, on multiple cameras, in a better position, and at a better angle than you. You do not need to hit someone in the head with an extendable golf club multiple times, only to manage to film a racially inappropriate headdress, or worse, me in rain-soaked anorak, with eyeliner (or is it mud?) running down my face, chastising the bucket-hat clad 6-ft spruce who has decided to stand in front of me. 

Architects of Oligarchy

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In his 1995 Reith Lecture series, Richard Rogers, architect of the Paris Pompidou Centre, spoke of how, “The essential problem is that cities have been viewed in instrumental or consumerist terms…The result is that cities have been polarized into communities of rich and poor and segregated into ghettoes of single-minded activity.” The Pompidou Centre is widely regarded as a landmark in late 20th century urban design because of its focus on community. Built alongside a giant piazza, Rogers’ collaboration with the Italian architects Renzo Piano and Gianfranco Franchini is an expression of the importance of the public domain – a democratic exhibition space evoking the French Republican traditions of liberté, égalité, fraternité.

In contrast to a city of repressive 19th century boulevards designed for Napoleon III’s autocratic regime, the architects created an “open-minded space” for cultural dialogue amongst French citizens from every background. Built in the mid-1970s to provide, amongst other things, Paris’ first large, free public library, the Centre’s design reflected the aspirations of a new generation of socially-minded European citizens.

Fast-forward the clock to 2015, and the same ‘master’ architects are producing buildings of a completely different sentiment in our British cities. Rogers’ firm, Rogers Stirk Harbour + Partners, has recently been shortlisted for one of the UK’s most prestigious architecture prizes for its work on Neo Bankside, a development of elite penthouses near the Tate Modern. Originally put on sale for as much as £22 million per penthouse, the development’s claim to the RIBA Stirling Prize lies on the basis of a design catering for the private interests of the international super rich. The same exposition of the building’s skeletal structure that in the Pompidou Centre is an expression of transparency and public accountability becomes for the Neo Bankside project little more than a decorative shell for a private world. In a scheme that consciously refused to accommodate on-site affordable housing, no effort is made to foster a sense of an integrated London community. Rogers’ design may carry the façade of his previous projects, but crucially it is based on a completely alien ideology. In short, the bankside development celebrates the predominance of private capital over what should be a public community.

The problem is that Rogers’s development is not alone. Among the ‘landmark’ London developments of the last 30 years, how many have reflected the dominance of private wealth? Public architects have taken to designing monuments to the vast fortunes of, more often than not, foreign investors in the capital’s property bubble. As iconic as Renzo Piano’s design for the Shard may be, we must remember that it is an icon of the hegemony of the moneyed interest in our capital. Towering above civic landmarks, like St Paul’s or the Houses of Parliament, London’s tallest sky-scraper is above all else a monument to the closed world of capital – a world far remote from the Londoners that live in its shadow.

The poster boys and girls of British architecture, names like Zaha Hadid and Norman Foster, have helped to create a brand that has been exported across the world. Celebrating the life of Azerbaijan’s notoriously corrupt ruler, projects like Zaha Hadid’s Heydar Aliyev Center have shown that too often this brand has been sold to the highest bidder, not the highest ideal. Despite warnings from human rights activists about the conditions of migrant workers on the 2022 Football World Cup, the fact that Sir Norman Foster continues to work with the Qataris on the Lusail Stadium suggests the developing ethical bankruptcy of this brand. Across the world, British architects’ designs are being used by the super-rich to create buildings that help to justify their monopoly over the world’s resources, without asking too difficult questions of it. Certain tropes of ultra-modern, high-tech British design have evolved into a built language of the international elites: an architecture of oligarchy.

In spite of all of this, perhaps there is hope for a reinvigoration of public, community-based design in the next generation of British urban projects. Notably, alongside Neo Bankside on the Stirling Prize shortlist there are also listed the University of Manchester’s Whitworth Museum, the Maggie’s Lanarkshire Cancer Centre, and a block of affordable family housing at Darbishire Place for the Peabody Trust. All three buildings, designed by a younger generation of architects, embrace values of community living and interaction in the public sphere in a very tangible way. These buildings may not have the budgets of Neo Bankside, the Shard, or a World Cup stadium, but in their own discreet way they speak of an architecture of far greater value to the much more diverse communities with which they interact.  To put it another way, they present British architecture with an opportunity to return to more egalitarian narratives of dialogue with the wider community – it is up to the profession to take it.

Review: Ratatat – Magnifique

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★★★☆☆
Three stars

Pinning down Ratatat to just one genre of music is somewhat tricky – they mix a medley of styles into a rather unique sound. Famously lyric-less, the duo from New York are known for combining electronica with fuzzed guitars, backing all manners of musical miscellanea. Distilling Ratatat to an easily identifiable sound might be seen as implying a lack of innovation in their music. Admittedly, however, it’s worked for them so far – and there’s a world between the edgy, provocative Loud Pipes from their 2006 album Classics and the bittersweet romance of Mahalo from 2010’s LP4.

As expected, then, their latest offering, Magnifique, contains varying applications of the formula. From the languid, dream-like Drift to the crunchy, upbeat Nightclub Amnesia, each song has its own character. Yet it may well be that the possibilities of the formula are simply running dry – although there aren’t any bad songs on the album, nothing really stands out either. Having often been trotted out by the duo’s detractors, this is hardly a new criticism. Yet if it were appropriate at any point in their career, then it’ll be after Magnifique. After a week’s listening, only half of a song has struck me to the same extent as Loud Pipes or Wildcat from Classics – the last half of Rome, with its gentle crescendo into the almost nostalgic happiness of the climax, is my personal highlight of the album.

But average Ratatat is still good music – and Magnifique continues the tradition of providing an array of music for various moods. There’s a reason for this tradition, and for the similarities visible throughout the discography – Ratatat create music that they want to listen to. This is clear from their notations of the songs on Magnifique – Pricks of Brightness, for example, is a love letter to the music they enjoyed as teenagers.

Perhaps the main point to take away from Ratatat’s latest offering is that, for many people, it’ll be best as a side to the main course. So many of these songs will add vibrancy to parties, drives, or even to simple walks around town – yet the emotional connection is lacking, and few (if any) songs carry sufficient weight to stand alone. While the songs aren’t likely to create memories on their own, they could well find themselves the backing track to many a #Summer_Memories_2k15 montage.

Not quite living up to its name, Magnifique is nonetheless an appreciated return from a half-decade absence – the only regret being that it doesn’t quite reach the bar that previous albums have set.

 

My relationship status revelation

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Much has changed for me since this time last year. Friendships, experiences, beliefs – all have undergone considerable extension and renovation during my first year at Oxford. This is by no means a bad thing, but coming back after the end of term to the quiet, comfortable existence of home has made me realise just how significantly my outlook has been altered. I no longer blindly agree with my parents and siblings and find myself getting frustrated at their often narrow views, on anything and everything from immigration to the definition of art, to the general public’s favourite type of cake. Maybe Oxford has diminished my patience. Anyway, we digress.

Since coming home for the summer I have been in contact with old school friends, arranging some long-overdue catch-ups. Trying to find a time when both parties are free has been somewhat difficult, particularly since lots of them now have a “significant other” with whom they understandably have prior engagements. I’d heard about the geneses of a few of these relationships over the course of the year, with friends often unsure whether to be frustrated, relieved or just confused about the gradual and at times uncertain transition between ‘just friends’ and ‘boyfriend-girlfriend’.

The news that many of them had now reached and breached the moment when they can say with certainty that they are no longer single caused me to pause and reflect. This year at Oxford has changed my view of relationships. As the youngest by quite a margin in a family of five siblings, I grew up with various boy- and girlfriends entering and exiting the family frame. The notion was very well-defined; my brothers and sister were either single or in a relationship. There was no half-way house; the matter of romantic and sexual relationships was very black and white.

At university however, my eyes were opened to the plethora of shades of grey (ahem) that existed between the statuses of ‘single’ and ‘in a relationship’. I came across (or indeed was a participant in) friends getting with each other, sleeping together and behaving in a way that I had previously only associated with people in a relationship, or people completely unknown to each other. This was an indication of my naivety more than anything else, and I must say it was rather wonderful to discover such freedom of behaviour. Those involved could laugh about it the next day, friends would still be friends, and no one would form judgements about single people doing things at which my parents would definitely raise an eyebrow.

I was also introduced to the world of non- and semi-exclusivity. Many of my friends were sleeping regularly with their now-partners long before they were official. It was a big deal when friends from the same social group who have already spent countless hours together went on their first date, despite the fact that they – and all the rest of us – already knew they liked each other very much. The interpretation of these (proto-)relationships owed so much to what terminology those involved chose to apply to them, what labels were affixed by the participants themselves. If friends said they were friends, then they were friends. Their word was enough.

Such friendships may have had a sexual dimension, but this year has made me realise that friends and sex are not necessarily mutually exclusive. This discovery was so refreshing, not even on a personal level but for the university experience as a whole. People can dictate the terms by which they are seen to be single or in a relationship, and others will follow their lead.

My first year at university has taught me a lot, even if most of what I have learned is unrelated to my degree. My discovery of the continuous scale of relationships, as opposed to the discrete “single” or “taken” view to which I had been blinkered previously, was particularly illuminating and important. It is reassuring that casual sexual activity is not condemned, even when with friends. This acceptance relieves individuals of pressure and ultimately enables people to have fun without judgement and for relationships to emerge organically.

Gone are the days of familial and community considerations and courtship, and now the focus is on personal choice and freedom. Individuals and couples should feel comfortable with their sexual life without the constraints of categories. Thank you, Oxford, for showing me how and that this is possible. 

Clean Lines, Dirty Architecture

Laura Grace Simpkins is a photographer at St Peter’s College, studying History of Art. Her pictures were taken whilst completing an internship at SGFA Kuala Lumpur, in Malaysia. 

Model: Katharine Vann 

 

 

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Summer Fashion Tips

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Travelling can always be hugely hectic; from the packing to the hot summer sun, there is nothing more stressful than organising travel in summertime. It is always worthwhile in the end, though, and just to make it a little easier for all those lucky wanderlust travellers, here are a few compiled outfits that can be worn for travelling. Most of the outfits are centered more around warmer countries and are perhaps suitable for inter-railing or a road trip, but they can always be adapted by adding a cardigan or some boots if the climate is a little different from the usual summer destination.

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This first outfit is a lovely beige and white layered dress from H&M. During the summer it is always frustrating to wear bottoms, so it’s often easiest to opt for a dress. Dresses or playsuits are perfect for travelling, more so than shorts or skirts because there is minimal fuss. They are simple to throw on for a day trip and also super easy to style. The little white dress is very minimalistic, so it’s great for pairing with different jewellery items of any size or color. Dresses made from fabrics such as cotton, linen or silk are breathable so will help to keep you cool when running around and seeing the sights. In tune with the monochrome style are the simple pumps that are comfortable, stylish, and not to mention cheap as well.

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The second outfit is perfect for a long train ride or exploring the city in the hot summer sun. A pair of loose shorts and a bardot top is a no-brainer when considering travelling. By wearing lighter, looser fabrics such as these polka dot shorts, it is super easy to move around for ages without feeling bogged down by the heat. A good pair of loose shorts is an essential to any girl’s wardrobe, simply because of how easy they are to style. Mixing and matching prints might not be for everyone, but if you can do it right it always provides an interesting look, such as the small grid print of this top and the polka dot shorts. The nineties trend of encouraging the mixing of prints with simple items has had a huge comeback recently. If the patterns are too loud, you don’t necessarily need jewellery either, which is always liberating if you’re in a rush.

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This slightly festival-themed travel outfit is the most stylish of the three, but it is also one of the most practical. Harem pants are one of this summer’s main travel essentials. They feel like pyjamas so can be worn effortlessly – these zebra printed ones definitely add to the whole travelling vibe. Furthermore, a loud print like this can be paired with a simple top such as a cream loose tank to add to the effortlessness. For an airy feel (and for added height!) small platform heels are never a bad idea.

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So there we are, three outfits that are stylish for any trip. They are all incredibly relaxed and easy to adapt to your own style. I hope that this has given some inspiration – have fun with all your summer travels!

http://wildvagabondss.blogspot.co.uk/search/label/Fashion 

Review: Around The World in 80 Days

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★★★★★

In Around the World in 80 Days, the English gentleman Phineas Fogg has a wager with the men of the Reform Club that he can circumnavigate the globe in eighty days. Accompanied by his French valet, Passepartout, they stumble across strange characters along their travels, while pursued by a Scotland Yard detective who suspects Fogg of bank robbery. The gardens of St John’s College were the perfect venue for this mad-cap and rather eccentric romp through the Victorian world, performed with grace and considerable gusto by the OUDS cast. The humour was fun, clean and clever, with the right balance of slapstick, wordplay, innuendo and audience interaction to keep the comedy fresh and entertaining.

One of the things that brought the show to life was the absence of a fourth wall of any kind, whether it was the bandits trying to ambush our heroes while stalking through the audience, or Detective Fix’s constant asides to the audience (played by a perfectly whiny Luke Rollasson). This was accentuated by the set design and staging itself. At the back was a wooden semi-circle of a clock, which the cast would stand front in front of, their backs turned when not in the scene. On either side of the stage were coat stands holding the costumes and props.  It gave the set a very bohemian, light-hearted feel, which suited the play itself incredibly well.

The fact that it was in a garden could have been disastrous, being at the mercy of the elements which threatened to dampen the experience. But the troupe managed to use this to their advantage. The gentleman of the Reform Club, already silly in false moustaches and uttering comical huffs and gruffs, were made even more ridiculous by the tufts of grass that their top hats had collected from the lawn.

With such a talented ensemble, the choreographed group scenes such as the travelling by rail, ship or elephant were a joy to watch. Particular praise must be given to Ellie Wade’s outrageous French accent as Passepartout. The cast had such a good chemistry that potential disasters, such as the collapse of a table doubling as an elephant, were turned into some of the highlights of the show, with ad-libs and asides that demonstrated the comedic timing of the cast. Yet in spite of the obvious ability on show, the ending nonetheless felt somewhat rushed. But even this was knowingly referenced by the cast and turned into one of the more sophisticated gags. And anyway, as Mr Fogg would know, the ending is inconsequential; rather, it is the journey along the way which provides the memorable experiences, and Around the World in 80 Days proves that to be the case.

 

 

Sweat. Tears. Smiles. The struggle for a football legacy

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“What a tough one to take. This is an England team that have given their all. As people my players have sacrificed so much for this tournament. But they will go home knowing they couldn’t have given any more. Blood, sweat, tears, smiles – we gave it all. I know there’ll be a lasting legacy for the women’s game back home.”

These are the words of England coach Mark Sampson, moments after Laura Bassett’s injury time own goal had prevented any chance for the otherwise defensively excellent squad to move past Japan into the final. The finale of the match was as unforgiving as sport possibly can be; not a misplaced pass, a midfielder slip or a goalkeeping howler, but a freak deflection in a situation which the defender had absolutely no choice. There has been much discussion in the inevitable post-mortem of England’s run to the semi-finals concerning Sampson’s vague ‘lasting legacy’, alternating from understandingly hopeful towards the downright patronising. There is a hope, however, that even this most brutal of exits can act as the catalyst women’s football needs to push it to the forefront of the public consciousness.

This was a world cup undeniably of the highest calibre. The Germany/France quarter final and the Germany/USA semi-final, as well as the performance of Carli Lloyd in the final, deserve to be viewed not as brilliant examples of women’s football, but the sport in general. Outgoing OUWAFC president Becca May acknowledges the “teething problems” of the expanded 24-team format, including the massive victories by most established teams against the newcomers to the game, but even these “showed great quality”. This quality is paying dividends. 2.4 million stayed up till the 12am kick-off to watch England and Japan’s semi-final, whilst the 25 million Americans who watched their team prevail in the final smashed the 19 million record for a football game in the states (set, incidentally, during their 1999 final victory).

Public opinion, finally, appears to be coalescing with the recent surge in funding from the FA into the Women’s Super League (WSL). May talks excitedly about watching the first round of WSL fixtures after the world cup, where the normal 300-400 spectators had been replaced by 2000. “I saw a man reluctantly take his daughter away from the crowd, telling her that they’d have to wait until the next week to get autographs.” She continues, “though aftermath of the world cup might not last at the same high numbers, but I do think that there’ll definitely be a marked improvement in people turning up to watch games and in the level of media coverage”.

The issue which remains for women’s football in the UK; how to translate the explosion in interest into marked grassroots change. The recent misguided tweet from the FA, in which the women were welcomed home as “mothers, partners and daughters”, alludes to the deeper structural problems which this happy world cup honeymoon must contend with. Though it has been 10 years since FIFA president Sepp Blatter called for women to play in “tighter shorts”, media coverage of women’s football, and sport in general, continually obsess over appearance. Many WSL players are still part-professional, and male clubs particularly in the WSL second-tier deny access to the best stadiums and facilities. A failure by the media, advertisers and investors to support women’s football publically and financially disuades many clubs from making the drastic changes necessary to bring the WSL on par with their male counterparts.

But it is not all gloom. WSL attendance figures have been consistently rising by 100 a year, even before the world cup, whilst grassroots women’s football is finally getting the attention it deserves. There is hope that this most cruel of accidents can ironically act as the catalyst which pushes the gradually expanding game permanently into the public consciousness.