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Interview: Terry Eagleton

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If Richard Dawkins is knocked from his bicycle and murdered on the Banbury Road, Terry Eagleton insists he will not have been responsible. That is, roughly, the full extent of his kind words for “New Atheism”. We are all familiar by now with its circus-troupe of acolytes, who somehow marry intense pomposity with grave obsequiousness in the face of “Ditchkins”, the twin-headed atheist hydra Eagleton sees embodied in Richard Dawkins’s sneer and in Christopher Hitchens’s warmongering. Against this enemy, Eagleton enters the field of battle in the name of theology and revolution in equal measure.

Eagleton’s Marxism is welcome relief from Ditchkins’s nominally radical brand of politics, which combines impassioned disdain for the ignorant multitude with a striking lack of anger about the crimes of our own ruling powers. That, Eagleton thinks, is not very left-wing at all. Nor is it cutting-edge and provocative; instead, these “New” atheists are only an archaic remnant of the nineteenth-century. They exemplify the long, establishment tradition of “bourgeois rationalism”. That phrase reveals a great deal about Eagleton’s position. Like Dawkins, he is concerned with truth and irritated by stupidity – the biologist “could hardly formulate a theological belief accurately enough to reject it”, he suggests in that spirit – but like Hitchens his primary complaint is political, not abstractly philosophical.

Echoing the nineteenth-century Young Hegelians satirised and skewered by Marx, New Atheists visualise religion as chains of hogwash imprisoning the human spirit. Marx the materialist insisted the real chains were provided by capitalist society, and religion, the “heart of a heartless world”, only made life bearable. We might thus recommend a modicum of sensitivity, that norm scorned as hopelessly conservative by Ditchkins. Eagleton is surely right that for those working gruelling 15-hour days in factories or down mines anything advertised as the “opium of the people” can seem a perfectly sensible purchase.

On this view, depicting religion as the root of the problem is either astoundingly unsympathetic or it is evidence of the poor thinking of historical idealism, which dislocates ideas from the social and political conditions that give rise to them. People who blame religion for sins from patriarchy to paedophilia and tragedies from Ireland to Palestine let the true culprits off the hook. A young Marx once observed that to be radical is, etymologically, to address problems “at their root”. The historical idealism of contemporary atheism is far from that. Eagleton is keen to point out Richard Dawkins’s opposition to Jeremy Corbyn; most atheism, he thinks, fits impeccably into establishment thinking.   

This does not quite get Eagleton to where he needs to be, if he is to rescue theology for the Left. To say that religion is the symptom and not the cause of the problem is a very different thing from lauding it. Indeed, Marx begins his classic critique of the Young Hegelians by implying they have successfully “completed” the criticism of religion, and their offence is only overreach; rightly incensed by religion, they wish unfairly to lay all ills at its door.

We have a century and a half of extra history now, and Eagleton warns against drawing too many general insights from Marx’s suspicions about faith in 1840s Prussia, which sided very firmly with a retrograde state apparatus. He offers an anecdote instead – seeing his wife head to a secular, rationalist church service of the kind popular among nineteenth-century atheists (and recently revived by the pseudo-philosopher Alain de Botton; each of these New Atheists really does have a Hegelian precursor), Marx allegedly grumbled: “you’d be better off reading the Hebrew prophets”.

What are we to garner from that episode? Eagleton wants Marxists and other radical left-wingers to be much less embarrassed about our connections to religion. “Secularised faith!” shout atheist savants at all who seek a starkly better world. Terry Eagleton would have us nod vigorously in response. The metaphysical, he says, disrupts the blandness of everyday secular, rational existence in much the same way that political transformation does. Both ought to be cherished.

For that reason, the secular desire to rid politics of faith should be regarded as highly suspect by all of the discontented. Needless to say, the project invariably fails; it is precisely because human beings are dynamic creatures not inclined to settle for injustice that we cling to belief in something more than this world, and where religion dissipates other, equally transcendent ideas move into the vacuum.

The politically important issue, then, is not whether we should hold anything sacred – we always do – but what we should hold sacred. Over recent years and especially in his book Reason, Faith and Revolution, Eagleton has launched a spirited defence of Christianity as an answer to this question. If divine characteristics serve as exemplars for earthly norms, he suggests that making a god of Jesus is a move with profoundly radical political implications. God, in the Christian view, is a carpenter born in a stable and not a robed monarch or a “big bastard with a stick”. That sets potent precedents, or at least it should do. He contends too that the Gospels encourage a kind of radical self-dispossession reflected in revolutionary praxis, in which faith involves the potential of being killed for the sake of a project that demands loyalty on grounds other than immediate, particularistic self-interest. I make a dissenting claim for Judaism, and we reach something like a compromise. Eagleton admits that Christianity is necessarily Judaic (which doesn’t satisfy me at all), that referring to the Hebrew Bible as the “Old Testament” wrongly implies it has passed its sell-by date (moving in the right direction, definitely), and then that “Marx is very Jewish” (a victory, I think). Marx’s opposition to utopianism is thus rendered as a product of the Jewish theological prohibition on prophesying the future.

None of these are new concerns for Eagleton. At Cambridge in the 1960s he edited the left-wing Catholic journal Slant,and was once a comrade of Christopher Hitchens in the International Socialists, forerunners to the Socialist Workers Party. Later, Hitchens remarked that the Trotskyist tradition in Europe, though never numerically particularly significant, has long been intellectually precocious. Its influence on Eagleton is still clear, not least in his biting condemnation of Stalinism in his 2011 book Why Marx Was Right. He brings to his current arguments the accumulated memory of rich political traditions.

What does such a wizened observer make of student politics today? The ascent of identity politics, he says, is “paradoxical”. Above all, he sees a rich deepening of left-wing politics at the hands of feminism, anti-racist struggles and the politics of sexual liberation. Against the tendency to dismiss these matters as the concerns of the middle-class, he insists that questions of the body, difference and marginality are often central to the challenges faced by the most wretched of the earth. He worries, though, about a “displacement” – not simply of class as an analytical register, it seems, but of social transformation as the constitutive goal of radical politics. It is an anxiety worth considering.               

He refuses the label optimistic, but this ’68-er is refreshing for avoiding the hackneyed clichés of middle-aged disillusion. He proclaims both his realism and capitalism’s dynamism; history, then, did not end with the passing of the Cold War. The welcome election of “our friend” Jeremy Corbyn only adds further evidence to that contention, and he thinks it “excellent” that Oxford students have built a campaign against the legacy of Cecil Rhodes – “let’s not mince our words”, he declares, savouring the unminced vernacular: “Rhodes is a nasty crook”. None of this is intended to obscure the scale of the challenges for the Left today. The international picture is bleak, though Eagleton, like Walter Benjamin before him, believes firmly in miracles.

Closer to home, my question about #RhodesMustFall prompts a sudden assertion of empathy for students at Oxford who feel utterly marginalised by its insertion into rituals of class power that exclude them. He recalls days spent as an undergraduate at Cambridge, mumbling into a beer glass while aristocrats bellowed in clipped tones as if they owned all the world’s decibels. Tittering at the memory of University authorities reacting with horror to the classes on Marxism he ran at Oxford, he counsels in favour of hope. Things have changed, he says. Some students will wonder how much really has.

Oxford Pink Week: legacy and awareness

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Guardian journalist Dina Rabinovitch, in whose legacy Pink Week was founded, recorded her experiences fighting breast cancer in her weekly column. In early 2007, these columns were published as a book entitled Take Off Your Party Dress. Throughout the production of the book, Rabinovitch continued to write a blog called Take Off Your Running Shoes. The blog marks the final stages of her experience with breast cancer, as she passed away in October of the same year.

In her first blog post, Rabinovitch explained the reasoning behind the title: “The point now is to raise some money for cancer research […] I think I can raise more. Without, hopefully, having to run a marathon.” Raising money for charity through marathons is certainly an impressive feat, but not necessarily for everyone. The philosophy of Pink Week is continued in Rabinovitch’s legacy, and not everyone needs their running shoes to help.

The Oxford Pink Week team have adopted a series of events that include everyone to help raise money and awareness for three target breast cancer charities. Half of the week’s proceeds will go to Breast Cancer Care, the official Pink Week Charity, with the remaining funds split equally between Coppafeel and Hello Beautiful. The latter two are charities specifically selected by the Oxford Pink Week team for their unique approaches to both fund-raising and support for those who suffer from breast cancer.

Jason Carroll, Principle Investigator at the Carroll Lab Cambridge Research Institute, says, “A number of new, exciting treatments are coming through clinical trials now and these new treatments are having a big impact on survival rates […] our work needs to be done alongside fundraising events, such as Pink Week, to create effective clinical practice.”

The Oxford Pink Week events will range from Monday’s Pink Night at Freud’s to a limited-edition G&D’s ice cream flavour launch, and everything in between. In addition, there will be speakers from the charities being supported, as well as talks from oncologists in the field.

Individual colleges will be participating, with bars offering proceeds from special Pink Week cocktails towards charity, and some college formals will also make donations towards the cause.

Yet the commercial aspects of the week are not without its concerns. Though the official breast cancer campaign colour may have, in an outdated age, originally been associated with those born biologically female, the Oxford Pink Week team have made it clear that pink is not a gendered colour, but rather representative of a vital charitable cause.

The week, and the events which substantiate it, are to raise awareness for people of all genders suffering from breast cancer and to help make an invaluable difference to their lives and the lives of those who support them.

Rabinovitch’s blog left a particularly important legacy to the Oxford Pink Week in emphasising literature, something with which we are all familiar, and more importantly, creative writing. The third charity the Pink Week team have chosen to support, Hello Beautiful, helps guide those fighting breast cancer with the help of creative projects.

The foundation recently ran its first Hello Love Festival: a four-day art and design festival comprising gallery viewings, the launch of Stella McCartney’s double mastectomy bra and an auction of woobs (wooden boobs.)

It is through channels such as these that the charities being supported will help other patients discover the creative release involved in Rabinovitch’s projects (her column, subsequent book, and blog), as well as contributing to new research in the area.

One of Rabinovitch’s final blog posts is entitled ‘Is it possible to make any money out of writing?’ She wouldn’t have been the first writer to ask the question, yet she did manage to locate the answer: “Yes…you are the proof.” Pink Week, both in Oxford and across the UK, will seek to keep proving her right, by encouraging people to take off their running shoes and find new ways to raise funds and awareness for breast cancer charities, thus furthering her legacy

Oxford Pink Week runs from 24th to 40th January 2016

The Brand New Victorians

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Dickensian and Sherlock. On New Year’s Day, the BBC happily padded out what is becoming a rather extensive canon of recent ventures into adapted Victoriana. The Sherlock special offended a whole bunch of people, but otherwise the trend has seeped into the televisual zeitgeist without much cause for controversy. The particular offences committed by Moffat and co. in ‘The Abominable Bride’ aren’t going to be reiterated here, but whether or not it’s offensive to overly-manipulate a literary text in the name of screen adaptation is.

In this particular instance, it’s the clumsy handling of history which led to the widespread denigration of the episode. For the first time, Moffat’s Sherlock faced accusations of being unfaithful to its source. But what’s interesting is that this comes four series into a project which was initially so popular because it confounded paradigms.

Theoreticians like Linda Hutcherson identify a pervasive cult of ‘fidelity criticism’ regarding adaptations. Adaptations are often held accountable to their source text, and they are expected to ride as faithfully close to the ‘original’ as possible. Moffat’s Sherlock, bursting eccentricallly onto the scene in 2010, didn’t just dispute that opinion: transposing its action to modern-day London, replete with smartphones and social media, it gleefully rebelled against elitist academic tendencies with a defiant spirit.

The premise of the BBC’s Sherlock was to provide itself as a symptom of what Hutcherson, in her book A Theory of Adaptation, describes as a relatively recent postmodern predilection for interrogating the innate regenerative multiplicity of stories. Sherlock, in other words, took a ballsy swipe at outdated critical attitudes, and instead championed a new norm: one in which adaptations manipulate their source so that the new project addresses its own contemporary concerns, as opposed to pilfering something creatively engaging from the exhausted limitations of the context.

So, ironically enough, it’s not even the Sherlock Holmes whom Arthur Conan Doyle first sent out into the world whom people are considering offended, despite the episode’s attempt to return to the Victorian England from whence he originally came. It’s Moffat’s own Sherlock – crystallised in the performative form of Benedict Cumberbatch – who is disserviced, because the kitsch turn of the special feels like a step back from the currentness that made Sherlock so special in the first place.

Unlike linearly conceived adaptations (2011’s Great Expectations, 2008’s Little Dorrit) which do their best to keep deviations to a minimum, the Victoriana du jour presents brand new stories for old characters. They aren’t all preoccupied with diving into our present, like series one to three of Sherlock; but they are hyper-conscious of distancing themselves from original narratives while maintaining a fickle relationship with their sources. Dickensian intertwines the fates of some of Charles Dickens’s most recognisable personalities (Scrooge, Marley, Havisham, Fagin, Bill Sykes, Nancy), to create an overarching prequel to his major novels. Penny Dreadful, meanwhile, links its characters by genre rather than author: the stalwarts of Gothic literature seminars rear their heads – Victor Frankenstein, Mina Harker, Dorian Gray – amongst a set of entirely new characters, devised to give the series a feeling of novelty while retaining the most macabre aesthetic hallmarks of the Victorian Gothic.

The new Victoriana salvages beloved characters and keeps their spirit alive. But only when it remembers that, today, the past is only important insofar as it can be refashioned for the future

Ambiguities of Justice

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Combining contemporary interviews with police interrogation tapes and local news converage, Netflix’s new documentary Making a Murderer paints a vivid and disturbing portrait of the Wisconsin State Justice system and the shocking story of Steven Avery. In a case which saw much local publicity at the time, Avery spent 18 years in prison for a sexual assault he never committed, before then being convicted for murdering a local photographer two years after his release.

Initially convicted of sexual assault in 1985, Avery was only released in 2003, following the emergence of new DNA evidence which proved his innocence. Once out of prison, he began a civil suit against those responsible for his wrongful conviction, and became the face of a movement to reform the Wisconsin Justice System. Yet with his civil suit ongoing he was arrested and later convicted for the murder of local photographer Teresa Halbach in 2005.

The narrative runs along two parallel tracks, on the one hand describing how the injustice and misfortune suffered by Avery at the hands of the legal system might have created a man capable of murder, whilst the more conspiratorial approach suggests another miscarriage of justice by a Sheriff’s Department threatened by the implications of Avery’s civil suit. The first episode focuses on the former, describing a man’s life hit by multiple tragic injustices. Though Avery claims he left the bitterness behind him upon his release from prison, the question of what impact the events had on him is left open.

The documentary, and Avery’s story, covers an enormous amount of ground and at times makes for uneasy viewing. It tells of the outsider status of Avery and his family, seen by much of the community as shady local hillbillies, and poses troubling questions about the small-town mentality of the area. It exposes corrupt practice on the part of the local police force, seemingly so keen to imprison one of the troublesome Avery clan that the real offender is allowed to walk free. The true focus is not so much on Avery himself; he appears at times a distant figure, as we hear from him primarily through crackling prison phone interviews. Rather the focus is on those around him, be it his parent’s unswerving belief in their son’s innocence, which remains concrete even as the evidence stacks up against him; the breakdown of his marriage during his first spell behind bars; or the judicial malaise his legal team had to work through to secure his initial release.

No stone was left unturned in the research for this project. Every police interview, deposition tape, local television report and newspaper story has been scoured and the result is a highly immersive look at this troubled world of tragedy and corruption. The long list of participants creates a drama more rich than any fictional show Netflix could have commissioned. Indeed, at times the ten-episode documentary has the pace and feel of a thriller. Occasionally the format can feel a little tired – the interviews and recordings are repeatedly interspersed with desolate-looking vistas of the Avery family scrap yard – yet the story is simply too gripping for this to detract. As the story progressed, the documentary increasingly became a courtroom drama, analysing the case against Avery and the strains on those involved. The series has already made a real impact in the US, massively increasing public interest in the case and prompting 120,000 people to sign a White House petition calling for a pardon for Avery. It comes to no clear conclusions on Avery’s guilt; rather, it paints an undeniably unsettling portrait of the justice system and a gripping account of the trial which followed. Few documentaries are as truly immersive and thought provoking as this.

Making a Murderer is now available on Netflix

Luminaries: Oliver Stone

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Oliver Stone is perhaps Hollywood’s most political writer-director. His career encompasses a filmography of political statements so close to his own heart you can almost feel his personal frustrations when you watch his films. A Vietnam War veteran, he gained the purple heart after being wounded in battle and proceeded to make two Academy Award-winning anti-war films. The son of a stockbroker, he made two exposes of the world of Wall Street banking. He’s regularly churned out films about American Presidents and politics, almost always controversially. His latest, in the vein of previous political biographies such as Nixon and W is Snowden, starring Joseph Gordon-Levitt and tipped for release next summer.

His second war film is perhaps his best. Born on the Fourth of July is based on the true story of a wheelchair-bound Vietnam veteran Ron Kovic, and follows the plight of troops returning home. Cold War ideals and youthful optimism degrade, step by step, as Vietnam generates hippy protests, politics slide towards the agitated New Left, and popular disillusionment emerges under the presidency of Richard Nixon.

Kovic, played by Tom Cruise, undergoes physical and mental decline until he becomes a hero of the anti-war movement, like a phoenix reborn. His transformation is paced perfectly. You feel for Kovic as the visceral horror of the war scenes are played out.

Stone is the master of depicting decay. A consistent voice of dissent, he forced the US government to disclose materials relating to the Kennedy assassination with his film JFK. He has even turned his pen to history, writing a somewhat conspiratorial Untold History of the United States. In the pantheon of critics of the American Dream, Oliver Stone appears alongside such predecessors as Nathanael West. He films the ugly, the controversial and the bold, and let’s hope he continues to do so.

Boy meets Girl

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Photographer: Richard Wakefield
Makeup: Brothers Oxford
Models: Hannah CM, Natalie Page
Creatives: Harry Sampson, Ella Harding, Kim Darrah

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Preview: Rent

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Something I’ve heard from several people at this point is just how much time it takes to put together an Oxford Playhouse bid. Those few hours under lights representing the mere tip of the iceberg – hundreds of man hours, a cast and crew list as long as your arm. This production of Rent is no different, and as director Georgia Figgis related to me, they’ve been working on it for a suspiciously similar amount of time to the human gestation period.

When I was invited into the warmth of the Pembroke Pichette studio in a bitterly cold 0th week, the passion in the rehearsal room stood in stark contrast to the pathetic and limp wristed attempts at snow that the Oxford weather was making outside. Musicals have always, in my experience, had a curious ability to garner enormous crowds of die-hard fans in a way that ordinary plays rarely achieve. The relevant group of fans for the musical Rent have taken the curious name Rent-heads; and if their slightly dubious Wikipedia article is to believed, one so called Rent-head went to see the Broadway production 1100 times in its 12 year run (lacking citation). The passion that the Rent team bring to their production is not quite so pathological as that (possibly fictional) individual; however it does burn just as brightly.

I was treated to performances of some of the most iconic songs from Rent – the rousing anger of the title track, the hilarious faux passion of ‘Tango Maureen’, the sound and fury of ‘Take me or Leave me’ which left one of the leads remarking “I’m so sad, I’m so angry, I’m so confused.” (Annabel Mutale Reed as Joanne). This was followed by an utterly heart wrenching performance of ‘Without you’; where sublimely tender choreography coupled with the melodious voice of Eleanor Shaw (Mimi) to leave several cast members in quite earnest floods of tears.

Talking to the cast, it became clear that the reasons for this emotion are complex, but all stem from a deep love of the diversity and depth of the characters in Rent – and the way they relate to their own lives. Rent is set in the 80s in New York’s East Village, a vibrant community living in the shadow of both Reaganomics (this play has allegedly turned one of its leads from a Tory canvasser nonetheless to an out and out leftie) and the HIV/AIDS epidemic, the latter of which killed more than 0.8% of the American population in this period – primarily amongst the LGBTQ+ community in vibrant, bohemian centres such as Alphabet City, New York.

HIV and AIDS are still, sadly, incredibly stigmatised even in 2016 (see James Delingpole’s frankly abysmal opening at the Oxford Union debate last term). Everybody involved in this production of Rent is quite evidently passionate about changing that – working alongside the Terence Higgins Trust (http://www.tht.org.uk) in the rehearsal room to help dispel the paranoia, disgust and sniggering which sadly still lingers around the fatal disease. I recommend perusing the production blog (https://rentoxford.wordpress.com) – particularly ‘Isaac: Patrick’s story’ for a deeply personal and saddening account of the HIV/AIDS crisis in the US.

The really striking thing about this production and its rehearsal process, which ties so neatly into the harrowing themes it covers, was the intent of the director and the choreographer not to treat the homosexual relationships in the play as tokens, defined by their sexuality. This intent comes out loud and clear in the choreography for ‘Without you’ – the three couples each express very different emotional difficulties, but there are none of the clichés that one has come to expect from the oft nuance-less portrayals of homosexual relationships in popular culture. Choreographer Ed Addison believes there to be a “level of novelty” in representing heterosexual and homosexual couples alongside one another in dance – “same sex couples dancing, you don’t see that… ever.”

I have no doubt that there’s a very strong population of Rent-heads in Oxford who will not be missing this show (nor the Plush after party) for the world. Even if you haven’t seen this show 1100 times before, I really would recommend going to see it, not only for the music and dance, but also for a cast that truly believes in the issues they’re tackling through their art. 

Anti-RMF motion proposed at St. Anne’s

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St. Anne’s College JCR will discuss a motion this Sunday that proposes to announce the Common Room’s opposition to the Rhodes Must Fall (RMF) campaign.

The motion resolves to, “Publicly announce [the Common Room’s] opposition to the Rhodes Must Fall campaign, and any form of politically motivated iconoclasm in the university and its constituent colleges/PPHs”; “urge Oriel College to keep the statue of Rhodes and its associated plaques in their current position”; and, “lobby other JCRs to make resolutions opposing the Rhodes Must Fall campaign”.

An email sent to the JCR encouraged those in “opposition of the motion (thus, supporting the RMF campaign)” to come to the meeting “in the interest of having a fully engaging, intellectual debate.”

Matthew Kirtley, who proposed the motion along with Henry Williams, told Cherwell, “Generally, I’m antipathic towards the pernicious identity politics and attempts at playing at intergenerational guilt which seem implicit in the Rhodes Must Fall campaign. That served as my initial motivation why I opposed RMF, and why it was so easy for me to jump on board with the motion. The rationale for the motion is that we both believe that the statue must stand pretty sincerely, and we think a lot of other people do along with us. I’d like to get those people to remember that they’re not alone in their sentiments, and they have every right to respond to the RMF campaign.

“The key principle at hand is that we don’t believe the cultural heritage of Oxford or Britain should be removed based upon our entirely contingent contemporary moral and political norms. I don’t see that the statue of Rhodes has any attached moral standing to it, other than the commemoration of his philanthropy towards Oriel and the University. It serves to acknowledge his donation, not to acknowledge his social, moral, or political views. Heritage is important as it serves to tell to us and posterity what helped influence the institutions that used to and still exist, and also tell us of the people who shaped said institutions. Who’s to say in a thousand years Rhodes will be as controversial as he is? 

“To attempt to claim that our generation alone has reached the apotheosis of moral and political thought is chauvinistic and naive. Depriving the future of the introspective value our heritage provides – such as removing the statue and whitewashing the origins of Oriel’s Rhodes Building away – to satisfy our contingent moral ideals does not strike me as right.”

Other Common Rooms have passed motions in support of RMF, including St Catherine’s JCR and MCR, Christ Church’s GCR and St Hilda’s JCR.

The Rhodes Must Fall campaign has been contacted for comment.

Mozart’s Figaro and soft-boiled eggs

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Oxford’s 2016 New Year concert took place at the Sheldonian, with the City of Oxford Orchestra conducted by the dynamic Stephen Bell. The orchestra accompanied pianist and Cambridge alumnus Tom Poster in Beethoven’s ‘Emperor’ concerto and welcomed soprano Pamela Haye to join them for Johann Strauss II’s ‘Laughing Song’.

The overture of Mozart’s opera The Marriage of Figaro served as opening, revealing the ensemble’s balanced sound. Before leading onto an aria by the same composer, Stephen Bell shared a cooking tip with the audience, proving how wrong it is to think that classical music doesn’t have its place in the modern world.

According to the jovial conductor, the time it took to play the first piece is identical to the time required to cook a perfect soft-boiled egg. This might not initially have been what Mozart had in mind, but it was pleasant to find the atmosphere lightened by Bell’s comments in a venue marked by decades of formal Latin speeches.

Up next was a masterful interpretation of Beethoven’s ‘Emperor’ concerto. Letting go of the orchestra’s power, this piece allowed the formation to show its depth, with the supporting double bass among the string section. Ranging from candid tunes played by the piano alone to avalanches of sound, this was truly the “treat” the conductor announced it would be, especially when it came to the pianissimo phrase that Tom Poster was able to captivate the audience with.

The second part brought its traditional ‘Waltzes, Polkas and Marches’, insisting a little too strongly on the cymbals for the triumphant airs of Suppe’s ‘Light Cavalry.’ The intimate ‘Marietta’s Lied’ by Korngold seemed almost out of place among such expansive pieces, introducing melodrama and slight imprecisions before moving on to the jubilatory Viennese waltzes.

It is a common criticism of orchestral music that the same pieces, movements and concertos are performed year after year, indicating its fundamental stagnation. Strauss’ ‘Egyptian March’ as well as the inevitable ‘Blue Danube’ closing the programme answered this criticism, whilst the choice of placing Strauss II’s ‘Laughing Song’ and the “Pizzicato Polka” composed by father and son together, in between the two more famous pieces, made the end of the concert refreshing and invigorating. Most importantly it demonstrated that classical music remains innovative, and Tom Poster’s ability to underline delicate aspects of the pieces and Stephen Bell’s energy complemented the orchestra to strike an enjoyable balance between refreshing vitality and well-known tunes during this evening.

Review: Shinedown – Threat to Survival

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★★☆☆☆

For the third time since their formation, alternative rock band Shinedown from Florida has joined the Carnival of Madness line-up, along with Black Stone Cherry and Halestorm, among others. The tour will be bringing back its fiery sets and equally fiery energy to the United Kingdom this winter, starting in Cardiff on 28 January and finishing with a show at the Manchester Arena on 6 February.

This will be an opportunity for Shinedown to convince their British fans of the merits of their fifth album Threat to Survival.

Released last September, the album marked a definite change of style that had already been announced in the previous one, Amaryllis. Instead of the heavy bass of earlier songs like ‘Sound of Madness’ and lead member Brent Smith’s rather unsophisticated but definitely headbang-worthy singing, ‘Asking for It’ – the first track of Threat to Survival – strikes as coming less from the band’s guts than from a known recipe for likeable but weaker rock songs.

Perhaps resulting from an attempt to produce more lyrical rock than the very straightforward ‘Devour,’ the chorus of ‘Asking for it’ is an example of how this album lacks the edge Shinedown was originally appreciated for. Despite this, their popular single ‘Cut the Cord’ retains some of the characteristic aggressive tone of their earlier works.