Tuesday 2nd December 2025
Blog Page 13

Oxford Theologian John Henry Newman honoured by Pope Leo XIV

Joseph Rodgers
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Oxford Theologian John Henry Newman honoured by Pope Leo XIV

The 19th-century Catholic theologian and Oriel College fellow Cardinal John Henry Newman has been conferred a series of honours by Pope Leo XIV.

Cardinal Newman was named “a patron of the church’s educational mission” last week, and was elevated to the status of Doctor of the Church over the following weekend. This title is given by the Catholic Church to saints deemed to have made a significant contribution to theology. Newman joins St Thomas Aquinas as a patron of education, and he is one of only 38 saints to be named a Doctor of the Church. He was further named Patron Saint of the Pontifical Urban University in Rome.

Newman was central to the Oxford Movement, a 19th century theological movement, which began in the 1830s. Originally an Anglican, he converted to Catholicism in 1845, after which he was forced to resign his Oriel fellowship. He was subsequently elected to an honorary fellowship at his alma mater, Trinity College, Oxford, in 1877.

One of Newman’s most influential texts was The Idea of a University, first delivered as a set of lectures at the Catholic University of Ireland (now University College Dublin). The work defends a liberal education, where knowledge is pursued for its own sake rather than for professional training.

Lord Mendoza, Provost of Oriel College, said: “[Newman’s] emphasis on the tutorial system of teaching and on the personal, moral and social development of students was adopted by every other college. It is in part to his credit and his The Idea of a University that Oxford is an exceptional place to study.”

Oxford University’s Newman Society, a student Catholic Society, is named after the theologian. It was founded in 1878 as the “Catholic Club”, and renamed with Newman’s permission in 1888.

Adam Gardner, president of the society, told Cherwell that the society was “ecstatic” about Newman’s elevation. He added: “It goes to show that [Newman’s] contribution as an academic in the University is recognised beyond the bounds of academia, and that he is on par with (arguably) the greatest Catholic theologian of all time, St. Thomas Aquinas.”

He also reflected on Newman’s position in English Catholicism: “With the memory of the penal times still in the minds of Catholics in England today, it is most wonderful to have a Saint so highly revered by the Universal Church being from England; that England has not been forgotten and is a land where Saints are born.”

Newman’s contribution to education goes beyond Oxford. He served as rector of the Catholic University of Ireland, and founded the Oratory School in Birmingham. But he continued to view Oxford as the best model for education, and is said to have chosen the Oratorians when joining a religious order because their organisation most resembled an Oxford College.

Samuel Troy, the Newman Society’s publicity officer, told Cherwell: “Among a lot of members of the society, there is a real sense that Newman is our friend. There aren’t many other saints who write about essay crises and finals stress, and it’s amazing that someone who feels so like a modern-day student has been declared a Doctor of the Church. In some ways, the proclamation of Newman as co-patron of Catholic Education makes the ‘Oxford system’ the educational ideal of the Catholic Church.”

Erotic suspense and trickery: ‘Twelfth Night’ at St Hugh’s 

Mary Stillman
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Erotic suspense and trickery: ‘Twelfth Night’ at St Hugh’s 

Lovers mismatched, siblings detached, and plans of trickery hatched: it is the time of year for Shakespeare’s Twelfth Night (otherwise known as What you will), performed in St Hugh’s College by the Oxford Rep Company. Jazzy live music greeted audience members coming in as we were faced with two neon bar signs: “‘Orsino’s”’ and “‘Olivia’s”’. The music and set created an ambience to the new imagining of Illyria that was about to unfold. 

I was initially shocked when the first lines were not the much expected “if music be the food of love play on”, but instead a modern exchange between Orsino (Ezana Betru) and Curio (Georgina Cotes) debating what to “text” Olivia about Friday night plans. Although this was fleeting (and I was thankful when the Shakespearean dialogue followed soon after), it set the precedent for the playful and witty show ahead.  

Twelfth Night’s premise depends on the art of disguise and the unfolding of mistaken longings. It is undoubtedly a play of doubles. Following a shipwreck, Viola disguises herself as a man (Cesario) to work for Count Orsino. While her heart turns towards him, Orsino’s desire belongs to Olivia. Caught in a classic Shakespearean entanglement, Olivia subsequently falls for Viola’s male disguise. Deceit is at the forefront of the plot, and every cast member in this production was able to subtly share the inner longings of their characters with the audience, inviting us to be omniscient listeners with knowing glances. 

While there is no explicit need for extensive disguises, the costumes as a whole were temporally ambiguous. Yet the explicit incorporation of wireless headphones and sunglasses as modern props was a tasteful touch. The Oxford Rep Company placed interludes of the modern world into Shakespeare’s winter comedy with discerning timing. An entertaining moment was when Viola (Darcey Willing) built up into bursts of rap when first trying to woo Olivia (Harriet Wellock) on behalf of Orsino. Occasionally it was hard to tell whether the actors were ad-libbing their 21st century exclamations or whether their calls to the band were well -thought out and scripted; either way, the effects were amusing.  

Sienna Jackson Wolfe’s production embraced the comedic revelry of Twelfth Night with full dramatic force. The notable audience favourites were of course Sir Toby Belch (Flynn Ivo) and Sir Andrew (Gilon Fox). Shakespeare’s text allows these brazen kinsmen to be a great base for comedy in any production, but Fox and Ivo navigated their double act with a witty rapport that was very pleasing to watch, resulting in many laughs throughout the show. A personal highlight was when their drunken antics resulted in oscillations between quiet whispers and jaunty song, disturbing the stricter members of Olivia’s entourage. Ivo in particular did a good job of not making drunk-acting cringe. He performed with a controlled sloppiness that was both funny and believable.  

Comedic moments also arose out of more romantically charged scenes. Kick-started by Orsino and Viola (who is dressed as Cesario) having flirtatious chemistry from the start, the production anticipated their eventual fate by having the pair lean into a near kiss which is suspensefully interrupted. The audience were later assuaged after this anti-climax by the intense homoerotic kiss between Sebastian (Luke Nixon) and Antonio (Bailey Finch-Robson) moments before they part ways. Sebastian is bound for Orsino’s court and insists on making this journey on his own. Antonio, out of devotion and loyalty (secretly) follows him anyway.

 The play’s resident fool ‘Feste’ (Ethan Bareham) was a sly yet important presence on the periphery of the stage, helping the audience to locate themselves among the mishmash of identities by switching the neon signs of “Orsino’s” and “Olivia’s” on and off between scenes. This was a subtle detail yet added to the well-rounded and clear staging. Bareham was very versatile (a quality inherent to playing a Shakespearean fool) and did well to ventriloquise many voices. His voice went beyond just speech as he broke into a soulful rendition of “What is love? Tis not hereafter”, comically bringing Sir Andrew and Toby to drunken tears. The songs were supported by the pleasing resounds of Orsino (Ezana Betru) playing the Saxophone with a debonair poise.  

Jackson-Wolfe’s production team collaborated in creating a satisfying rendition of Twelfth Night, adding attentive detail when needed and bringing out a jolly essence in the play. The lighting (operated by Juliet Taub) added a charming layer to the fast-paced scenes: Malvolia’s infamous yellow stockings protruded against the yellow backlight.  

A gripe of mine about (usually student) adaptations of Shakespeare is the affected tone with which actors feel they need to speak their lines in order to sound like a ‘thespian Shakespearian’. However, I would like to commend this cast, as most of them executed the words with natural ease. Special mentions must go to Luke Nixon (Sebastian) and Kate Harkness (Malvolia). Both of whom seemed to have a particular instinct for the rhythm and intonation that Shakespeare’s prose and verse calls for. 

Harkness should also be praised for her acute pronunciation and tonal precision in every line, something much harder to achieve than she made it look. The militance that she brought to Malvolio’s character was thoughtfully broken down in the final act, for while Twelfth Night is a comedy, it does not end happily for everyone. As merry reunions collide with frisky new couples, the darker truths of the play are revealed by the mistreatment of Malvolia, left humiliated and ostracised. Harkness brought the first truly sincere moment to a show that had thus far been largely jovial, driving the scene to a powerful standstill. There was a noticeable quiet on stage as she made her final exit, vowing for revenge.  

Yet it is the fool’s final song that must tie up the performance. In this production, the lines were spoken and layered with a faint song recording as accompaniment. This decision brought a powerful auditory heaviness to the last two lines: “But all that’s one, our play is done, And we’ll strive to please you every day.”  

Former Oxford student acquitted after spraying Stonehenge orange

Poppy Geyman
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Former Oxford student acquitted after spraying Stonehenge orange

A Just Stop Oil activist and former student at the University of Oxford, Niamh Lynch, was recently cleared of causing criminal damage to Stonehenge, along with two other activists, Rajan Naidu and Luke Watson. The activists sprayed the UNESCO World Heritage site in an act of protest, using fire extinguishers filled with orange powder. 

The protest took place in June last year, one day before summer solstice celebrations, which typically attract around 15,000 people to Stonehenge. Although the powder left no permanent damage, the clean-up costs totalled £620. After spraying the 5000-year-old stones, Lynch and Naidu remained at the site and allowed themselves to be arrested.

The activists were charged with damaging a public monument and causing a public nuisance. Their recent acquittal was based on their rights to freedom of speech and freedom to protest under the European Convention on Human Rights.

Reacting to her acquittal, Lynch told Cherwell that her immediate response was “relief”, adding: “The concept of going to prison is scary. But it’s categorically nowhere near as scary as the fact that one person is dying every minute from heat stress as the planet gets ever warmer.”

Discussing her motivations for joining Just Stop Oil, she said: “I just want things to be better…I refuse to believe that billions of living beings should be needlessly suffering and dying to make a few billionaires richer. I might not be able to do much, but I refuse to do nothing. I refuse to stand and watch as our world, our home, burns around us.”

Lynch previously studied Geography at Oxford, and is now pursuing a Master’s in Ecology at the University of Exeter. She attracted attention from several news publications for requesting that her trial didn’t coincide with her final exams.

Just Stop Oil is a direct action climate activist group founded in 2022 and focused on ending new fossil fuel projects in the UK. Direct action involves physical and disruptive protests: in the past, activists have made the news by throwing soup at Vincent Van Gogh’s Sunflowers, disrupting the M25 for four days, and interrupting a West End performance of The Tempest.

In 2024, Just Stop Oil achieved its principal aim when the UK government agreed to halt licences for all new oil and gas projects in 2025. As a result, Just Stop Oil announced that it was “hanging up the hi vis” in March 2025 after three years of protest, meaning it would no longer be organising direct action or mass protests. However, some Just Stop Oil members have told the BBC that new governmental powers such as the Police, Crime, Sentencing and Courts Act and the Public Order Act have also made it easier to arrest and prosecute activists.

1930s artefacts uncovered during renovation of Oxford theatre

Ruaridh McEwen
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1930s artefacts uncovered during renovation of Oxford theatre

Renovations of the New Theatre on George Street have uncovered a variety of historic artefacts, including newspaper clippings, milk bottles, and photographs, many of which date back to the theatre’s construction in 1933. 

The discoveries come amidst a period of renovation, in which the New Theatre’s foyer and bar is being refurbished, whilst retaining the venue’s distinct art deco character. The theatre recently opened its new Priority Club Bar, located in an area of the venue that “hasn’t been open to the public for quite some time”.

Amongst the items discovered is a newspaper article including an advert for Boswell’s department store – an iconic Oxford retail establishment which was located on Magdalen Street, around the corner from the theatre, until its closure in 2020.

A spokesperson for the theatre told Cherwell that “the most remarkable discovery was definitely a collection of personal items belonging to a World War Two sergeant”. Found in his belongings were “photographs, cigarettes, and a service card, hidden behind the bar. It was an unexpectedly personal and emotional find, almost like uncovering a small, forgotten story frozen in time”.

A spokesperson added that the theatre is “planning to display some of these items around the venue, including the Priority Club Bar, so that everyone can enjoy a glimpse into our rich history. On top of that, our backstage tours offer visitors the chance to see the inner workings of a living theatre, celebrating both our heritage and the dedicated team who help bring every show to life”.

The recovered artefacts serve as a reminder of Oxford’s rich historical pedigree and the everyday lives of individuals who lived and worked in the city across generations. 

When asked about the consequences of their discovery, the spokesperson added that: “These findings reveal the people who came to the theatre seeking a brief escape from their everyday problems, leaving traces of their lives behind.” Even during a time of war, the theatre likely acted as an escape from reality, just as it continues to do today.

The BBC’s dying sports coverage is hurting Britain

Charlie Towle
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The BBC’s dying sports coverage is hurting Britain

The President’s Challenge – the annual tradition that marks the official launch of the Boat Race – was this year accompanied by another, rather curious, announcement. The race, first broadcast on BBC Television in 1938, will now instead be broadcast exclusively on Channel 4 in the UK from 2026. 

There is no way to construe this as anything other than a big loss for the BBC: last year’s race coverage drew 2.8 million viewers, and the women’s race remains the second most watched women’s sporting event of the year in the UK, behind only the summer’s Euros.

The loss of the broadcasting rights to the Boat Race does not come as too much of a surprise, however, as it is merely the latest in a long-running trend of major sporting events moving off the BBC. Since 2012, the BBC has lost all live TV broadcasting rights to The Open, The Grand National, and Royal Ascot, each of which a key fixture in the British sporting calendar. The BBC also gave up its rights to broadcast Formula 1 races in 2015 and hasn’t shown a live English cricket test match since 2005.

This leaves us with the question of why: what has led what was once the home of British sports broadcasting to discontinue its live coverage of so many different events? It is not “wokery in action” coming from a Director of Sport with a dislike of Oxbridge as some have claimed. The answer appears to be far simpler than that: money.

The cost of TV broadcasting rights has risen dramatically in recent decades. It will come as no shock that football leads the way: the last package of domestic rights alone cost a total of £6.7 billion. Other sports too have seen costs increase significantly. The most recent Six Nations Rugby Union rights package was reportedly worth an estimated £90 million per year, and the ECB’s cricket rights deal with Sky that expired last year totalled £220 million across its duration. 

The astronomical cost of broadcasting sport seems to have priced out the BBC. This has been compounded by a period of uncertainty and declining income for the organisation. Record numbers of households have been cancelling their licence fee in recent years, leading to calls to completely reform the funding model. This has increased pressure on leaders to keep budgets tight and avoid what might be deemed unnecessary expenditure.

Sport appears to have fallen victim to these cost-cutting measures. While the Boat Race will be staying on free-to-air television with Channel 4, many of the live sports whose rights the BBC has surrendered now exist entirely behind a paywall. The full Sky Sports package starts at £22 a month, an additional cost of over £240 a year. The British public is suffering as a consequence.

Primarily, this trend is depriving much of the nation of the opportunity to watch live sport. The BBC exists as a public service, and the provision of live sport has long been a part of this. It provides entertainment, drama, and attachment to a social identity. There are even studies linking watching live sport to improved mental wellbeing. By putting sport behind a paywall, only those who can afford to pay are able to access these benefits. 

Only those who have significant disposable income are now able to enjoy lots of the country’s live sport, This is only acting to deepen the class divides that are so entrenched in British society. While football may be so important to so many that it does not face this issue, the same cannot be said for other sports. Sports like rugby and cricket are having their reputations as the preserve of Britain’s middle and upper-classes reinforced, and risk disappearing from the working-class consciousness altogether.

There are also worrying implications for racial integration. Sport has historically been a critical avenue for people arriving from abroad to socialise and settle into local communities: cricket has been identified as hugely important in the experience of Caribbean communities settling in England throughout the 20th century. It is clear that, as much as ever, Britain is in need of shared cultural pursuits that cut across the dividing lines of race and immigration status. The decline of many sports amongst the general public, in no small part due to their lack of visibility on national TV, is depriving the country of key tools to foster integration and unity. The BBC is failing us in this aspect of its public service.

It is also difficult to avoid the sense that we are being robbed of the opportunity for more truly ubiquitous national sporting moments. Events like the World Cup and Euros are elevated into the national conversation by the fact that anyone can watch them. Other sports outside of football are capable of bringing together the nation in a similar manner. The 2005 Ashes series captured the nation’s attention as England triumphed over Australia for the first time in over 18 years. But the disappearance of international cricket from free-to-air TV means we are unlikely to see a repeat.

In a political environment that feels increasingly polarised, and a country that often seems as disunited as it has ever been, the loss of more opportunities for moments of sporting captivation on national TV is to be lamented. The Boat Race moving off of the BBC is another small sign of the decline of the BBC’s role in providing Britain with live sports coverage. We can only hope that action is taken to prevent further damage to the BBC’s sports slate and its contribution towards national cohesion.

Interview with Mishal Husain ahead of the Romanes Lecture

Conor Walsh
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Interview with Mishal Husain ahead of the Romanes Lecture


Mishal Husain is an award-winning journalist, author, and broadcaster. She was a household name at the BBC for over two decades, working as the broadcaster’s Washington Correspondent and as a presenter on Radio 4’s Today Programme for eleven years. Husain is now Editor at Large at Bloomberg Weekend, and recently launched her first podcast series, The Mishal Husain Show, where she interviews world leaders, business titans, and cultural icons.

Husain describes her Muslim faith as an integral part of her identity, as well as her work as a journalist. She delivered this year’s Romanes Lecture at the University of Oxford, by invitation of the Vice-Chancellor. During the lecture, Husain tied her faith and ancestry to the history of empire, questions of identity, and the search for reason. She talked of ‘searching for light’, which she said is found beyond the headlines – in history and forgotten texts.

Cherwell sat down with Husain whilst she was in Oxford. In between dress rehearsals and touring the Schwarzman Centre, we discussed the theme of her lecture; her career in journalism, and the changing landscape of the news media – from tapes and print, to tweets and reels.

Cherwell: Maybe we could start by talking about the theme of your lecture: ‘Empire, Identity, and the Search for Reason’. What inspired this?

Husain: My starting point was seeing that the first Romanes Lecture was given in 1892, because that date rang a bell with me straight away. The reason was that when I was researching my family story, Broken Threads, I had noted 1892 as being the general election that brought the first Asian MP to the House of Commons, Dadabhai Naoroji, and the fact that this lecture was first delivered in that year by Gladstone, who was, you know, Naoroji was one of his MPs, I just thought: “Oh, what a wonderful bit of serendipity. This date actually means something to me.” And, of course, when you’re asked to give a lecture as prestigious as this, you also feel the pressure to say something that is ideally unique, but certainly meaningful.

I thought, “my professional life as a journalist is why I’ve been asked to do this”. I also have researched the impact of empire on families like mine, both the establishment of the British Empire and the way it came to an end. And when I thought about 1892, I thought this was a moment – the first Asian MP was elected to the House of Commons, this was an imperial subject who ends up being a legislator for the Empire. This is a moment when East and West come together. From there, I started to search for other examples where East and West come together, really challenging the divisions that we’ve seen for many generations, but which feel particularly current now. And that’s why the final part of my lecture is essentially on Islam and Muslims and some of the underappreciated, if not unknown, ways that Islam and Muslims have either influenced this country, or are linked to this country and its culture in perhaps unexpected ways. That’s why I look at architecture and poetry; reason and insight in the Quran; the world wars; and Muslims in the Renaissance. 

I wanted to say something that reflected who I am, both who I am as a journalist, and my heritage, particularly the Muslim part of my heritage. The fact is, that particular community is underrepresented in my profession of journalism.

Cherwell: One thing that particularly stood out to me is this idea of identity, and the importance of understanding one another’s identities better. You call, in particular, for reason as a response to misinformation, and I was wondering what the best way is, in your view, of tackling misinformation, and who do you think should be responsible for this – is it journalists, politicians, or perhaps day-to-day users of social media?

Husain: I feel the responsibility to arm yourself with knowledge is part of your duty as a citizen. There is, certainly in relation to Islam and Muslims, I think, a lot of casual misinformation. People’s opinions are formed without either much access to knowledge, or interest in proper knowledge, and that’s why there are numerous myths circulating. There’s no doubt, also, that there are cultural practices and there are individual actions and difficult issues that we should never shy away from discussing. I’m not trying to suggest that there are any areas of public life that should go undebated. I’m arguing for proper discussion. I’ve chosen to focus on what I call, in my lecture, ‘the five points of light’, because I think there’s a lack of bedrock knowledge. I think we’re very keen to see divisions rather than common threads. That’s the message I wanted to get at in this lecture. And I hope what I say offers less discussed points or points of new insight.

Cherwell: On the point of division – one of the things that you’ve, no doubt, seen as a journalist is that the way we consume the news is changing. There’s huge gaps between generations and how we engage with the news. To a lot of young people, or some young people at least, the news is something that old people do. Social media has become a priority. Meanwhile, older generations continue to consume these more traditional kinds of news. What would you say to these young people who say, “Oh, the news is something for older people.” Why does the news matter?

Husain: Well, the news is evolving, and I’ve grown up in what we certainly think of, and see. as traditional news media. I’ve spent most of my career at the BBC, and often that’s called ‘legacy media’ nowadays, usually pejoratively. I’ve seen the whole trajectory of the technological revolution in news. When I joined Bloomberg, and then the BBC, tape was still cut by an actual TV editor. You would take the tape which had come in from the agencies, which had been recorded in-house, and you’d physically run with it to an edit suite, and a videotape editor would cut a 10 second headline for you. So the idea that you’d ever have a device in your own hand which you could film an entire documentary on, or you could go live around the world on, was just nonsensical to me when I was your age. I’ve seen a whole technological transformation. But I certainly think traditional media really has both moved with social media, and has also been massively challenged by it. 

I’m launching a podcast, and I think what podcasting has done to the world of information has been revolutionary. I’m now moving into that phase of my professional life. Although the podcast is also going to be filmed, and is going to be on YouTube, and social media. So I think the media of the future is going to have to straddle all these dimensions.

Someone who set out today to have exactly my trajectory, I think would be a very unwise path to go down. That route is not there anymore. I suspect now that if you were setting out as a young producer in a newsroom, as I was in the 90s, what platforms your work goes on would, 10 years down the line, be a bit unknown. TikTok, for example, has come out of nowhere as a news source, as well as a source of other kinds of information. So I think it’s really hard to predict what the landscape is going to be a decade down the line. 

But I do believe that good content travels, and I think my core philosophy as a journalist is to do good work in whatever the medium, and for your principles and who you are as a journalist, not to change, because I think that is transferable. I was at the BBC, and as everyone knows the BBC has a certain kind of framework of impartiality. I’m in a different news organisation now with its own set of editorial standards, but who I am as a person hasn’t changed. I am as committed to fairness and accuracy at Bloomberg as I was at the BBC, and I think that’s the zone which every journalist or aspiring journalist needs to be in. They need to ask themselves: “What kind of journalist or content maker do I want to be?” And then you have to find the vehicle or the employer or the platform that fits what you want to do, but equally, be prepared to pivot.

Cherwell: You talked briefly at the start about representation in journalism, and I guess that brings up two things: ‘representation’ in terms of how certain groups in our society, in our country, are portrayed, and also ‘representation’ in terms of who journalists are, who the media is. What more could we be doing to improve representation in the media? 

Husain: My podcast, The Mishal Husain Show, is going to be in-depth conversations with newsmakers, or ideas people, or cultural figures. And I think what I’m really trying to get at there is something of the lost art of conversation, the lost art of the long form interview. Obviously things get clipped up and shared in different ways, but I also really hope that a really good conversation is the kind of thing you can really immerse yourself in. But look, representation of all kinds in newsrooms is really important. I’ve been around so many tables where people will spot stories. Either they’ll spot stories which no one else has spotted and you need that. Or they’ll say “no one’s thought about this particular angle on a running story”. Journalism is still a very middle class profession and you might do a story on something like prepayment meters, and you look around a room and realise, actually, there are very few of your colleagues who know what it’s like to pay for your utilities in that way. 

So that’s one thing, I think that representation is just really important. You can’t do the best work unless you have enough input from a diverse range of sources. But you also need to have the kind of culture where people can speak up. And I think that’s probably harder to do, because journalism is the kind of profession where the louder voices can command a room. So as editors, as managers, to create the kind of culture where, the person who’s got a thought running through the back of their mind and would really like to say it but feels intimidated, can do so, is such an important thing to do. I think this is often the underappreciated part of representation. It’s not just sitting around the table, but it’s feeling that you’ve got a voice in that particular editorial meeting – you’re not going to be rubbished, you’re not going to be made to feel small. 

And of course some newsrooms, some news providers, they’ve got a very particular axe to grind, and they’re not going to be interested in that. But that’s not the kind of place that I’m ever really going to want to work. So that’s not my world. My world is one where I want to feel that different voices have a say, and I want to be challenged by my colleagues, as well as by people watching and listening, because I think ultimately it makes you better at what you do. The harder you have to think about your process and your product – your output – then the better it is likely to be. That’s also what I’m arguing for in the lecture: you know, there’s a long tradition within Islam of an emphasis on reason and insight and thinking, and that’s one of the under-appreciated and little known aspects of the faith. So I feel like how I am as a journalist is linked to my heritage and my upbringing, as well as the places I’ve worked and the people who’ve influenced me professionally.

Cherwell: I know we’re short on time, but can I ask one very quick question: on your very last broadcast of The Today Programme you chose a song, Daydream Believer by the Monkees. Why did you choose it?

Husain: You know, no one’s asked me that, Conor, it’s very good. Why did I choose it? I think I knew I wanted to have music. And then, of course, there’s the question of what will it be? It’s then very hard because you think “people are going to analyse this”. It’s a bit like desert island discs, although there’s only one song.

I think it’s because it starts with the 6 o’clock alarm. So I thought the very beginning of it was for someone who’d been in that early morning world, or that very early morning world, because it was a 3 a.m. alarm, not a 6 o’clock alarm. I felt that worked, and I also really wanted something upbeat and joyful. But I had a few different options on the go, and in the end I settled on that one. I only expected it to run as a little blast. But then my colleagues at Today decided they wanted the whole 3 minutes. I feel like I sent the nation off with a whole load of music that day.

I did think hard about how to say goodbye, because it’s a programme with a unique place in national life, and I was part of it for 11 years. Someone told me the other day that they cried during my enduring goodbye. I was so touched by that – that’s not the only person who said it to me. I thought “how wonderful – this is about the power of audio to reach out and connect you to people who you’d never otherwise meet”. I was very touched by that.

Oxford Climate Justice Campaign relaunches with Rad Cam demonstration

Joseph Rodgers and Arina Makarina
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Oxford Climate Justice Campaign relaunches with Rad Cam demonstration

The Oxford Climate Justice Campaign (OCJC) has relaunched with a banner-drop demonstration in Radcliffe Square, marking National Climate Action Day. It has also joined the Fossil Free Careers Campaign, which aims to reduce the ties of Oxford Careers Services with fossil fuel companies. 

OCJC’s aim is to campaign for the University’s divestment from fossil fuels through reevaluation and amendments to the Oxford Martin Principles. The Oxford Martin Principles were established to “provide a framework for engagement between climate-conscious investors and companies across the global economy”. They were designed by Oxford University and Oxford Martin School, a research and policy unit in the Social Sciences division, to analyse the contribution of investments to carbon dioxide emissions.

OCJC have also joined the Fossil Free Careers Campaign, led by the national student group People & Planet. This is a national effort to pressure University Careers Services into cutting their partnerships with fossil fuel companies and providing “opportunities that sustain and support the environment”, according to OCJC’s statement. The group has been in contact with the Oxford Careers Service, who have agreed to sit down with them to discuss sustainability. OCJC expects this to take place within the next week.

An OCJC representative told Cherwell: “A lot of people are going directly into really damaging industries, and we think it’s the responsibility of Oxford, If they’re telling us for three years that we’re the best and the brightest, to send us towards the things that are doing good for our world.”

Regarding the University’s Careers Service, a University spokesperson told Cherwell that their mission is “to help students make the best-informed decision about their career”. They added:  “We were the first UK university careers service to ask employers for their green credentials and several thousand employers have completed that information.”

OCJC also announced their partnership with a sister society at University of Cambridge. Together, the societies will reinstate the Climate League of Oxford and Cambridge Campaign (CLOC), which will also include a project ranking the Cambridge and Oxford college’s sustainability policies.

The OCJC representative told Cherwell: “A lot of the reason why students don’t demonstrate as much as they used to for the climate is because it feels so huge and so out of control. If we can show people that there’s actually this very focused campaign, that’s college-based and so within their own community, then it might be more appealing to get people involved.”

On divestment from fossil fuels University spokesperson told Cherwell: “The University is banned from investing directly in fossil fuels extraction companies and is compliant with this. The University holds no investments in fossil fuel extracting companies. It has 0.2% indirect exposure through fund investments.”

SU President for Communities and Common Rooms found guilty of Oxford Union electoral malpractice

Cherwell News
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SU President for Communities and Common Rooms found guilty of Oxford Union electoral malpractice

Shermar Pryce, President for Communities and Common Rooms at the Oxford University Student Union (SU), has been found guilty of electoral malpractice by the Oxford Union Society, which led to the suspension of his membership for a term.

An Oxford Union tribunal ruled that Pryce interfered in the Union’s 2025 Trinity term elections, using his influence on social media to solicit votes for George Abaraonye. This included campaigning for Abaraonye and distributing a Cherwell article concerning a police investigation into Rosalie Chapman, the other candidate in the Trinity term election, and her connection with an anonymous smear campaign. Abaraonye won the election, receiving 611 first preference votes against Chapman’s 416 votes.

The article was shared by Pryce in a Union-affiliated WhatsApp group chat with approximately 200 members, as well as his personal Instagram story, where he has over 3,000 followers. The panel ruled that this was sufficient evidence to convict Pryce of electoral malpractice.

Cherwell understands that Pryce is currently appealing the ruling, and that the decision is not final until the appellate board reaches its decision.

Pryce told Cherwell in a personal capacity: “This matter predates any relationship and my employment with the Students’ Union. The matter relates to an internal process at a private members’ club which is unrelated to the University or the Students’ Union. It would be inappropriate for me to comment further until that process has concluded.” 

The unknown owner of the Instagram account Overheard at Oxford has also been convicted of harassment and electoral malpractice, specifically “acting violently or in a manner that is liable to distress, grossly offend, or intimidate others in connection with the Election”. The account, which has just over 15,000 followers, posts quotes from Oxford University students that have been overheard around the city. These quotes are often humorous, relating to student life and intercollegiate rivalries.

According to the report: “It has clearly become so widely believed that Mr Pryce controls OaO”, however, Pryce “categorically” denies the ownership. The evidence initially led to a “unanimous verdict, beyond reasonable doubt, based on Mr Pryce’s apparent control of the [Overheard at Oxford] Instagram account”. However, this decision was reversed for procedural reasons. The panel decided that time restrictions meant that Pryce would not have “enough time to properly rebut the case”, so this raised concerns that the decision would be “procedurally unfair”.

Chapman told Cherwell: “What I went through during the Trinity election was extremely distressing…I still care deeply about this institution, and I hope this decision helps move the Union toward a more respectful and fair democratic culture.” The statement was made regarding Overheard at Oxford account, whose ownership remains unconfirmed.

As SU President for Communities and Common Rooms, Pryce sits on a number of University committees, acting as a representative for Oxford students. During his election campaign he was endorsed by all of Oxford’s main political societies, including the University’s Labour Club (OLC), Conservative Association (OUCA), and Liberal Association (OSLA). Pryce was also elected to the Union Society’s standing committee during Hilary Term 2024.

Correction: The article previously stated that Pryce was elected to the Union Society’s standing committee during Trinity Term 2024. In fact, Pryce was elected to the Union standing committee during Hilary Term 2024.

Sin and nectar: Behind the scenes of ‘Women Beware Women’

Tomas Overton
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Sin and nectar: Behind the scenes of ‘Women Beware Women’

I arrived at a rehearsal of Women Beware Women and found Hippolito (Kit Parsons) and Isabella (Céline Mathilda), uncle and niece, embracing and sharing an incestous kiss flavoured by the punnet of grapes sat between them. “‘Tis beyond sorcery, this, drugs or love-powders; / Some art that has no name”, Hippolito lamented centre-stage. This was an introduction fitting for a play whose driving force, as director Jem Hunter put it, is “sex”. 

Thomas Middleton’s infamous revenge tragedy Women Beware Women (1657) follows a series of affairs in an increasingly debauched Florentine court, which culminate in a massacre at a masque. Curious to see how this depravity was taking shape, I interviewed the cast and their director three days before the show’s opening at the Pilch.

In a short interview with Jem, I tried to unpick some of the ideas that were animating the production. My first question was about the set: a garish chessboard lit impressionistically and peopled with costumes hired from the Royal Shakespeare Company. Jem was clear that this beauty was superficial, providing “a glimmering surface for the play, with…ribbons and everything and gorgeous costumes, and underneath it you will understand that there’s a very disgusting, sordid underbelly of lust that’s trying to get through the whole time”. This was the first hint of a theme that kept coming up in our conversation, that of artifice. Jem also described the period costumes in terms of their restrictive nature: “even physically it will restrain the actors”. 

Like the set, the costuming is only another layer of restrictive beauty. Language, even the language of the play, then receives short shrift as another illusory attempt to capture what is physical: “the body is an instrument that makes noises, and the skin stretches over your ribcage and your diaphragm does stuff and your vocal chords vibrate, and you get a raw physical sense of language.” For Jem, the set, costumes, and even the words of the play are only an artificial layer papering over deeper forces.

These ideas have their place within a historical critique of theatre, uniting with Antonin Artaud (French practitioner of the Theatre of Cruelty which emphasised the physical at the expense of the rational) against ‘high realism’ with a sense that “you are trying to represent reality but you need to depart from reality and from that place of departure find the truth”. Jem described conventional realist concepts such as character and emotion as irrelevant, as ways of avoiding an address to those aspects of human experience that are “so much stranger than we think”. Instead, we should “uncover these strange spirits…something magical”. Those spirits seem to exist, for Jem, outside of language or character, instead residing in the scenario of the theatre and the movement of bodies as something strange and ritualistic.

I was curious to see how these ideas were actually finding expression in relationships between the people involved. My first question to the cast, about how they were conceiving of character in a more conventional sense, was met with opposition. Céline was clear that the play is “so representational, because it is a human chess game. It’s almost like meta-theatre”. The cast described the characters as mere puppets within a larger structure, each assigned a chess piece, each acting out of their own control. It was clear that direction in terms of psychological states had been rejected throughout the rehearsal process, replaced with non-naturalistic blocking and an emphasis on spectacle. 

When I asked Jem about how he found working with the cast, he stated that: “I think the main problem with them was coming to terms with, you don’t have to look normal on stage [sic]. You don’t have to act as if this is a conversation happening in a bedroom or something. It is a stage, and you are performing.” The cast seemed to share a sense of what the play is about and what the production was moving towards. I didn’t stay for long enough to get a sense of how this consensus had actually formed, but I did get a glimpse in Jem’s insistence that: “I constantly remind them of the chess pieces. I tell them, embody that. Chess pieces move in a very constrained way, and I think that’s the kind of deliberateness I want.”

As I left, I got the sense that the production was committed to a unifying idea, and that Middleton’s tragedy would probably be receptive. A text so immoral, self-conscious, and garish can only be approached through extremes. Whatever is behind these characters – lust, fate, God, or theatre – we will certainly see a damned humanity spread spectacularly across the stage. This is a production where violence and immorality will be celebrated as the basis of a new understanding, of a place beyond ourselves. What this place looks like is up to the cast and crew on Wednesday.

You can watch Women Beware Women at the Michael Pilch Studio from the 5th to 8th of November.

How to build a ball

Mair Andrews
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How to build a ball

Students have started reaching out to Oxfess to solve the annual dilemma: which colleges are hosting balls, and which are the best to go to? 

Within weeks of unpacking in Michaelmas, inboxes fill with calls for committee applications, while tickets for launch parties are more sought-after than a last-minute Park End code. But there is more to a ball than the glamorous logo on the Instagram account – they put the college’s relationship with their students under a microscope. From proposal to realisation, the inner workings of a ball define the student experience beyond that one night, with college patriotism following you from the first stash drop to your visits after graduation. It’s no surprise that students want to know how to make the most out of their Trinity, but that decision may very well not be yours, as the future for Oxford balls looks to change.

A ball, let alone a worthwhile one, is no guarantee. I myself know how unstable ball planning can be: last year I was on the committee for a ball that never happened. Complications with a bursar handover meant that the 2025 Keble Ball proposal was rejected twice, even after St Catherine’s College bursar volunteered to take all liability for a joint ball. 

The anticipation around a college ball is part of its magic – it is the event of the year, and a brilliant way to celebrate the college community. But this anticipation creates huge pressure, particularly for the ball committee. Thrown in at the deep end, with budget proposals and production companies to book alongside very busy degrees, how do these committees actually make it to the first drink?

The secret: it’s all about the bursar. 

Before we begin

What’s in a ball? According to the Student Union’s guide, an Oxford ball is a must-do bucket-list activity. Most colleges host one every one to three years, inviting current students, alumni, and often guests. The evening is organised by students who first plan a theme, then embellish with food vendors, drinks, musical entertainment, and other activities. Anticipation for a ball builds from Michaelmas to Trinity – the event is announced, tickets are sold, and then black-tie wear is bought. College balls are a great way to celebrate your college community, combining both MCR and JCR, and for the college to foster connections with past students. For students, it’s a fab night out, and you can even work for some of it to get subsidised tickets. This is the legacy of the Oxford ball tradition, but there is more to a ball than an Instagram post. 

A ball must be chosen wisely. It’s not just about who the headlining act is or how watered down those cocktails are. Oxford balls are a unique phenomenon, in that they are entirely held up by goodwill between the members of a college and its Governing Body, meaning that wealth, reputation, and other behavioural issues in college are also factors influencing decisions made. Getting from the first committee meeting to the survivor’s breakfast is a complicated, stressful process – I’ve broken it down into a few not-so-easy steps. 

Step one: Manage your (college’s) budget

The average budget of a college ball, calculated from various FOIs, is £250,000. Despite this cost, it is rare that any college is financially affected by them. They are mainly non-profit, self-funding business operations run entirely on ticket sales. Yet the wealth of a college still hugely impacts the budget, scale, and success of a ball, so that rich colleges know best how to look after their students. 

Wealthier colleges tend to have the best relationships with their alumni. The more benefits a college can give to alumni, the more likely they are to receive donations. The success of a ball is therefore not just a promise for alumni, but a commitment to current students for what they can expect when they graduate. A spokesperson for New College told Cherwell that the purpose of a ball is “conviviality” and to hold a “memorable event”, while St John’s College bursar described it as a “unique and shared experience to celebrate students’ time in Oxford”. 

There is a more practical significance to accommodating undergraduate, postgraduate, and past students in a single event – the relationship between each class of ticket is integral to the success of the ball. Tickets for current students, particularly access tickets, are subsidised by a premium on alumni sales. As a result, richer colleges can offer more to their alumni, take in more in donations, and have better-subsidised tickets for current students, creating a virtuous cycle for when those students graduate. 

Furthermore, while a college’s wealth has no direct impact on the funding of the ball, it may impact how invested the college is in ensuring its success. If appeasing students of past and future is a large part of your endowments and funding, you care a lot more about guaranteeing a good night. 

Step two: Choose your bursar

Once you have your ball (provisionally) approved, you must get to the planning. But the budget of the ball is not the only factor monitoring its scale: the involvement of the bursar is paramount. The balls with the strongest rapports with their bursars, according to testimonies from students and bursars individually, are Merton Winter Ball and St John’s Trinity Ball. Coincidentally, these are the balls with the highest budgets of those who responded to Cherwell’s survey. In previous years, the bursars from St Hilda’s College and Mansfield College took little involvement in the production of the ball beyond their legal requirements. 

In my many emails to colleges across the city, it was notable that the wealth of the college correlated with the amount of characters utilised in their response. Call it networking or saving face, wealthier colleges were much more open about the entire process of organising a ball. 

Iris Burke, Bursary Manager for St John’s, explained that professional staff have taken on more responsibilities for the ball. This was to help “from a risk management perspective and to ensure valuable learnings and experience get passed on to the next cohort of students”. Their domestic bursar and another Governing Body Fellow are on the organising committee for the college ball, liaising closely with the student volunteers. 

Since the COVID-19 restrictions on events in 2020 resulted in many cancellations, the role of college staff in upholding the institutional memory of college balls has been increased. Usually, the handovers between ball presidents, along with students’ own experiences of previous balls, preserve a college’s own traditions. However, with the cancellation of balls from 2020 onwards, and the difficulties in getting them started again, there’s a break in the chain on the student sides. Previous ball presidents may have graduated or dropped out, and few students left in college remember the pre-2020 balls. The expertise of college staff, therefore, has become increasingly important. 

After the 2019 and 2023 cancelled Keble Balls, Jade Morris came to the role of Ball President with a Governing Body who had never experienced a ball at Keble. She explained to me how she contacted the previous Ball Treasurer through Facebook after seeing their name on the handover documents. “A lot of it was on the fly,” but she managed to orchestrate the cheapest college ball in Keble memory: current student tickets were only £80.

The Keble alum recalled how it was her chosen production company that had to explain to her that the £75k budget approved by the Governing Body was not going to be enough. “As soon as you get a marquee involved, there are a lot of extra health and safety costs.” A domestic bursar, therefore, is essential: “the paperwork is unavoidable”. “I was on the phone to the Senior Fellow and Domestic Bursar from 5pm most nights for weeks leading up to the ball.”

It was stressful, but she enjoyed the experience of “building a ball with a blank slate.”

A good bursar with a good heart builds a good ball. Harmohinder Bahl, the current Home Bursar for Worcester College, has made his role integral to the Oxford three-year memory cycle. While his main focus is “to make sure the event runs smoothly and responsibly, with minimal financial and reputational risk to college” he also sees it “as a chance to help students grow. Organising a ball develops valuable skills — teamwork, budgeting, leadership — and it’s rewarding to see students gain confidence and enjoy what they’ve achieved.”

Over lunch or coffee in the college hall, he initiates meetings between the previous and upcoming ball committee members to help provide advice and bounce ideas off of them. Beyond his personal involvement, he has established a tradition of providing a “lessons learned” document to the committee one month after the ball, once the euphoria has waned, to compile advice for future iterations. He explained that it’s all about balance: “I don’t want this to thwart the creativity and evolving nature of balls to come”

When we spoke, he emphasised that there is no tension or hierarchy in the bursar’s involvement with the ball: he sees it as him explaining the experience and sharing his expertise. “I would deliver the ball, but it would be commercial, not for the students.” It is paramount to him that the ball is a collaboration; this is a level of trust that was demonstrated in 2021 when he took on the responsibilities of the outgoing bursar’s ball committee. I asked why he felt comfortable doing so – other balls have been cancelled due to changes in bursar, as I experienced with last year’s aborted Keble Ball. Bahl simply said that he “ had complete confidence in the ball committee’s ability and enthusiasm. They were organised, motivated, and willing to learn — and with that level of commitment, plus my own experience, I felt everything was in good hands”. 

This level of college involvement in the planning of a ball has changed since the cancellation of the 2020-2021 balls: Mansfield College now position their bursar onsite throughout the ball to respond to any issues arising that evening. This role, however, is still entirely focused on the legal requirements and implications, whereas Bahl’s personal trust and confidence is well placed. When I contacted him for a comment request, he asked to call instead so that I could ask as many questions as I liked. A bursar ought to have confidence and involvement in the student committee. 

Step three: Get to know the JCR

Across all colleges, one thing is unchanging: the ball is a student-run operation. The bursar represents the college and Governing Body, but it is the ‘Ball Committee’ who must first approach the Governing Body with a proposal. Each college’s Governing Body comprises of Fellows, many of whom hold University posts. Colleges are hesitant to guarantee a ball outright, but many make reference to a “standing order” in their JCR handbooks which guides the JCR in creating an application to present to the college. This subsection of a handbook is the closest thing that colleges offer in lieu of an instruction manual: they include the standard procedures of how often the college hosts a ball, what a proposal should include, and what a committee should look like. 

So, if you want in on the ball, it seems that you best befriend the JCR committee. In some rather lacklustre responses to my emails, most college bursars declared that they have no involvement with the ball selection process and that it is entirely organised by the JCR. St Hilda’s College Ball is “wholly dependent” on the JCR petition and election of a committee, and the Balliol College JCR leads the selection process. Worcester College were the only ones who mentioned an interview process with the Governing Body for roles such as president and treasurer, while only Merton College specified the involvement of the MCR in the proposal for a ball. 

Regardless as to how much support the college offers to their ball committee after the confirmation of the ball, the proposal and instigation is a student initiative. Each college can adjust their level of involvement at any point in its development, but Bahl’s  “complete confidence in the ball committee’s ability and enthusiasm” was echoed by other bursars such as David Palfreyman at New College, who told Cherwell that in his 40 years as bursar he has experienced “no disasters organisationally or financially – students can organise very effectively!”. Of the 15 colleges who responded, none other than Keble have a record of a rejected ball proposal. 

Step four: Pick your poison, or rather, production

Balls are a competitive business. Restrictions on events during exam season means that there are limited dates that colleges can host. While most colleges sell out their own students’ tickets, the inflation on guest tickets is how many break even. There is obviously a market for guest tickets: balls occur in three-year cycles so students often attend other college balls in the years between their own. When tickets are at such a premium, it isn’t just a struggle to make your ball more appealing, it’s difficult to book production companies. 

The staple entertainment events for Oxford balls range from musical headliners to bumper cars and swings, while certain refreshment stalls offer sponsorship. When multiple ball committees are targeting the same providers, it is a race to sign contracts before they get double-booked for the same day. 

The extent to which balls are conceptualised and developed by students worsens this issue. Once you sign up to a ball committee, you realise that it is an echo chamber of all other balls ever held: whether you are drowning in handover documents, comparing notes with other colleges, or looking at previous celebrations, the names of the same production companies and caterers begin to feel like a threat. 

Still, this is not an issue separate to the college’s involvement: budgets are built from the supplier’s quotes, but they may be booked out by the time the Governing Body approves the proposal. 

These costs are not insignificant either: both catering and production occupy a third each of the average ball budget. Once themes are announced, Oxfess will resurface to ask the masses who the predicted headliner for each college is. Despite being the centre of many students’ concerns on which ball to attend, entertainment (both musical and non-musical) never takes up more than a quarter of the budget. 

Top tip: Get them before they are gone

The future of college balls is changing. Last year, Cherwell investigated the ways in which colleges invest their endowment wealth into student life. Of course, subsidising accommodation and offering study grants are more essential to student life than a college ball is, but the investigation revealed that the relationship between college spending and student welfare changed after the 2020 lockdown. Cherwell found that “colleges have increasingly adopted protective financial policies that place the possible needs of future students above the real needs of current students”. A college ball is still an investment in students because it fosters good relationships with their alumni, who will likely fund future balls through ticket sales or donate directly to the college. It is therefore no surprise that the wealthier colleges have more regular balls with larger budgets: the involvement of a bursar indicates whether or not the college is invested or detached from student life. 

It will be notable in future years to see which colleges adapt to the changing needs and expectations of students regarding the provision of an Oxford ball. Since 2020, balls have changed structure in multiple ways. Many colleges now have increased the role of the bursar to ensure financial stability, but the cost of living has affected budgets too. The production costs for Exeter Ball, including the transport of equipment and energy costs for the evening, for Exeter Ball jumped from 27% of their 2019 budget to 38% of their 2022 ball. 

But some of these changes don’t just reflect the state of the nation but a changing perspective on these celebrations. Worcester College first implemented noise regulations in 2023 after a series of complaints, spending around £4,000 on combating that alone. Bahl explained that this was simply a courtesy: they believe in “One Worcester”, a “shared sense of unity between everyone connected to the College — students, staff, alumni, and the wider community. It means working towards common goals and making sure that big events like the ball bring people together rather than apart.” The individualism of each ball created by the strong sense of college identity required to advertise it does not separate it from its local area.

As the budget for a ball is increasingly unsteady due to cost of living and efforts to ensure the sustainability of a ball, the overall provision of a ball may itself be changing. Bahl explained that the current structure of a ball is becoming an unsustainable endeavour because “the way balls are promoted and delivered is evolving, especially as costs rise.” When I asked him what he saw in the future for Oxford balls, he said “This might mean smaller events or less frequent ones, but it also pushes us to think creatively about how to make them special. With the right mindset, and where finances allow, colleges can still create memorable experiences — and well-funded colleges will likely continue (or start) to offer strong support to keep that tradition alive.” He has been working with the SU to explore the possibilities of a more collaborative approach between colleges.  With the rise of Town Hall black tie events and ball alternatives like the Catz Gala last Trinity, the demand for a ball is changing. 

Jade Morris disagrees. “The secret is in simplicity –  the Keble ball was lovely because it felt like a Keble event for Keble people.” She explained that it was no coincidence that the queue for drinks was always longer than the queue for food – this type of numbers game is what keeps a ball safe. “The purpose of a college ball is to show that you care about your students. Logistically speaking, it’s a pain in the ass”. A smaller ball is more intimate, but it also keeps guests’s expectations in check: Jade explained that the recent Keble Ball was limited to alumni from the last five years only because they would want a “Keble event” rather than “dinner with a champagne reception”. It clearly worked: tickets sold out within three seconds.

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