Friday 10th April 2026
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Preview: Frankenstein

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Harley Viveash’s brave version of Frankenstein has been made more difficult by the complete transformation it has un- dergone, being set for the first time entirely in the modern day. This is a highly intelligent decision which pays off. There are several reasons why Frankenstein adapts so well to modern life. As the cast explained, we live in an age where scientific progress is such that the creation of human life from scratch no longer seems a far-off dystopian reality. Frankenstein’s creation of his creature is now a possibility and that makes it all the more powerful.

The production is a devised play; thus the cast have created the entire script from scratch. This is a risky strategy, but the result is impressive. As the cast explained, something like death is not a plot device in their production. The strangulation of Frankenstein’s brother William is not a device to reintroduce the monster, but a real event with emotional consequences. This was poignantly shown in one of the scenes I previewed where Victor’s mother, replacing his father in one of the casts’ major and best changes to the origianl novel and played beautifully by Lamorna Ash delivers her son’s eulogy. This is part of the director’s clever reinterpretation of the play to focus more on the people of Frankenstein, not just the Gothic concept.

The ‘monster’ is always the most intriguing character in any production of Frankenstein, and Nick Finerty is excellent in the role. Although the production strips away the out- wardly monstrous, Finerty’s voice is mesmerising. It has a demonic quality, mixed with an entirely apt social awkwardness.

Frankenstein at the O’Reilly is original, creative and has a talented cast. If you wanted the tired format of Gothic castles and lumbering monsters, you won’t enjoy this production. But, if you want a highly intelligent, modern and forward-thinking production, this is one to watch.

Review: Father God

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Religious satire has long been a rich source of material for comedians; one inevitably thinks of Monty Python’s Life of Brian or Mitchell and Webb’s Evil Vicar sketch. It is this vein that Mansfield student Tasha Dhanraj has attempted to tap with her new comedy Father God, a hectic, almost farcical, three-person piece concerning the divine trinity and its exasperation with humanity, performed at various locations within Mansfield.

The play sprints through both Testaments from the perspective of the Father, the Son and the Holy Spirit. Tom Barnett played the almighty God, affecting a Pacino-esque Manhattan drawl and growing steadily more irate with the mind-numbingly stupid activities of us here on planet Earth. Reuben Adams played a moping, adolescent Jesus who frequently sulks over his lack of responsibility, much to the annoyance of his shrill sister, Holly (Holy Spirit, you see?), played by Helen Harvey. A bright red telephone provided the conduit to Earth, and it was through this that we learn of mankind’s progression, from Cain and Abel to the nativity itself.

The writing is genuinely funny and notably intelligent. A scene in which God and Jesus argue over the Ten Commandments (originally the Fourteen Instructions apparently) was particularly memorable. However, the most common font for humour were the conversations on the bright red hotline to humanity from which we hear only one side. It was here that we learn of Moses’ infantile tantrums (“Put him in a basket in a river and the waves will rock him to sleep”, Jesus advises), Joseph’s technicolour dreamcoat (“I don’t care how many colours there are!”, snaps the Holy Spirit), and Jonah’s unfortunate exploits (“I don’t believe it, he’s got himself stuck where?”, moans the Father).

Unfortunately, the originality and quality of the script was let down by some nondescript performances. Adams’ Jesus was painfully wooden; although his sullen teenage attitude is convincing, any more sophisticated characterisation seems beyond him. Harvey’s Holy Spirit was disappointingly shallow, her range of emotion wavering between irritatingly shrill discontent and annoyingly loud unhappiness, with only occasional glimmers of comic timing.

Barnett, on the other hand, with his accomplished New York accent was a joy. His exasperation was thoroughly enjoyable and he delivers the play’s funniest line with laudable panache: “Omniscient, omnipotent, omni-pissed-off, that’s what I am!”. He was the only one of the three who truly did justice to Dhanraj’s writ- ing, confidently expressing himself without fear of mistake.

Despite two questionable performances, Father God was a commendable production. At only 40 minutes long, Dhanraj’s gentle satire was a delectable treat, and Barnett’s God will live long in the memory. 

Review: Into The Woods

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I had heard good things about Into the Woods, and was keen to go and see the first musical I’ve seen in a long, long time. Arriving in the flash Pichette Auditorium at Pembroke, I was firstly disappointed by a fairly naff set. Nevertheless, I told myself it would get better, and considering the subject matter was a series of fairy-tales, the production could be forgiven for the childish feel of the set.

Unfortunately, I was distinctly unimpressed by the first twenty minutes of the show. No one really seemed bothered, in particular Cinderella’s stepmother and sisters who weren’t the least bit evil; they merely seemed quite irritated that they had been asked to perform a show that day. For a few isolated characters, this sense of being rather annoyed by the whole affair continued throughout. Thankfully, however, I did begin to enjoy myself when the large cast first ventured “into the woods”. Standing out amongst the characters were the baker and his wife, played by Tommy Siman and Clemi Collett respectively. Siman gave a hilariously understated edge to what could have been extremely dull lines, but still kept a surprisingly moving tone to his performance when misfortune befalls him in the second act. His duet with his weird father (a superb Christian Gilberti) was therefore possibly one of the most heartfelt pieces of music as it demonstrated the emotional side of two characters, who up until this point had only been seen as comic.

Collett’s relationship with Siman was an excellent balance of the comic and the loving, and her singing voice one of the most impressive in the ensemble. With regard to the musical side of the piece, the orchestra were faultless and played beautifully throughout, responding almost always on point to small actions on stage with a pleasing jingle on a xylophone or a bell.

At the end of the first act, I was all but converted, but much of that was due to my (and indeed many of the other audience members’) thinking that it was the end. This was not the case, however, and a lengthy, considerably less comic second half followed. I’m not really sure why Sondheim thought this would be a particularly interesting topic for a musical, as it comes across as rather twee and silly, with Rapunzel shrieking at the top of her voice every ten seconds, for example. In the end, I was bored, but then again many of the actors on stage looked that way too. 

Review: The Wind Rises

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★★★★★
Five Stars

A field of corn stands still, as dawn breaks in the first scene of The Wind Rises. Soon, though, the wind picks up, a dream begins, and so does the story. The eleventh of Japanese director Hayao Miyazaki’s career, it tells the tale of a young boy growing up alongside the simple dream of making planes fly, in the shadow of the Japanese militaristic ambition of the 1920s and 30s. 

It is made up of the same components that have come to be expected from the father and founder of Studio Ghibli, Japan’s world-famous animation studio. Beautiful scenes follow on from each other, as sorrow and humour is drawn out from images in ways that should seemingly be only be possible from live action. Unlike Miyazaki’s previous work, The Wind Rises flows slow, imbued with a sort of languid, pensive beauty that lies in contrast to the rapid action of films such as Spirited Away, or Howl’s Moving Castle. This works though; it is the goals and relationships of the characters that keeps this film going, rather than sequential events. It feels as though Miyazaki has finally, with his last work, been given the space to slow down the pace. 

The subject matter, in which warplanes are designed and made in anticipation of the Second World War, has drawn criticism from audiences both in Japan and abroad. However, it seems as though those accusing Miyazaki of failing to properly condemn the actions of those involved have found focus in the wrong place. The film is not a commentary, but a story – a story about a young man who finds passion in the power of flight.

The narrative demonstrates the amazing ability of the human mind to validate its actions, no matter what the consequences. Provocatively, perhaps, during one dream sequence the hero, Jiro is asked by his mentor Marconi, ‘‘Which would you rather choose, a world with pyramids, or without?’’ This chance to engage with the repercussions of his actions however is passed over by Jiro. He replies simply, ‘‘I want to build beautiful airplanes.’’

The film’s dream sequences see Jiro recognise the disastrous results of the flights taken by the machines he has made. Time after time, planes fall to the ground, becoming grey, lifeless wreckage. The colours and shapes used to represent this destruction bring the mind back to the fallen civilisations seen in Miyazaki’s previous work Castle in the Sky, or Nausicaa of the Valley of the Wind, where advanced societies are brought low by their quest for power through technology. Here, though a statement is not made on the problems of society, it is made on the overpowering and amazing ability of Jiro, and his colleagues, to reach for a dream no matter the consequences. 

The film is an incredible and powerful way for Miyazaki to finish his career. Beyond the context in which it is placed, it is a touching love story about relationships in the face of overwhelming creative passion. And, although it is stationed in an adult realism that may come as a surprise following works such as My Neighbour Totoro, or Ponyo, it is, simply, about the power of dreams. As one character proclaims, standing on the tip of an airplane wing, soaring over fields of green, ‘‘Yes, this is a dream. The world’s a dream.’’

The Midwich Cuckoos

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The Midwich Cuckoos

Issue 4: Trinity 2014

Model: Suzie Ford (long hair) & Ophelia Rai Lester (short hair)

Photographer & Stylist: Erin Floyd

Assistant: Katie Pangonis

 

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Ophelia wears: ASOS Bandeau Skort Playsuit, ASOS, Exclusive Strappy Skater Dress with Gold Trim, New Look Macy Clutch (white), Lemon Clutch from Accessorize.

Suzie wears: Lavish Alice Cropped Mini Dress, ASOS Dress with Peplum in Floral Jacquard, ASOS Cami Strap Dress with Bar Belt.

 

Review: Godzilla

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★★★☆☆
Three Stars

It is difficult to stifle the childish enthusiasm that grows inside over a film like Godzilla. There is something gloriously gratifying about seeing an enormous lizard surge dramatically from the ocean and lay waste to all before him. Sadly, in this big-budget American remake, made 60 years after Godzilla first rampaged onto the screen in 1954, a giant monster toppling skyscrapers and roaring gratuitously at every opportunity is the film’s only commendable facet.

Bryan Cranston (of Breaking Bad fame) plays Joe Brody, an engineer-turned-conspiracy-nut, whose wife (Juliette Binoche) was killed in a nuclear disaster apparently brought on by an earthquake at Janjira Nuclear Plant in Japan. When he and his despairing son Ford (Aaron Taylor-Johnson), an explosives expert in the US Navy, discover an active facility inside the deserted zone, they realise that (surprise, surprise) Brody was right all along, and the Japanese government are in a film that forgoes the process of inadvertently awakening a MUTO (Massive Unidentified Terrestrial Organism) that has lain dormant for millennia. 

But this is not Godzilla; it is an enormous winged spider-like creature, that subsequently flies off to awaken its female counterpart in Nevada and, you guessed it, provokes the anger of Godzilla, who has been hiding in the Pacific for decades. The subsequent three-way monster battle rages from Japan to Honolulu to Las Vegas to San Francisco, with us puny humans desperately trying to nuke anything that poses a threat.  

The cast is woefully undistinguished, with Cranston supplying the film’s only memorable performance. His endearingly passionate Brody is utterly compelling and the brief scenes in which he and his wife interact are charmingly believable, which only serves to heighten the gut-wrenching sadness of her death. Taylor-Johnson is regrettably miscast as Ford; he seems much more suited to comedy, given his sterling performances in both Kick-Ass films. Ken Wantanabe is underemployed as expert scientist Ichiro Serizawa and Elizabeth Olsen is forgettable as Ford’s anxious wife Elle.

Godzilla is the unquestionable star. He is strikingly impressive, as are his alien-looking MUTO adversaries. The film’s slow build-up to the first MUTO’s appearance is masterfully done, helped by Cranston’s excellence and Alexandre Desplat’s thunderously ominous score. There are shades of Guillermo del Toro’s Pacific Rim about the various monster battles throughout, and although their lack of imagination occasionally crystallises into repetitiveness, they are undeniably exhilarating nonetheless. 

Disappointingly, the 2014 Godzilla lacks any of the political relevance of its Japanese original. 1954 Godzilla was a pertinent metaphor for the atomic bombs that had devastated Hiroshima and Nagasaki just 9 years earlier; the destruction Godzilla caused was a reflection of the devastation of August 1945 and the film sounded a cautionary note about the development of nuclear power.

This version, despite the opening sequence’s ill-disguised similarities to the Fukushima incident in March 2011, is comparatively lacking in moral observations. Nuclear power is just the MUTOs’ food source and atomic bombs are just another weapon to be used against them. In truth, humanity itself is entirely missing after the MUTOs appear; humans are relegated to a supporting role, resulting in an unshakable shallowness, and all the audience is left with is some well-realised, if uninspired CGI set-pieces.

Ultimately, director Gareth Edwards has produced a film that forgoes emotional content in its predilection for CGI action. One could argue that the two are incompatible with a big-budget summer blockbuster such as this, in which all-out monster carnage is the primary selling point. However, a host of successful ‘disaster’ movies prove otherwise: Roland Emmerich’s Independence Day, Steven Spielberg’s 2005 remake of War of the Worlds, and even the first two Jurassic Park films. Commendable as it is for its impressive CGI, Godzilla’s lack of humanity renders it disappointingly mediocre. 

Houmous Girl – 5th week Trinity

His palms were sweaty/ knees sweaty/arms were sweaty/ there was sweat on his stash already/really sweaty. Nervously, Rower Lad wiped his brow and checked his watch for the thirteenth time in eleven seconds. It was still only 6.59. She wasn’t even late, he reminded himself. It was OK. It was all going to be OK.

Earlier, he had googled “Indiest Locations to Take A Girl In Oxford”, but the results had not been especially helpful. A cursory flick through the Tab Hotlist had suggested an avant-garde spoken word night in Jericho, but he wasn’t sure that a balding performance poet screeching about the Israeli-Palestine confl ict was the way to Houmous Girl’s heart. Still, the Eagle and Child was a lovely little pub. Cosy, intimate, devoid of fi shbowls and apple sourz. Far away from the boozy roar of “Lads! Lads! Lads!” that dogged his every step.

Suddenly, there was a boozy roar. “Lads! Lads! Lads!” Rower Lad glanced around in consternation. Something wasn’t right. As he half-rose to fi nd the source of the unwanted commotion, a meaty hand slapped him jovially in the thorax, causing him to spill half of his artisan beer. The meaty hand was attached to a meaty forearm, which led inevitably to the round, grinning, meaty face of his good friend Rugby Lad, surrounded by a coven of similarly broad individuals.

“Starting early?” roared Rugby Lad, fl ecking Rower Lad with a gentle shower of spittle. “That’s what we like to see!”

“No, I was going to meet- ” Rower Lad stopped. How could he have been such a fool? Whether it was love or an excess of creatine that had dulled his wits, he had entirely forgotten that the annual pub crawl of the All-Oxford Synchronised Belching Team was due to take place that very night, at the very same time, starting in the very same pub where he had arranged to meet his date. What a disaster!

What a colossally unlikely and yet narratively convenient coincidence!

A fragrant figure clad all in ironic denim wafted in through the door. “Chug, chug, chug,” bayed the already-fl atulent crowd. “Love, love, love,” murmured his already-fluttering heart. Rower Lad hesitated, and spoke.

Balling: The best route to quick cash

It occurred to me as I tore open my third packet of 82-pence frozen oven chips last term that it might be worth my time to earn some honest cash. I didn’t have any option; it was clear that my usual fi nancial lifeboats had taken one too many Topshop-shaped beatings to stay afl oat. My mum was reluctant, my cat unmoved. My bank manager had surveyed me with amusement and loathing in equal measure as I prostrated at his feet. “Madam, you have already received the maximum student loan that we can offer. Pull yourself together.”

I sniffed as I listened to my last few pennies in all the world tinkle impishly from the deep red depths of my overdraft. A thoroughly sensible housemate took pity on me and forwarded my name to a catering company. Within a few weeks we had both found ourselves with catering work at Keble Ball.

Truth be told I was more excited than is polite for a human food repository on the verge of her first shift. I loved all the balls I had gone to in first year: the rivers of booze, the unidentified umami-fl avoured chunks wrapped in bread, the promise of some ill-advised romps in a bush with a mediocre kisser… Somewhere along the way, I had managed to confl ate these heady memories with my expectations of the upcoming shift.

This was, of course, idiotic, but neither did I have a terrible night. It was… fun. I’d certainly say that working a ball beats eight hours in the fluorescent drab of a supermarket any day.

Unreasonably, my new boss did not present me with a wistful silken gown or a cute tiara. Instead I was to make myself content with a voluminous misshapen fleece and an unforgivably titchy apron. I pretended to be disgruntled, but really my uniform had enough novelty value to keep me squeaking with misplaced excitement. As the ball guests fastened their delicate suede heels, I snapped on my surgical gloves with all the creepy relish of Dr Jekyll.

My first disappointment presented itself quickly, though. Thus far my purportedly ‘adult’ life has been intermittently blighted with a great loathing of rice. Reacting to stray grains as a elephant might to an anthrax-ridden mouse, my subconscious cannot be persuaded of the qualitative diff erences between a plate of rice and a nest of maggots.

“OK,” suggested Mr Boss with the frankly rude air of someone who hadn’t researched my culinary whimsies prior to hiring me, “we’ve put you on the Paella stall.” My housemate sniggered wickedly in the background.

I resolved to suck it up and be mature. And perhaps drench my housemate in any hot oils I might have to hand later in the evening.

I had expected to spend my evening hypocritically snorting at drunk and aggressive student louts. (I knew perfectly well how I behaved myself as a ball attendee – poorly.) Having mastered the rather clever art of developing a Cloak of Invisibility sometime after my ninth vodka luge, I was a dab hand at pissing in well-lit corners and ignoring queues for the hog roast.

The ladies and gentlemen of Keble Ball, on the other hand, put me to shame. Life was rosy on the other side of the hotplates. Well-polished lads waited patiently as I burbled hysterically into the fast-depleting veggie option. Kindly girls escorted me through the maze of stages to the loo. Everybody pretended not to notice as I sneezed into a dish and promptly served it to a customer. Even the customer himself betrayed only the slightest glimmer of complete and utter disgust. Nobody slurred incomprehensibly, nobody cut queues and only one person cocked his leg on our stall.

Fair to say, then, that the only real dickwad of the evening was not a fair representative for the rest of the Keble ball-goers. “I jus’ think thad you guysh should know,” rumbled a greasy guy with the imperious air of a Buller boy, “thad you’ve done a GREAT job tonight. You should be PROUD of yourshelves. Really.” His friend, who was equally pissed but less of a moron, had the decency to colour on his behalf, wincing with each fresh flurry of ‘Brahvo’s. It was midnight in a sticky flash, and by the time 1am rolled around we were already joyously packing up our buckets of waste slop. By 2am I had a lamb burger in one hand, two sausages in the other, three beers balanced on my stomach and a scotch pancake clenched between my teeth. And, best of all, fifty quid in my pocket. Not too shabby. Really not too shabby at all.

The greatest advantage of working at a ball is the smug realisation at about this point in the evening that you have clinched yourself free entry. In fact, you are richer, and the cocktail bar is your oyster for the next couple of hours.

As I have never been particularly good at enjoying myself after the sixth hour of pretending to be lithe in six-inch heels, this shortened ball suited my stamina perfectly. I’d wholeheartedly recommend working at an Oxford ball to a friend. Or anybody, in fact, who wants to cure a haemorrhaging wallet this summer.

Creaming Spires – 5th week Trinity

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The friend. It might sound like a boring topic for this column, but in reality it’s one of the most stressful ways to have sex – inside your own friend circle. I would say just don’t do it, but that is a thing far, far easier said than done.

I still remember the first time we met – our eyes locked over the corpse of another friend, passed out under the table in Mirch, and that was it. Best friends forever – when you both rescue someone from a person on the other crew throwing up in their sink (and a really unhygienic sexual mistake) on the same night, you know that you have something special. A common thread, a connection of minds, a lot of free time over the summer and too much snapchat.

Fast forward several months, and we’re having drunken sex in a bed with a squeaky mattress, and then again to the next few weeks which is a stressful blur of “does-helike-me”s, “what-does-this-mean”s and quite of lot of, “Fuck fuck fuck is that it fuck he’s my friend fuuuuuck I’m confused.”

What’s the strategy? Well. There’s the always-popular British classic – that of complete and total ignorance. All knowledge of the event is denied and on the surface, everything is fine until a few weeks later, when you feel as though you can no longer trust your best friend with any emotions and you turn up on their doorstep in the middle of the night, in an intricate full-body-paint bop costume which leaves little blue puddles of tears on their sheets.

If you don’t think that you can stand the weeks of tension, of dragging it out and of being constantly uncertain of what to do, you could try and get all the unresolved feelings out in the open – a task easier said than done as your confusion at the situation will result in so many change-of-hearts that you will break down crying in their presence far, far more than just once.

Or you could try the more obvious route and simply avoid them for months on end until you run into them in Park End, then simply look at each other and collapse into giggles. Sorted.