Blog Page 1505

Preview: Semi-Monde

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Set in the Paris Ritz in at the height of the roaring twenties, Semi-Monde takes on a spectrum of interwoven story-lines and promises a thrilling evening’s viewing. Brimming with champagne and edged with unconventional morality, as well as the classic characters you’d expect of any Coward,  the show which was censored in its own day proves wonderfully entertaining in ours. Originally written in 1926, the play was not performed until the late 70s because the sexuality of its content was deemed to be too scandalous to be seen on stage. A relatively little-known play as a result of this long period without a production, the forthcoming run at the Oxford Playhouse promises to well and truly dispel this obscurity and silence.

Composed of a series of vignettes, the plot flits between brief excerpts from the complicated and entangled lives of the various guests. From brash American accents to mysterious strangers lurking in the corners, the scenes are heady and cosmopolitan; forging a delicate path between sophistication and vulgarity, superficiality and depth. The script contains the usual mixture of subtext-heavy dialogue and  brilliantly understated wit that is to be expected from one of Coward’s plays. The inherent need for fluidity in the piece, as well as its variety, promise to make the evening a very exciting event.

Directed and chosen by Carla Kingham, the cast of 28 actors consists of a variety of students, from freshers to finalists, and was intended by Kingham to bring new people into university drama and discover fresh talent. This has certainly been achieved, the cast is energetic and enthusiastic; full of life and zeal, and this has certainly been in order. Rehearsals started at the beginning of Hilary, and putting such a complex and large-scale show together in the space of four weeks has certainly been a challenge; and a great achievement. In order to get ready for their 5th week performance, the cast are rehearsing intensely throughout 4th.

The evening promises to be a truly spectacular occasion, full of fun both on stage and off. Great lengths have been gone to to achieve authenticity; a jazz band will form part of the performance and, very excitingly, a working bar will be installed in the Playhouse throughout.  A perfect way to drive out 5th week blues; not to be missed!

Review: Normal

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Something must appeal to Oxford about early twentieth century German serial killers. Normal, a play about Peter Kurten, the Düsseldorf Ripper,was showing at the BT, and this Monday Fritz Lang’s film M, which may have been inspired by the same man,was on at the Magdalen auditorium. Perhaps it’s just the time of term – the well-known pre-fifth-week-blues serial killing urge.

Their crimes were of a similar stature but, unlike Jack, the Düsseldorf Ripper got found out, tried, and executed. Normal dramatises the relationship between Kurten and his lawyer Justus Wehner, who naively believes, “Sane people don’t want destruction. Sane people don’t murder” – to win the case Wehner sets out to prove to the judge and jury that Kurten is insane. Cue cat-and-mouse scenes in which Kurten manipulates Wehner and shatters his innocently bourgeois attitude to life.

The play itself is no masterpiece. Although the main action is set in 1930, Normal begins with Wehner reminiscing after the Second World War: the result is an excessive amount of explanation, coupled with some trite and explicit moralising about what normal Germans did under the Third Reich. But the cast act well. Alex Shavick gets across the controlled and yet terrifying slippage of Wehner’s world view, and his crisp accent suits the role. Emily Troup is convincing as former-prostitute-turned-homely-wife Frau Kurten; her blonde hair and frumpy costume make her look German, too. Misha Pinnington, who plays Peter Kurten, does well but is not ultimately convincing in a male part; a curious sexual tension develops between Kurten and Wehner, which is not borne out by the script and rather undermines the sense of macho competition.

A notable aspect of this production is the set-up of the BT: there are four banks of seats, creating an effect much like being in the round. The Studio, so often cramped, seems cavernous. Many plays could usefully imitate this arrangement and Sami Ibrahim’s direction of his actors in it. But, while technically impressive, this set-up seems a strange choice for a play involving so few characters and which relies on a sense of claustrophobia, especially in the scenes between Kurten and Wehner.

This production of Normal rises far above most of the nonsense to which the BT is home, but, hampered by the decision to cross-cast Kurten and increase the spaciousness of the Studio, it fails to approach the standards of the best of Oxford drama. Frankly, it is rather normal.

Brasenose students protest for LGTBQ flag

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Brasenose JCR members are displaying rainbow flags in protest against the college’s refusal to allow them to fly a rainbow flag for LGBTQ History Month.

The decision after a JCR meeting, where the motion passed with only one vote against.

Rosie Thomas, the second-year PPEist who proposed the motion, told Cherwell that she took inspiration from JCR members at Christ Church, who flew rainbow flags in protest at a similar decision from their college last year. “After Christ Church JCR took similar action last year, I knew that the ‘no’ from college to flying the rainbow flag from the college flagpole did not have to be the end of the matter. I therefore brought a motion to our JCR, asking permission to buy 50 flags that we could distribute within the student body.

 “Flying these from students’ windows visibly shows the support the JCR has for both LGBTQ history month, and LGBTQ members of college. I am incredibly proud of the way so many people have got involved, which is really encouraging for me, as someone who identifies as LGBTQ,”

 At least 10 colleges flew the rainbow flag during LGBTQ History Month last year, but many others have refused proposals from JCRs on the grounds that agreeing to fly one flag could lead to an increased number of requests for the flying of single-issue flags.

James Blythe, the previous JCR President who also seconded the motion, said, “I’m absolutely delighted to see so many Brasenose students showing solidarity with the LGBTQ community, and I hope this will mean that next year, the college will be willing to fly the flag.”

 Henry Zeffman, the JCR President, expressed full support for the campaign, “I am really pleased that so many Brasenose students are showing how proud we are to be a tolerant and diverse community. The college decided against flying the LGBTQ flag from the college flagpole, and we are showing that we disagree with their decision in a respectful, peaceful and uplifting way. I hope that one day Brasenose will join the many colleges that have flown the LGBTQ flag from their flagpoles,” he commented.

 The news comes after Google launched a “Google Doodle” in rainbow colours on its front page to express support for the Russian LGBTQ community ahead of the Sochi Winter Olympics. The games have drawn attention to Russia’s poor LGBTQ rights record, after Vladimir Putin attracted criticism last year for a law prohibiting “”propaganda of non-traditional sexual relations”, effectively outlawing the distribution of materials promoting gay rights.

Other colleges are known to be negotiating with governing bodies over whether or not they can fly a rainbow flag.

The OUSU View: Tom Rutland, OUSU President

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Whilst I don’t share the politics of the ‘Reclaim OUSU’ slate from last term’s elections, I’ve never heard exactly what OUSU is put so well. Every student herein Oxford is a member of OUSU, whether their common room is affiliated or not.

Do Oxford students deserve a better student union? Of course they do. That’s why ran to be OUSU President, and it’s why I’ve made increasing OUSU’s budget my priority for the year. OUSU isn’t the student union that Oxford students deserve because the University has starved it of funding for years: in 2012, the SU’s block grant was less than£400,000 compared to the Russell Group average of £1.6 million.

But the caricature I saw presented of OUSU by proponents of Oriel JCR’s disaffiliation motion didn’t accurately represent the hard work of the full-time and part-time student officers I work with. What has OUSU ever done for students? It has won first year exam resits, the most generous bursaries in the country and Sunday opening hours for the Rad Cam, to name just three things.

Claims that OUSU wasn’t representative of students when it opposed the idea of fees spiralling up towards £16k simply do not stand; OUSU Council’s voting membership is primarily JCR/MCR representatives, and 20 out of 23 JCRs who considered the topic in their own colleges voted to support OUSU’s stance.

Just last week, OUSU provided JCR presidents with a day of training which received an overwhelmingly positive response and has empowered them to do the best job possible for the students in their colleges. We don’t have an antagonistic relationship with JCRs/MCRs – we work closely together to make sure that we can win for students as members of their colleges, and as members of the wider university.

This week, OUSU has advised JCR presidents on their college rent negotiations and made sure that the university will finally allow students who suspend their study (‘rusticate’) to access libraries and the counselling service. The divide between common rooms and OUSU is an artificial one: we’re all students trying to make this university a better place to study at, and this city a better place to live in.

OUSU was built by students protesting against a university that wasn’t listening to them. They recognised that JCRs and MCRs doing a fantastic job in colleges couldn’t take on the university without a central student union uniting them.

Today, it’s still true that students are stronger when they work together – it’s the only way to make sure that we win an academic environment and student experience that lives up to the university’s world class reputation.

OUSU is all of us – so roll up your sleeves and get involved.

Interview: Norman Finkelstein

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You can tell everything you need to know about Norman Finkelstein’s incisive, passionate, and articulate manner by reading the brutal censure of President Obama he offers. When I suggested that Obama was handling the Israel-Palestine conflict better than his predecessors, Finkelstein responded, “President Obama is a stupefying narcissist devoid of any principles whatsoever. On the Israel-Palestine conflict, he has been every bit as wretched as his predecessors.” This is a man who spares no blows in defence of his chosen cause.

One of his most famous moments occurred when a student at Waterloo University broke into tears upon meeting him, telling him how deeply offensive his views were to those who died under Nazi rule. Rather than backing down, he told her that he had no sympathy for her “crocodile tears” reminding her that, as much as he hated bringing up the Holocaust, his parents had lived through the concentration camps too, and he “found nothing in their suffering and their martyrdom to justify the torture, the brutalisation, and the demolition of homes.”

He continues his bitter tirade against Obama by telling me what he believes to be the true story behind his election. “When rich financiers who decide these elections had their behind the scenes meetings with the candidates, they thought to themselves, well he has a nice smile, he’s African American, and underneath it, he’s a total cynic. We can work with this guy.”

There is only one major difference, he tells me, between Obama and his predecessor. “Bush, if you study him as a character, actually believed what he was saying. What he was saying was very simple-minded as he had the mentality of a fraternity member: here are the bad guys, here are the good guys, here is the home team, here is the visiting team, we cheer for the home team. He actually believed what he was saying.” On the other hand, “Obama doesn’t believe a word he’s saying, he’s a total cynic and in thrall to power.”

The topic of conversation reverts to the Israel-Palestine conflict. While he is a trenchant critic of Israel, he never hides his scorn for the tactics of those whose actions he thinks are counterproductive to producing a working settlement. He refers to the Campaign for Boycott, Divestment, and Sanctions (BDS) as a “hypocritical, dishonest cult.” Finkelstein is remarkably critical of the 1993 Oslo accord, which was the first time Israel and the Palestine Liberation Organisation recognized each other’s legitimacy, and also started moves towards the peace process. In fact, he tells me, the idea that there is any kind of peace process is simply a way to continue legitimizing Israeli occupation. After signing the agreement, he claims, “Israel had no intention of withdrawing from the occupied territories, it was the opposite. When the First Intifada broke out in 1987 in the occupied territories, it turned into a public relations disaster for Israel, and was a significant drain on their army, because several hundred thousand troops primed to fight wars of aggression were now bogged down in police work, chasing little kids who were throwing stones down the Kasbah. The Israelis reached a conclusion from the First Intifada; they had to normalise and rationalise the occupation, like the British did in India.”

Considering the lack of progress towards resolving the conflict, I ask him if he sees a resolution in future. My attempt to make him put a timescale on peace earns me a witty admonishment. “In 1916, Lenin lamented the fact that he would never see a revolution in Russia. World War One came and shuffled the deck. He was a shrewd political tactician, with a fantastic political eye, yet even he couldn’t see a few years in the future – far be it from me to make these kinds of predictions.

“However, if and when the Palestinians decide to engage again in massive civil resistance to the Israeli occupation instead of being, as they have been in the last few years, passive and quiescent things may change. Then again, I’m not really hopeful, because I don’t think anything short of a massive popular movement will make them [Israel] budge.” 

This leads onto the deeper question of the proper role of non-violence in protest and resistance movements. “In some places, such as during south Lebanon in 1978, I don’t think non-violence would have been effective because no-one cares what happens in south Lebanon, and Israel can continue to get away with its murder and mayhem. In south India, where the government is dispossessing huge populations, I don’t think non-violence is going to work there either, because nobody knows what is going on, and nobody cares, so the army can just go in, commit massive atrocities and it doesn’t raise a single column in a US or British newspaper. The Israel-Palestine conflict is different, it is right in the public eye, it’s in the media’s eye so in the face of a non-violent resistance Israel would have much difficulty using violence to try and suppress it. In Palestine, nonviolence is a viable option, but only because it’s in the public consciousness.”

He asks rhetorically, “Has then the Arab Spring made progress on the Palestine situation more likely?” He also has strong views on this issue. “The Arab Spring and what preceded it in Turkey, that is the emergence of governments which identify ideologically with Palestine, and despite how pragmatic, or, one might say, ridden with corruption these governments are, they won’t tolerate Israel carrying on like a gangster state. When Israel invaded Gaza again in November 2012, they [Palestine] made it very clear to Obama that they have their own red lines, and Israel will not be able to carry on as they did in 2008-9, when there was a protracted massacre in Gaza.”

I ask when the world is full of conflict, what is it about the Israel-Palestine conflict that has consumed his undivided attention. “The only reason that it consumed my entire adult life is because it didn’t end. If it had, I would have gone and invested myself in some other cause or injustice. But I’m not a quitter and I don’t think it’s a moral thing to suddenly get bored with a conflict because it’s no longer trendy or creating headlines.

“You should have the moral backbone to stick with your cause regardless of how popular it is. I owe it to my friends over there in the occupied territories to stick with it until there is resolution.” Whether you admire Finkelstein or see him as some kind of attention-seeking demagogue, you cannot deny that he has one of the strongest moral backbones of any intellectual of our age.

Hollie McNish interview

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Hollie McNish’s spoken word ranges from issues about immigration to body image obsession. It’s a formula which makes her one of the UK’s most promising new performers. As well as touring the UK and much of Europe, she has released two poetry albums, Touch and Push Kick, and a collection of written poetry, called Papers. But despite her rising stardom, McNish also holds poetry workshops for schools and runs Cambridgeshire’s Youth Poetry Slam for young people between the ages of 12 and 25.

Having only recently entered the spotlight, McNish rejects my label of ‘icon’. “I’ve only been doing it for four years and had two poems go viral, thanks to Upworthy, Reddit and the Huffington Post. If I’m still doing this when I’m 80 then I might take that. But I feel really honoured that so many people are so supportive. It feels a little unreal, to be honest.”

McNish began writing from a young age, much like the young poets she works with in The Youth Poetry Slam, an initiative which encourages young people to write, often for the first time. She traces her creative origins to her childhood. “The first poem I’ve ever found with a date and age on it was age five. But I started writing more when I was about eight or nine. I’ve always written my diaries in rhymes for some reason. The only time I stopped writing was when I was studying at Cambridge. I wrote nothing apart from poems about feeling stuck in a strange bubble.”

But despite writing constantly, her career began to kick off a couple of years ago with support from Battersea Arts Centre. She explains how it happened. “I started seeing what I could do with poetry other than 15 minutes sets at gigs,” she says. “I only just gave up my day job about 4 months ago – I worked for an urban design charity for 4 years, but that, plus the poetry plus motherhood, meant I was getting about four hours sleep, at best, each night.”

Then, McNish’s poetry focussed on everyday issues. Since then her poetry has a political edge. “I did a Masters in Development with Economics and wrote a lot of poems at that point. I prefer reading essays and factual books too so I guess a lot comes from there. When I was at school I refused to watch the news or anything political until I understood what they were talking about (or more the language and words they were using).”

Upon leaving school she had no idea about politics and “didn’t know the
difference between Conservative or Labour, Democrat or Republican, or
anything like that. I just wasn’t interested. But I am now and whenever something affects me or interests me, I write about it in rhyme.”

I ask McNish whether she has a favourite of these poems. “Not really. Most of the poems I’ve written are still under my bed. I only read out a tiny fraction to other people. There are poems I like reading more than others, but I don’t have favourites of my own stuff.”

McNish won the UK Slam Poetry Competition in 2009, and four years on
she was asked to judge the competition. I was interested to see how she felt playing a critical role as a judge. “Horrible, and I’m not good at it! In slams, I give people between 9-10, no lower normally. I don’t really like judging stuff that, in general, has no right or wrong answer. If it was a maths competition I wouldn’t mind. If I remember the poem and it really sticks with me, then that’s what I find important. I’m not really interested in looking deeply at techniques or form, I leave that to judges who know more about poetry.”

Currently the voice behind Dove’s new radio advert, ‘Smile’, I asked McNish how she felt about the campaign. “It feels good now. It took a long time for me to get the balance right and agree to it. I love the campaign but am sceptical about advertising; it was a compromise really. But they have been amazing. I was able to write anything I fancied about self-esteem, there was no input from them. Then if they liked a piece, they could use it.

“Being called ‘the voice’ is funny, because I wrote the piece, I didn’t read someone else’s words. I’m really pleased they went with the poems too as I worked a lot on them, more than on other poems I write. 

“I really wanted to get the focus away from looks, whether good or bad, and onto the things that people actually do.”

She tells me about her plans for the next year. “I’m doing an album of 15 poems, it’ll be a mix of music and plain words. I’m putting all my parenthood diaries into a book (poetry of course) and I’m trying to collect hoards of kids poems that I’ve been writing into something – but that’ll probably have to wait a while!”

McNish’s success so far has built on how prolific she is. But it’s also based on her performance, and desire to share her work with others. This, she says, is the most important thing for an aspiring poet. “Go to open mics. Go to groups. I spent years keeping everything I wrote to myself and walked past poetry cafes for about 2 years, too nervous to go in. I’ve met so many great people since I took the plunge and read out my first poem to others (I mean, other than my mum and boyfriend).”

It’s an approach which has set McNish on a successful career path. With several books and tours lined up, it’s only a matter of time before McNish is seen as one of the most interesting young British poets.

Freddy the Fresher 2014: Part 4

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The chambers. A royal bed.

 

Enter Freddy

 

FREDDY                 Where am I in this solid tomb of glass?

Is this but where I now must meet my end?

To be alone has long been my life work,

And now I face the depth of all despair.

My chest is full, the venom course, runs dry

Damp sweat clouds mine eyes’ sight and stokes my fear

I would, in life, find less comfort than death.

 

Enter Bernadette

 

BERNADETTE   You alright, Freddy?

You should put some clothes on, I need to get out.

 

FREDDY                 Lovely, more than lovely, if I know it.

Thine eyes are souls distinct from all the earth.

 

BERNADETTE   Yeah, thanks.

Didn’t you say that you had a tute to go to?

 

FREDDY                 Curséd be the Nymph who draws me from sleep,

When my body seeks to rest upon sheets.

 

BERNADETTE   Whatever, I’ve gotta go. See yourself out.

 

[Exit Bernadette]

 

FREDDY                 This wanton misery hath claiméd me.

She is the light that ‘spires my daily work,

Mine micro and mine macro too, she brings

The best of government and rule of law,

And makes mine fingers twitch o’er sweaty keys

As words emerge unspoken in my eyes.

And yet she sees my naked form and frowns,

Does she not see the thing of dreams herein?

I am alone on soiléd sheets awake,

And breathe the sticky post-coital odour.

My flesh is red, my shaft is chaféd raw,

And yet my fear belongs to her depart.

My seed no more shall grace her soft tissue

Nor find its way unwanted to the bin.

Cry! That is my nude lament of days gone by,

From adulterous vices o’er which I raged

Might show mercy still the more potent now.

But weep, for I am in my last descent,

And now must face the knowledge of my death.

Or, if not death, then something really bad,

Like a disease of the cock and the mind.