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The Year in Fear

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2013 is looking to be a great year for horror fans. There’s something for everyone, whether you’re a fan of ‘holy-fuck-where-didthat-come-from’, ‘eurgh-my-gad-wasthat-his-spleen-on-that-chainsaw’, ‘jesus-bollocks-I-think-I-just-peed-a-bit’ or ‘I-can’t-sleep-with-the-lights-offanymore-she’s-under-my-bed-she’s under-my-bed’. To help plan those magical moments, Cherwell Film&TV brings you our helpful guide so you can prepare for hiding effectively behind a pillow, or for those moments spent trying to re-swallow that mouthful of vomit you just didn’t see coming.

January
Texas Chainsaw Massacre 3D: It’s a chainsaw massacre. In Texas. In 3D.
V/H/S: A set of home-videos with a variety of disturbing content – you
watch the characters discover the videos, and then get to scream at the
content along with them. MetARGH.

February
Mama: A couple adopt their two nieces, who’ve been inexplicably surviving lone in the wilderness. But were they actually alone? (No.)
Dark Skies: a family finds its home attacked by dark and mysterious forces.
Unoriginal but still chilling.

March
John Dies at the End: Sci-Fi/Fantasy/Thriller. A new drug sends its users across time and dimensions, but has a drawback: some return no longer human. Meanwhile, two college dropouts try and save earth from the invasion.
The Last Exorcism Part II: does what it says on the tin.

April
The Evil Dead: Teenagers in the woods discover The Book of the Dead and accidentally summon an unspeakable evil (these things should have better health and safety warnings). It sounds clichéd but the trailer suggests the sheer extremity of the horror saves it from being another tedious remake.

June
World War Z: Brad Pitt does Zombie Apocalypse.
Storage 24: “In a place designed to keep things in…How do you get out?” People are stuck in a storage facility with a monster: claustrophobic shriekfest
ensues.

Later This Year
Human Centipede III: need we say more?
Carrie: Remake of 1970’s classic.
The Collector: It’s Saw but he wears a mask instead of using a puppet. NextGen Torture Porn.

For those of you who like your horror mixed with some laughs, or even
some romance (who doesn’t love a good rom-zom-com?) 2013 has lots of
treats in store…

Horror-Comedy
Scary Movie 5: like the other 4. But with Lindsey Lohan.
A Haunted House: Paranormal Activity but with weed and farting.

HorrorRom-Com
Warm Bodies: Tony from Skins is a zombie with a heart.
Vamps: Vampires meets Clueless.

Make Love Not Porn

Cindy Gallop is in full evangelising mode. I’ve caught her as she comes off stage at TEDx Oxford 2012, where she took great delight in being com­pletely open and explicit about hu­man sexuality, as well as in making her audience laugh. The phrase “cum on my face” featured heavily.

Gallop has launched a website, makelovenotporn.tv, aiming to showcase “realworldsex” and to chal­lenge the influence of “pornworld” on sexual behaviour. You’ll find no desperate-looking prostitutes here; the videos are not titled “fuck with big titted blonde” or “slut bukkake”. Users submit videos of themselves having sex, with backstories and even humour included. It’s not quite amateur porn – as the website says, “‘Amateur’ implies the only people doing it right are the professionals and the rest of us are bumbling idi­ots” – but it’s in the same vein.

The inspiration for this project came out of Gallop’s own sex life, about which she is very matter-of-fact. “So, I date younger men, and they tend to be men in their twen­ties, and I began encountering what I guess is best described as sexual behavioural memes. And I know where that behaviour’s coming from; it’s coming from porn.” This is understandable: “If the only clues we have are from porn, those are the ones we’ll take.” In case any young men erupt in horror about being described in this way, she hastens to add that this is not true of all men in their twenties, “There are young men who are absolutely fan-bloody-tastic in bed, I am proud to report.”

When Gallop launched the web­site, the media worked itself into a lather. “Oxford graduate launches porn site!” “Make love not porn, says Oxford graduate!” (Admittedly Cherwell was no exception in point­ing out the Oxford connection.) A proud Somerville graduate with the backing of her college principal, Gal­lop simply finds this funny. “I mean, that’s got no relevance to anything. But they did really seize on it. This is not what anyone expects an Oxford alumnus to do.” Porn and sex are headline-grabbing keywords, and so “it’s been enormously easy to get shedloads of global media coverage without lifting a finger and doing one single bit of media outreach.”

The admin side of setting up a small business has been harder: banks and companies like PayPal are reluctant to work with a company with “porn” in the title. Though she has plenty of publicity, “It’s been a very long, very hard year.”

A major part of Gallop’s mission to change the world is to improve com­munication and sex education: as she says, “There is no open, healthy discussion around sex and how it re­ally is in the real world. And so hard­core porn has become by default sex education today, and that’s not okay.” Parents are reluctant to speak to their children about sex, and when they do, they’re not having the conversation they ought to. When the average age at which children first view porn is eight, the ‘birds and the bees’ talk won’t cut it. Gal­lop reckons the conversation should go something like this: “So, darling, we know you’re online, and we know you’re visiting hardcore porn sites, we just need to explain to you that not all women like being tied up, bound, gangbanged, choked, raped, and having men come all over them, and not all men like doing that ei­ther.” So the social mission is a key part: “100% of parents are not having that conversation. That’s why I’m do­ing what I’m doing.”

She talks about the website (and its information-based sister web­site) as a tool which can be used to improve communication about sex, and can be used as a teaching aid, “So I want to give people more and more tools with which to have this dialogue the way they want to.” The videos themselves strike me as a slightly bizarre teaching tool to use in any formal way, as the website is (to put it bluntly) designed to be used one-handed. But between lovers, it could be used to help communicate, which is something she is keen to stress: “Talk about what makes you really happy in bed, talk about what you like doing, what will really bring you satisfaction.” Gallop herself says that the young men she sleeps with can easily be cured of their ‘porn world’ expectations.

Though it has quite a strong so­cial message, the website is not about censorship, or disapproval of hardcore porn itself. Submissions are “curated” (what a job to have), but the team aim to approve 99% of submissions. When I ask her about porn filters she scoffs, “Oh absolute bollocks. Porn filters are a ridicu­lous idea. Like I said, the issue isn’t porn, the issue is a complete lack of a counterpoint. As long as our so­ciety refuses to be open and honest about sex, that’s the problem. Porn is not the problem.” It’s more about challenging the “porn world” behav­iours which she sees as so damaging: “I want to help the porn industry see that you can invent a new business model and leverage human sex as entertainment in a different kind of way, to help them be a better busi­ness and a better industry.”

On makelovenotporn.tv you have to pay to rent videos, which is one of the things that strikes me as most problematic about the project. Gal­lop herself is confident that it will work, saying, “I believe that if you create something that gives people pleasure, you should see a finan­cial return on it, and the more peo­ple you give more pleasure to with something you’ve created, the more financial return you should see.” This is certainly the ideal, but in practise people have become used to getting things for free: music, films, newspapers and even books. Howev­er, certain new payment models, like Spotify or the FT’s online paywall, have managed to make money re­gardless. The website uses a revenue sharing model, where half of every payment goes to the uploader; this may encourage users to upload qual­ity content, so that the more discern­ing porn-viewer is willing to pay up.

Gallop is excellent at promot­ing her website and doesn’t bother with false modesty, boasting of its uniqueness. “We are out to showcase to the world something that nobody else is showcasing in the same way.” She is also proud of her fan-letters and messages of support: “Out of the many, many emails I’ve had, from everywhere in the world, young and old, male and female, there’s a whole group of emails that go something like this: ‘I came across your TED talk, I went to your website, I shared both of them with my boyfriend/ girlfriend/husband/wife/lover/ partner, off the back of that we had a great conversation, now our sex life is so much better, thank you so much.’” She cites various examples of gratitude – teachers, parents – and her Twitter feed is full of retweeted messages of support. She’s a serial entrepreneur and used to work in advertising, so she probably knows a thing or two about how to get a project off the ground: this involves boasting about it at any opportunity.

An incredibly candid person, Gal­lop’s openness is part of her identity. “I’m essentially unblackmailable, be­cause once you’ve stood on the stage at TED, and announced to the world that you have sex with younger men, you can never be ashamed about it ever again. So I live my life out in the open – yes I’m quite an extreme ex­ample of that, but it’s an enormously relaxing, stress-free and liberating way to be. I know exactly who I am, I know what I believe in, I live my life according to those principles and philosophies, and I don’t give a damn what anyone else thinks.” It re­ally seems as if she actually doesn’t give a damn, which is perhaps one of the reasons she has so many fans.

It is no surprise, then, that makelovenotporn.tv intends to em­brace social media, and hopes to make their videos go viral. In some ways, liking a porn video on Face­book or sharing it on Twitter is a logi­cal extension of the way the world is going: “The new reality in life and in business is complete transparency. Everything that you do today as a person or as a company is potential­ly in the public domain, courtesy of the power of the internet.” This will certainly make some people uncom­fortable – do you really want to know your friends’ deepest sexual desires? To know that they’ve just finished masturbating to a certain video? Is nothing to be private any more?

However, perhaps we could do with a little more openness and honesty about our desires and porn-viewing habits. As Gallop says, “I hate the hypocrisy that exists in this world, we’re all human beings: sex is part of who we are. I’d like to see a fu­ture where it doesn’t matter what job you want to do, you are not judged by your sexual proclivities because it’s just human, it’s natural.”

“There is no Steve Jobs in the porn industry,” she declares. She doesn’t exactly say that it could be her, but she seems to think of herself in a sim­ilar way. An innovator, an entrepre­neur, someone who can challenge the way things are done and who attracts a devoted following; this is what Gallop hopes to be for the porn world.

Prince Charles to visit Oxford

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THE PRINCE of Wales is to visit St Stephen’s House on 4th February where he will spend time with those training to be ministers in the Church of England. 

St Stephen’s House is a Permanent Private Hall offering formation, education and training for a variety of qualifications and ministries. 

The Prince will visit the Hall’s Mission House on Marston Street and the Church of St John the Evangelist on Iffley Road. 

While visiting the church, the Prince will talk to craftsmen involved with the conservation of the grade one listed building and the team who have advised on the creation of its new performance venue, SJE Arts. 

He will also meet singer-songwriter Patrick Wolf who is performing in the venue the same evening. 

The London artist will be playing tracks from his double album Sundark & Riverlight, a collection of stripped-back re-recordings. 

Canon Robin Ward, Principal of St Stephen’s House, commented, “It is a tremendous honour for us to welcome His Royal Highness. It is particularly exciting for those men and women of all ages who are studying with us to become ordained as priests. 

“Prince Charles’s visit is also enormously encouraging for everyone involved in our ambitious plans for SJE Arts – although we still need to raise more than a million pounds for conservation work and repairs, many of which are increasingly urgent,” the Canon added. 

One student commented, “This is incredibly exciting. Charlie is coming to Cowley!” 

The College is home to around 70 students, including ordinands to the Church of England, postgraduate theologians, and those studying the PGCE in order to become teachers. 

The Prince of Wales will also meet students, staff and supporters during a visit to the Said Business School and will officially open the new building. 

Break-in at Pembroke accommodation build

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BUILDING of Pembroke’s Bridging Centuries project, which includes a new quad and new accommodation for the college, has caused extensive disruption and security problems for students. 

The JCR President, David White, said, “I can confirm that there were some security issues over the Winter break involving one of the cleaners employed through an agency by the contractor, Kingerlee Ltd. The cleaner was caught red-handed in the act of forcing open lockers in 22 student bedrooms together with two lockers in the kitchens and a storage room.” Kingerlee were unavailable for comment on Thursday. Losses were treated on a case-by-case basis and students were compensated appropriately for their losses. They did not turn out to be significant in the end.” 

In recognition of the increased security risk, extra security personnel have been employed by the college. 

The project is allegedly running three months behind schedule. The works have caused significant disruption for the students living in the New Build. White said, “Noise, dust, unfinished facilities and inconvenient access arrangements were the primary problems. The JCR appreciates College being sympathetic in providing adequate compensation to all affected students.” 

The college has agreed to compensate students living in the New Build 50 percent of their accommodation charge for Michaelmas term. As well as noise, the works blocked off access to the accommodation buildings, have made it harder for students to reach their rooms, and have interfered with the college’s wireless system. White confirmed that the Pembroke JCR and college authorities are currently in negotiation over an appropriate compensatory sum for those students who are affected this term by the works. 

White commented, “Although it has been a significant inconvenience to live on an incomplete site, the JCR is grateful for the continued cooperative efforts to minimise disruption. 

One Pembroke student said, “The disruption over the past few months has been serious and has definitely had an impact on residents’ lives. We are keen to work with college, who are equally frustrated by the delays, but we need to protect our right to decent standard accommodation.” 

Boys missing out on university

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UNIVERSITIES MINISTER David Willetts has called for “white, working-class boys” to be targeted in the university admissions process, after a decrease in male applications to UK universities. 

In an interview with the Independent, the Minister of State for Universities and Science stated that the Office for Fair Access (OFFA), a body that aims to stop the rise in tuition fees from preventing disadvantaged groups from applying to university, “can look at a range of disadvantaged groups – social class and ethnicity, for instance – when it comes to access agreements, so I don’t see why they couldn’t look at white, working-class boys.” 

The comments come after English university applications decreased by 15,950 applicants this year, a drop of seven per cent. Last year, 22,000 fewer men applied than in 2010-2011. 

Willetts, a graduate of Christ Church, opined that the drop in male applications was “the culmination of a decades-old trend in our education system which seems to make it harder for boys and men to face down the obstacles in the way of learning.” 

David Messling, OUSU Vice President for Access and Academic Affairs, told Cherwell, “The bitter irony is that it is Willetts himself who has recklessly damaged university access by deterring future students and presiding over the demise of outreach programmes such as Aim Higher, and now looks to universities to pick up the pieces.” 

Professor Les Ebdon, OFFA’s Director of Fair Access to Higher Education, stated, “Universities and colleges make their own decisions about whom they admit. They also choose their own access agreement measures and targets, in line with their own particular mission and challenges. These measures and targets must be agreed with me, as the independent regulator, and I’m happy for them to include ethnicity, social class and gender where appropriate.” 

In a statement last week, OFFA called on universities “to step up the long-term work they do reaching out to schools and communities where few progress to higher education.” 

Oxford University runs access programs including the UNIQ summer schools, which encourage state school students to apply. 

A spokesperson for the University said, “Oxford already offers the most generous no-strings financial support package for the poorest students of any university in the country. Figures for 2012 entry show that a third of all offers went to applicants who come from backgrounds which are a target of Oxford’s widening access activities.” 

A UNIQ summer school attendee now at St Hilda’s said, “Willetts should be targeting working-class people in general, not just white men.” 

First-year Tim Baxter also commented, “After tripling tuition fees, the ministers’ comments just aren’t enough. Willett do? No, it won’t!”

Anger over Corpus housing

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Many Corpus students have expressed their dismay this week, as plans by the college to refurbish fresher accommodation mean that next year’s finalists will be housed predominantly in a new building behind Park End nightclub, rather than in college.

Traditionally, all freshers and most finalists have been accommodated in and around the college’s Merton Street site, with most freshers housed in the 1960s New Building. However, for five terms beginning January 2014, the college intends to carry out a refurbishment of New Building, meaning that significantly fewer rooms than normal will be available on the college’s main site. To make up for this shortage of rooms, the college will be accommodating displaced students, mostly finalists, in a new building on Park End Street, located behind the popular nightclub Lava Ignite.

While the JCR was predominantly in favour of prioritising the needs of finalists and moving freshers to one of the remote annexes after Michaelmas Term, the unanimous decision of the college’s Governing Body was that freshers should be prioritised: speaking to a meeting of JCR members on Thursday, Professor Richard Carwardine, President of Corpus Christi College, said, “While there is a case for finalists being prioritised, experienced tutors felt that the case for first years was stronger.”

Tom Cummings, a second-year chemist at Corpus, told Cherwell, “I think it’s a disgrace, and what makes the disgrace an even bitterer pill to swallow is the deceit. I deliberately opted for a low ballot this year on the understanding I would get a good college room in third year.”

Several students have expressed concern at the location of the building where many of them are expected to live during finals. The college insists that noise from clubbers should not be an issue, as student rooms will have triple-glazed windows, although one student at the meeting suggested that opening windows in summer might pose a problem.

Joe Dawson, a third-year classicist due to be affected by the plans, said, “The primary thing that’s pissing people off is the fact that it’s so close to Park End. People are very suspicious about whether or not the sound-proofing will be sufficient.”

Concern has also been expressed about the manner in which the college’s decision was communicated to junior members. JCR President Patricia Stephenson commented, “I think it’s shameful that the JCR were not consulted at the very early stages of deliberation, but only brought into discussion almost as an afterthought. This prevented the JCR from influencing college opinion before a decision was made, which I believe was definitely a disadvantage to our cause, and which led to a feeling of alienation within the JCR.”

Professor Carwardine denied that JCR opinions have been ignored, telling students, “We have taken the JCR’s views very seriously.” 

He also expressed surprise at many students’ reluctance to live in the Park End complex, saying, “I rather naïvely thought that the first inhabitants of a brand spanking new £6 million building would find that an attractive prospect.” 

Dr Neil McLynn, Senior Tutor at Corpus, admitted that “for the whole of living undergraduate memory, finalists have lived in college”. He pointed out, however, that nowhere in any official college documents is it stated the finalists have the right to live in college, describing this as a “false belief”, and suggesting that junior members may derive some “educational benefit” from having this belief corrected. 

McLynn denied that revision would be compromised by having to live out of college, saying, “It did not seem that living out of college would have an effect on finalists’ academic performance.” 

Responding to the suggestion that travelling to and from examinations is made harder by living out, McLynn said, “If the subfusc walk of shame is the worst of your fears, then you are in a very good place indeed.” 

He acknowledged, however, that the situation was “anything but perfect” and suggested that the college might try to compensate aggrieved students, saying, “We will try to find some way of demonstrating that we take your concerns seriously.”

Sheila Heti keeps it reel

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I first came across Sheila Heti during a phase in which I believed Lena Dunham had the answers to everything and was gradually dispensing them through the medium of Twitter. Dunham recommended Heti’s second novel, How Should a Person Be?, as a “metafiction-meets-nonfiction novel” with “a lot of the same concerns as Girls.’’

Suitably intrigued, I wrote to Heti and asked for an interview. By the time the interview rolled around – nearly six months later – I had stopped treating Lena’s feed as a vending machine of wisdom, but the momentum of Heti’s novel had not waned. The prospect of the book’s UK release on January 24th has prompted a slew of reviews and discussion pieces in the British press to rival the critical rumblings already occurring Stateside. While trying to access the New Yorker’s review of the book on my phone last Thursday, I looked across the train to see a man reading a full page on Heti in the Metro.

Two of the most controversial aspects of the book have been the promise of its tagline, “A novel from life,” and the notion that this, whatever it is, represents some sort of new form or type of fiction. Heti recorded conversations between herself and her circle of artist and filmmaker friends on tape recorders, and her book includes transcripts, emails and lists. Though parts are, she says, “fictional”, the work is essentially an autobiography of the artist’s day to day life and social circle since she started the project in 2005.

The Metro’s headline for their review of How Should a Person Be?, “It’s not such a novel idea”, argues against the idea that Heti’s style is in any way new (they even included a helpful box with other examples of writers who wrote “from life”). Yet when I spoke to Heti she seemed under no illusions of originality: “All literature is from life,” she acknowledged, but her method of collecting her material, a method she calls “journalistic,” is what she considers new and “very important” to her writing.

When I ask why she wanted to record her friends and write her book in this journalistic manner, she replied, “So that I didn’t have to be in my apartment all alone while I was writing!” Other friends were documenting the group around the same time: Margaux Williamson, Heti’s best friend in the novel, was making a film, while an artist friend was painting them.

This reveals a key feature of Heti’s life and writing: her desire to make the two almost indistinguishable. When asked whether she had any advice for those wanting to pursue a career in the arts, Heti told me, “I don’t think that thinking of it as a career is beneficial. You expect success and income – you have to go into it expecting none of those things. I think you have to make art all of your life, make it touch every other part of your life, rather than just be this separate thing you go to your desk and do. If you do this, then really all of your feelings and thoughts and experiences go into the art.”

Sheila Heti, and women like Miranda July and Lena Dunham, are achieving a level of critical attention that suggests that the male dominated media and literary world could be changing. When I asked Heti why she thought this could be, she replied: “There haven’t been that many generations where the conditions of life have made it possible for woman to write. At the moment there is more freedom in general to be a woman writer.”

Yet even those with the time and money to write have still struggled: “I remember when I was a teenager it was quite acceptable for people to say ‘I don’t read female writers’ and many people did say that. It’s hard to imagine saying that anymore.” In the prologue of How Should a Person Be? Heti writes, “One good thing about being a woman is that we haven’t got too many examples yet of what a genius looks like. It could be me.” She’s being characteristically flippant, but she also makes an important point about the opportunities now open to women authors.

While it’s depressing that only now, nearly one hundred years after Virginia Woolf’s A Room of One’s Own, are we free of the kind of people who “don’t read female writers,” there is an excitement in finding the geniuses previously ignored or dismissed by the world as authors of ‘Chick Lit’. Maybe Lena Dunham’s Twitter feed wasn’t such a bad place to look for the answers.

Hands tied on Fifty Shades spin-off

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The problem with Fifty Shades of Grey is that there are only fifty of them. EL James solved this by writing two more bestsellers. The solution from a tiny publishing house in West Yorkshire was to write the prequel, The Secret Life of Christian Grey.

When the publishing news bible The Bookseller got wind of this plan, publishers from around the world began ringing Bluemoose Books. There was one small catch though: they all wanted to see the first three chapters, but Bluemoose Books had only concocted the synopsis.

Under the S&M pseudonym of Dominic Cutmore, Benjamin Myers, a journalist and literary novelist, had to cough up 15,000 words over one weekend. The publishers and film companies continued salivating. They could smell the money.

The book was going to be Cutmore’s memoir of his friendship with Christian Grey, the male lead of EL James’ bestseller, from childhood up to the world of Fifty Shades.

“The words came easy. With character so shallow and archetypal as EL James’s they were fairly simple narrative voices to adopt,” Myers explained. “Where Christian Grey is dominant, successful, confident and so forth, I wrote Dominic as an opposite character: repressed, unambitious, submissive.

“The plot followed the pair’s formative years: school, university, business success, sexual conquests. The rest was just creating situations that Fifty Shades fans would want to read about and which stayed true to EL James’s tenuous plots: parties, international travel, nice restaurants, sex scenes.”

But it all fell apart when Random House realised what was going on and sent their corporate lawyers after Bluemoose Books. Myers wasn’t too upset. He doesn’t boast about his parody either: “A monkey with a typewriter, some coffee and a stack of Jackie Collins novels could construct a passable Fifty Shades pastiche in a fortnight. Just go into a bookshop and count all the other cheap erotica novels that have been rush-released these past few months.” Lovers of the series can pick up a copy of Haven of Obedience or Bared to You or Eighty Days Yellow to satisfy their appetites.

In fact, as a literary novelist, Myers found his “mischievous prank on a fickle industry” depressing. Over the summer his most recent novel was published, and while doing signings in Waterstones stores he spent a lot of time wondering why Fifty Shades, “ham-fisted” as it is, has done so well: he “watched this book furtively selling a few copies every single minute. Most of the buyers seemed to be aged 25-40, white, female. They didn’t buy any other books while they were there.” Not an encouraging sign for the literary world.

Myers concluded that his own The Secret Life of Christian Grey looked so likely to succeed, if only briefly, “because it satisfied a fleeting appetite, adhered to a passing trend for clunky soft porn writing. It is hard not to feel that the publishing business is as trend-driven as Top 40 pop music.” It remains to be seen where the next trend will take us.

Focus on… Gilbert and Sullivan

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“Well there are two types of students who come to Gilbert and Sullivan;
the lunatics and the anoraks.” Despite comments like these from president Bethan Griffiths, her and treasurer Eugene Yamauchi cut a reassuringly normal presence when I met them in the Buttery on a chilly
Tuesday morning.

If you were to venture into the depth of Oxford’s cultural appreciations, the Gilbert and Sullivan society would be a good place to start. The Gilbert and Sullivan society is a group of students that appreciates the works of Sir William
Schwenck Gilbert and Arthur Sullivan (surprisingly), a duo that collaboratively produced fourteen comic operas from 1871-1896.

Gilbert and Sullivan began by producing a short piece together called Trial by Jury, in which Gilbert wrote the words whilst Sullivan composed the music. After that they produced around one opera a year. Although their comic operas were immensely successful, Sullivan always felt they could do better if they wrote serious opera. He wrote one grand opera independent
of Gilbert called Ivanhoe, an adaptation of Walter Scott’s novel.

With around fifty to sixty active members, these students aim to put on one Gilbert and Sullivan production a term. With a cast and chorus of around twenty who rehearse three to four times a week these are no small commitments.

Last term was The Pirates of Penzance, one of Gilbert and Sullivan’s most famous productions. It boasted a whole host of terribly serious characters, including a Pirate King, a Major-General, and a chorus of his daughters.

This term it is Princess Ida, a satire of feminism and the Darwinian revolution, being performed in seventh week. Around every five years they reach the end of the canon and then start all over again.

You might wonder how students end up in such a niche society. PPEist Yamauchi played the Pirate King last term whilst Griffiths, a second-year music student, was recruited in her first year.

Of her involvement, she says, “Very early on in my first term I had a friend in the year above who found out I played the piano and asked me to come along. When I said I might be interested his eyes lit up. The next day I was made musical director of the next performance. We generally attract a lot of freshers and a lot of talented performers.”

However, Griffiths insists that “it is not just a performative thing.” Those not involved in performing meet on a weekly basis to singthrough Gilbert and Sullivan operas. Although they tend to meet at the Rose and Crown on
North Parade they will go “anywhere that is quiet and has a piano” and aim to get through the canon every two terms.

There was also talk of a trip to go to a “Gilbert and Sullivan museum” or “a house in Sussex filled with loads of Gilbert and Sullivan memorabilia” not to mention a biennial challenge to sing through all of the Gilbert and Sullivan
musicals in thirty-six hours.

Griffiths describes it as “more interesting than people give it credit for. It is niche, and a bit odd, and although the storylines are fairly similar there is a lot to look at. As a society it’s very close knit, very consistent…a nice little life.”

Princess Ida is showing between Thursday
28th February – Saturday 2nd March (7th week)
at the Corpus auditorium.

Preview: A Theory of Justice: The Musical

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Cherwell’s Verdict:
“Philosophy, but not as you know it”

If I asked you to suggest an evening’s thrilling entertainment, I doubt many would respond with irrepressible cries of a race through more than 2000 years of political philosophy. This, however, is Oxford’s latest theatrical offering (only in Oxford, as the cliché goes) promising to combine the theories of influential philosophers with the feel-good songs, exuberant dance, and unapologetic
camp fluffiness that musicals revel in. If philosophy means giant dusty old tomes to you, prepare to have your mind blown in some
kind of pseudo-philosophical paradox.

A Theory of Justice: The Musical follows John Rawls into the time vortex as he searches for answers to his life’s work on Justice, while being both in
hot pursuit of his love interest in the form of attractive student Fairness, and in vivid conflict with his arch-enemy Robert Nozick. Along the way, he breaks into singing dialogue with a whole sequence of philosophers, the style of each giving to the scene its own distinct genre. The genres range wildly: we have a sizzling tango with Rawls and Fairness, a saucy cabaret piece and a trip to a gay club run by Plato the ventriloquist with his effeminate Socrates as doll (that’s a philosophy in-joke there). Even those dreary Victorian Utilitarians get a make-over as a slick barbershop quartet. It’s no joke that Philosophy in-jokes do dominate, but I can assure you that the humour will have everyone laughing. The philosophers will be those noticeable for their giggles continuing a moment or two longer than everyone else.

This is a musical, I hear you say, so where are the spectacles? Pretty much every scene, really. And if that’s not sufficient, prepare to be dazzled by the time vortex, which has demanded the O’Reilly’s biggest lighting budget
ever. In fact, everything you’d expect in a musical is here, from the character stereotypes to the dance. One thing that particularly impressed me is that all of the musical score is original – there’s no amateur business going on here, pinching music from existing musicals and writing philosophical lyrics to it.

Having filled this space with my enthusiasm for the concept, I should say something of the acting: everything I saw was top-notch. I would urge all you non-philosophers to give this intriguing performance a go; and, as for you philosophers, well, you have no excuse!