Wednesday, May 7, 2025
Blog Page 1575

Best of Cherwell Flickr

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Check out http://www.flickr.com/groups/cherwellphoto/pool/ for all the newest work from Cherwell Photo team! 

And don’t forget the first week photo competition, email photos on the theme of ‘Beginnings’ to [email protected] by Wednesday of first week. 

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Richard Nias

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Namrathra Rao

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Eleanor Grieveson

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Namrathra Rao

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Amy Rollason

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Eleanor Grieveson

Is he a Saint or a Sinha?

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Stand up comedian and quiz genius on The Chase, Paul Sinha is a man of many talents. Since giving up his job as a doctor, the comedy he describes as “honest storytelling mixed with proper jokes” has made him a favourite on the stand up circuit. He was nominated for the If.Comeddie Award in 2006 (now the Edinburgh Comedy Award) and can regularly be heard on Radio 4’s The Now Show. Since joining the formidable team of Chasers in 2011, Paul ‘the Sinnerman’ Sinha has made a name for himself with his intimidating knowledge of subjects from art to biology. It is a rare opportunity to be able to interview someone who can blow your mind with facts and split your sides with laughter, before medically treating your afflictions.

Sinha was a comedy fan from a young age, but it took a bump in the road to get him to actually consider taking to the stage. “The spur for trying it myself was having six months off after failing my medical finals in 1994 and going to a lot of comedy clubs, and becoming increasingly fascinated by whether it was possible for me to replicate what they were doing. I thought I ought to try it once. I thought I would never forgive myself if I’d never tried it.” His first gig wasn’t either of the clichés so often told of comedians having a riotously successful first gig, nor was it a horrendous experience of talking whilst three men and a dog sat in silence.

Instead it was “a really bad first two or three minutes that were genuinely terrifying, then it sort of came together in the next two or three minutes and it was a gig that was neither good nor disastrous. It was sort of somewhere in between. There were quite a few disastrous gigs in the first few or so I did, but they were always interspersed with quite good ones as well. So there was always just enough to keep me going.” His stand up has changed a lot since those first few gigs. “I used to just do jokes; that was all I did. It all started coming together in the mid-noughties. There’s this cliché about ‘finding your voice’. I think that started happening about six or seven years ago when I started moving from pure joke telling to more storytelling.”

The key to success also lay in taking more risks in his comedy. “I think it’s very important to get rid of the fear of failure and to just try other stuff. I think a lot o f people don’t take too many risks at the start because they just have to get booked. There’s a practical pragmatic approach to stand up comedy where you have the do the job and do it well to keep gigging and keep getting booked back at various venues. It’s quite hard to take risks and that’s where things like Edinburgh come in, because you have an hour and it’s your hour and you can do anything you like with that hour. Artistically speaking I’d always recommend people go up to Edinburgh, because it makes you develop as a comedian.”

Edinburgh, of course, went very well for Paul Sinha in 2006 when he was nominated for the If.Comeddie Award for his show, Saint or Sinha?, alongside acts such as We Are Klang and Russell Howard. Whilst he maintains that this was a highlight of his career, he also mentions that, “at the time it was incredibly stressful to go from not having any media attention to having media attention.”

Surprisingly, his parents were supportive of his decision to quit being a doctor and to try to make it as a full time comedian. “They are the classic template of an Asian parent. They’re interested in success. And the fact that I’m doing well is what is keeping them happy really. Heaven only knows what happens when I stop doing well. The career is a success so everything is fine.”

Luckily for Paul, it continues to be a success. This year, he will be appearing in three episodes of Stewart Lee’s Alternative Comedy Experience on Comedy Central from February, as well as hitting the big screen in The Comedy Store: Raw and Uncut, which will be a series of stand up gigs, recorded at the legendary London venue, shown in cinemas around the UK from 22nd February.

He has not always been successful at everything, though. It took failure to lead him to getting so heavily involved with quizzes. “I took part in University Challenge: The Professionals in 2008, which was a spin-off of University Challenge, and I was in the ‘comedians’ team. We got absolutely walloped by a far, far more knowledgeable team and it was only then that I decided ‘I don’t like this feeling’ and that I’d like to take things more seriously. That was the moment that everything changed really and I decided that I wanted to take it seriously.”

This led him to learn about things he’d never given much thought to before. “Taking it seriously meant I needed to learn about the world of art and culture which as a medical student you kind of miss out on, with the very narrow way that you’re educated. I didn’t really know very much about literature and history of art and classical music and stuff, so I started getting myself interested in it. Bradley Walsh on The Chase now calls me ‘the art man’ because apparently I know more about art than any of the others. If someone had said that to me five years ago I would have laughed in their face as I had no appreciation for art at all. It’s just a case of broadening interests and broadening horizons. I was always going to get medical questions right or science questions right but it was the stuff that I didn’t know that I decided to work really hard on.”

There are some parts of Sinha’s knowledge that he didn’t have to work so hard for. “I can name every number one hit record of 1984, I don’t know why. I’ve never tried to sit down and learn a list of number one records of 1984, I just remember which songs were at number one when I was 14 years old. The developing brain is when things just stick, then as you get older you have to have a genuine keenness for knowledge, but one of the most artificial ways to gain a lot of general knowledge is to watch a lot of quizzes, of course.”

He had been dedicated to the quizzing world for a few years before an opportunity to try out for The Chase was presented to him. “I knew all the people on the show, because the quiz world is a world where you bump into people at events and at this that and the other. There were already three people on The Chase and I knew them all. ITV decided they wanted to bring on a fourth Chaser and I got a message on Facebook, of all things.” After rounds of auditions, he was selected. “I think they interviewed quite a few other quizzers, but luckily I was the one that they chose. I consider myself very lucky.”

And so ‘The Sinnerman’ was born. Unfortunately, he didn’t pick his own nickname. “I was ‘hands off’ from the whole thing. Because I couldn’t think of a nickname I just thought, ‘oh fine, you come up with something’. ‘The Sinnerman’ doesn’t really mean anything at all. It’s all right. I’m aware that because it doesn’t mean anything, people don’t realise that it’s a pun on my name. Some people think it’s something to do with cinnamon. We had someone on Twitter saying ‘Oh is his nickname ‘Cinnamon’ because he’s Indian?’ The answer to that is no. I don’t really concern myself with what I call producers’ decisions. I certainly didn’t pick the white suit!”

A lot of us might find being a professional quizzer a daunting experience, but for Paul it is a lot less stressful than other jobs he’s done. “My experience as a doctor has meant that The Chase doesn’t feel like real pressure. My experience as a stand up has given me the confidence to just express myself and say what’s on my mind, really. Everything you do in life shapes how you react to a certain situation, but when I’m in the final chase I just try to enjoy it, because I’m a very lucky man to be doing this job. It is a game show and we are meant to lose from time to time and whilst it’s very upsetting when we lose, if we didn’t lose then nobody would watch the show.”

Before I finished the interview, I had one question that I simply had to ask: “who would win in a quiz if it was the Eggheads versus all four Chasers?”

“I would have to say that in nearly all formats the Eggheads would win, unless there was an awful lot of pop culture. We’re stronger on the pop culture side of things but the fact of the matter is that the Eggheads contains two of the best quizzers in the world in Kevin Ashman and Pat Gibson, and no matter how good we like to think we are, we aren’t quite in their league. We could fancy ourselves against any of the others, just not Kevin and Pat.”

You can’t help but be amazed at anyone who’s so talented in so many areas. It is clear that Paul Sinha is determined to excel at everything he attempts, and excel he does. What I found most remarkable about him is that he uses failure as an opportunity, instead of just wallowing in it. Funny, clever, and a qualified doctor, I don’t think you can help but feel a little bit jealous.

Simply sensational: Alan Hansen speaks to Cherwell sport

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“No, no, never.” My first question is met with a fairly unequivocal response. “Management was never something I was interested in,” Alan Hansen tells me with certainty. Was broadcasting always a passion? Had he dreamed of sitting on the Match of the Day sofa since he was a little boy? Perhaps not: “When you retire at 36 you have to do something. I wanted to stay in football and so broadcasting was the obvious option.” 

Whether it had been something he had previously thought about or not, Hansen was hired by Sky Television as a pundit and summariser only months after his retirement and he soon made a name for himself in the business, moving to BBC Radio 5 Live before going on to Match of the Day where he has remained ever since, describing “sensational” and “diabolical” performances alike. 

I’ve always wondered how pundits, who are generally required to be neutral, separate their playing days from their current work, but Hansen is quick to quash any suggestion of bias. “You have to say it as you see it. In fact, if anything, my time playing for Liverpool has meant I’ve been hyper-critical of them ever since.” It’s hardly surprising that Hansen has been left frustrated by his old club’s plight ever since his departure. In Hansen’s illustrious playing career for Liverpool he acquired a haul of winners’ medals that any of the current crop could only dream of; including eight league titles, three European Cups, two FA Cups and four League Cups. Since he left, Liverpool have won no Premier League titles. Sorry, but I just had to point that out at least once.

As I so often manage to do, I turned the conversation towards the Scottish national side which Hansen represented surprisingly few times (26), often kept out of the side by the formidable partnership of Aberdeen’s Willie Miller and lex McLeish. The picture he paints for the current side is, unfortunately for me, bleak. “In the 60s, 70s and 80s there really was a conveyor belt of talent. Every boy played football back then, but nowadays it seems like they have other things to do.” This is a statement with which I can certainly identify. My school didn’t have a football team for my age group, but it’s hard to imagine that this would have been the case 30 or 40 years ago. “A poisoned chalice?” I asked, regarding the currently vacant Scotland managerial job. “A difficult one,” he answered, diplomatically. 

I moved on to happier things and he seemed pleased that I’d chosen to do so. “That game at the end of last season, that game…” He was beginning to tell me about his favourite match that he’d ever covered as a broadcast journalist and I knew what was coming; I could feel it. “I mean, it was just…” He’s going to say it, he’s going to say it…“sensational!” Yes! I composed myself as he continued. “The different emotions of that day – watching the Manchester United side at Sunderland trying to work out if they’d won the title or not – it really is what the Premier League is all about.” I, personally, wasn’t so keen on reliving that particularly painful moment, but had to agree that the last day of the 2011/12 season really was unrivalled in dramatic terms. Best league in the world? “Perhaps the technical ability in La Liga or Serie A might be better, but for pure excitement you can’t beat the Premier League. You look at the 8-2 game from last season [Manchester United vs Arsenal] or the 1-6 game [Manchester United vs Manchester City] and you certainly can’t say the games between the big teams are cagey any more, like they used to be in the past.” I held back from asking him about the SPL.

Enough looking back. Time for Alan to earn his salt doing what he does best: making some predictions. With my betting slip in hand, I asked him who he thought would be lifting the Premier League trophy come May 2013. “Well, Manchester United are certainly back again, they’re looking absolutely top class. That’s the sign of the best sides, to come back from a setback like last season and be stronger than ever.” I pumped my fist with delight; let’s hear more of this, please, Alan.

“With Rooney and Robin van Persie up front you’ve always got a chance, no matter how well the rest of the team is playing.” Music to my ears. “Are we in for another decade of Manchester United dominance?” I asked Alan hopefully. “There’s a school of thought that Abramovich changed the face of the game.” (‘School of thought’: as a historian these are three words I’d hoped to avoid to avoid during the vacation.) “And Manchester City have followed this model, but they need to kick on again. United have always kicked on after disappointments, and it looks like they’re doing it again this season.” Couldn’t have put it better myself.

So with United safely on my betting slip for the season, who’s for the drop? “Well, it looked like QPR were a certainty, but you can never rule out the ’Arry factor.” How accurate this seems, and since this interview was conducted QPR have recorded a miraculous away victory over European champions Chelsea. Perhaps Mr Redknapp is in line to pull off another miracle. “It’s just very difficult to tell. Norwich looked like they were in trouble for a while but have gone on a great run, and Aston Villa have been up and down too. It’s constantly changing.” I get the message, Alan; I’ll save my money for Hasan’s finest post-Park End kebab on this occasion

Cracking news for Oxford residents

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A road in Oxford has split after prolonged periods of wet weather triggered  subsidence beneath its surface. Cracks initially observed in December on Oxford Road, Kennington, developed into rifts up to 2ft wide under continued heavy rain.

Oxford Road was initially closed on the 20th of December after a routine council inspection raised fears of subsidence. Owen Morton, a spokesman for Oxfordshire County Council, said of the dramatic collapse which followed, “Further work will be needed to determine the exact causes, but initial indications are that this is primarily down to the foundations and slope of the embankment becoming saturated by the significant wet weather over this year.”

Details of the road’s repair are as of yet uncertain. Morton added, “We can’t say at this stage how long the road will need to remain closed or how much it will cost to fix, but it’s fair to say the scale of the repairs required will mean that the road will be closed for months rather than weeks.”

Assange invite sparks protest

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Julian Assange is to address the Oxford Union via live video link from the Ecuadorian embassy, in which the Australian fugitive has evaded rape allegations since June.

Mr Assange, the Wikileaks founder, will talk to the Union next Wednesday for 20 minutes about “the importance of free information and integrity in intelligence gathering”.

Suzanne Holsomback, OUSU Vice-President for Women, branded the Union’s decision as “deliberately provocative and clearly an exercise in sensationalism.”

Assange’s address in the Union chamber will follow the presentation of the ‘Sam Adams Award’, which honours dissenters and whistleblowers in the intelligence community. The talk will be followed by a 20-minute Q&A in which “members of the audience will be invited to put questions on any topic” to Mr Assange and other speakers, including Annie Machon, a former MI5 officer.

It remains unclear whether the questions will be moderated. Rachel Savage, a third-year PPEist at Lincoln, backed the Union, but complained that the ceremony of the occasion would frustrate proper discussion. She claimed, “Given the accusations against [Assange], students need to be given the chance to question him fully and openly, without the potential limits and distractions that this ceremony will likely involve”.

In a press release the Union defended its invitation, stating, “Mr Assange is a thinker and activist who has made significant contributions to the debate on government transparency.” While the Union admitted the potency of the allegations against him, it hopes that his profile will not overshadow the presentation, arguing, “Institutional corruption, whistleblowing and freedom of speech can all be discussed without in any way sanctioning or condoning his alleged private actions.”

Michael Young, a second-year historian at Brasenose, defended the Union’s contentious decision, claiming that most of its members welcome the event. “The job of the Union,” he opined, “is to provide stimulating debates, not to tailor its speakers to agree with minority interests.”

But Simone Webb, a second-year PPEist at Hertford, is organising a protest outside the Oxford Union to coincide with Assange’s talk. Webb, who is also LGBTQ Society President, criticised the Union’s biography of Assange in its term card. It describes him as a “champion” of freedom of information, though admitting “some have criticised his activities as reckless and dangerous”. It fails to mention the allegations of sexual assault against him, for which Swedish prosecutors are seeking his extradition.

As of late Thursday evening the protest had attracted 110 confirmed attendees on Facebook group. They included Tom Rutland, President-Elect of OUSU, Joe Morris, Treasurer of Oxford University Labour Club, and Sarah Pine, the former OUSU Women’s Officer. Pine told Cherwell that the Union had committed itself to “further treating the experiences of rape survivors with contempt” and encouraged others to “join the resistance.”

The Sam Adams Award is given annually by Sam Adams Associates, a group of renegade former intelligence officers, to “an intelligence professional who has taken a stand for integrity and ethics”. According to Union officials the award, which Assange won in 2010, is “very close to his heart.” Its recipient this year will be Thomas Fingar, a former US official who in 2008 reported that the Iranian nuclear missile programme had halted, frustrating the Bush/Cheney Administration.

However, in an email to Webb last night, Fingar sought to “disassociate myself from [Assange] and his actions.” He described himself as “appalled by the theft and distribution of US government documents because it violates the law, personal obligations, and professional ethics.” He also said that Assange should face the allegations against him.

Moreover there are concerns that Assange’s lengthy appearance at the presentation will overshadow the rest of the event. One union member said that she felt sorry for Fingar, whose “brave exposure of wrongdoings will be overshadowed by Assange’s appearance.” 

Christine Assange, Julian Assange’s mother, last night took to Twitter to brand next Wednesday’s Oxford Union protestors “irrational man-haters.”

The 61-year old reserved her strongest criticism for the protest’s organiser, Simone Webb, whom she accused of being in cahoots with “paid anti-Wikileaks trolls”, and of “enjoying the limelight just a little too much”. Webb subsequently blocked her.

But Ms Assange wasn’t the only tweeter to take a dim view of Webb’s protest. Harriet Rose Noons, a second-year engineer, demanded that her fellow Hertford student “stop being so childish” and advised her to stop “flaunting your opinion on Facebook and the Guardian.”

Within an hour of the Twitter war erupting the Australian website NEWS. com.au, a subsidiary of media giant News Limited, was reporting that Webb had been the victim of “social media abuse.”

Speaking to Cherwell once the online argument had settled down, Webb described the behaviour of dedicated Assange followers as “obsessive and cult- like.”

She said, “Assange’s mother and many of Assange’s supporters have a habit of accusing anyone who criticises Assange of being in the pay of some shadowy person or organisation.”

“This will not affect the protest, which will still go ahead,” she said.

Having been asked to comment further on her tweets, Ms Assange told Cherwell, “You silly, spiteful, naive, wilfully disgracefully uninformed little girls need to grow up.” She continued to protest her son’s innocence, stating, “not only a mans [sic] reputation is at stake but his life and liberty and the greater cause of global freedoms.”

 

NEWS REPORT/Tom Beardsworth

VIDEO REPORT/Xin Fan

Know Your Thesp: Georgina Hellier

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Georgina shot to Oxford thespy fame after finally singing a song that everyone knew in last term’s A Little Night Music. But it wasn’t just ‘Send in the Clowns’ that earned her widespread plaudits; her magnetic and assured presence made her the centre of attention on the Playhouse stage.

In her first term, Georgina provided welcome female punctuation in the oppressively male world of POSH, and went on throughout the year to perform in the acclaimed production of Closer (A Really Good Play about Sex) and the OUDS national tour, Machinal. 

Georgina trained on a RADA foundation course, which makes her superiority to the usual flailing student actor less surprising. This term, she’s playing the angel in Angels in America. This sounds like a pretty big deal. She’ll be the first student actor to be dangled from a wire above the Playhouse stage – so let’s hope the person holding the other end knows what they’re doing.

Burning Down The House@Babylove

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Much as we all love Park End unconditionally, and would prioritise a night there over our finals exams, nan’s funeral, or indeed the coming of the apocalypse, at some point in every Oxford student’s life comes the realisation that the Cheese Floor really isn’t the be-all-and-end-all and that Gangnam Style is actually a really bloody annoying song. For that time (which we all hope comes to you as soon as possible), there is Burning Down The House.

Burning Down The House, the brainchild of a few students from Somerville College, is the triumphant revival in Oxford of an 80s club night, and promises to offer something not to be found in any of Oxford’s more familiar night clubs. This is no Bridge Thursday. As if the Talking Heads-inspired name wasn’t reason enough to be excited, BDTH’s Facebook page promises classics from The Smiths, The Cure and Madness among many other welcome names. Add to that free 80s’ sweets, and a requests-open DJ, and it seems to us that Wednesday of 1st Week can’t come soon enough. Co-organizer Olivia Arigho Stiles spoke about the night, saying “Everyone should be hugely excited about the return of an 80s night to the Oxford clubbing scene. Expect classic 80s with a few obscure gems thrown in as well. Mullet optional”.

The organizers have also come up with the excellent idea of a Spotify playlist the morning after of everything that was played on the night, so that even for those who love the sudden moment of clarity two days later as they turn to a friend and exclaim “They played ‘Don’t You Want Me’!”, the days of trying to figure out what that song that you inexplicably have in your head are over – at least as far as Burning Down The House is concerned.

Maybe this night won’t lure everyone away from Park End, and maybe (shock horror) there are those who don’t look on the 80s with fondness, but in my opinion, you should get working on that mullet.

Focus on…new opera

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Next week, Oxford music students take to the stage in a performance of a newly written opera based on Margaret Atwood’s hit novel, The Handmaid’s Tale. Chris Garrard, music postgraduate and the composer of the piece, explains what this project is all about.

Who is involved in the opera?
For the most part it will be performed by music undergraduates taking a module in Opera and Music Theatre. However, there are other people helping out in other ways, so it is a very much a production in its own right too! It is also being directed by highly acclaimed soprano and director Lore Lixenberg.

Can audiences expect a literal retelling of The Handmaid’s Tale story?
The book jumps between different places and points in time and so it takes some time to piece the story together as you read it. Performing it word for word would take a long time. This production will be a version of the original story, trying to stay true to the spirit and essence of Margaret Atwood’s text. That said, music and theatre have a unique way of getting under the skin of a story and exploring a dimension we might not have engaged with before.

This piece is being devised in the two weeks running up to the performances. How has this influenced your composing?
I have had ideas for the piece for some time but I wanted to allow space for new ideas and approaches. With that in mind, I have composed different kinds of material. Some pieces are more extended and fixed while others are more flexible and improvisatory. The result is a general structure and shape but with plenty of room for reinterpretation by the director and
performers.

Two weeks isn’t long to create and rehearse an entire opera. Will it be ready in time?
Nearly all performances in previous Opera & Music Theatre courses have been put together in a short space of time. It is very ambitious and strenuous to work on this kind of timescale, but it does have several advantages. The cast and those involved have the opportunity to immerse themselves in the production, to live and breathe it for a week or two (although that maysound like a cliché!) The result can be a more raw and direct performance.

Who have been your main influences in the
composition of this opera?
I find it hard to focus myself on any one way of working or doing things. At times, Samuel Beckett’s plays were on my mind and at other times, some of Philip Glass’s music. There are a whole host of flavours from minimalist music, performance art, avant-garde theatre, folk music and electronic music that have been floating around my head. I have seen performances which Lore, our director, has put on before. Her style and approach has also been in the back of my mind when working on material.

Who do you think will appreciate this production
and why?
My hope is that anyone can appreciate this production or find something in it that speaks to them. There might be aspects that are familiar or reassuring,
and parts which are new or unsettling. Those that know Atwood’s book, who enjoy a powerful story or appreciate different flavours of music and theatre will hopefully appreciate this production.

The Handmaid’s Tale is being performed at the
Jacqueline du Pré Music Building on 18th – 19th
January.
Ticket enquiries: [email protected].

Hilary Drama: An A to Z

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Animals, Small and Furry
Bunny, by the writer of Skins and set in Luton, runs at the Burton Taylor in 5th
week, while Cat on a Hot Tin Roof, written by Tennessee Williams and set in Mississippi, appears in 6th week in LMH.

Colours, Primary
They Will Be Red and Blue Beard both appear in 2nd week in the Burton Taylor. With a bit of imagination, convince yourself that the colour green is represented by Chekhov’s The Cherry Orchard, running at Keble in 7th week

Kin-Killing and Athlete’s Foot
Happily, neither of this term’s Greek tragedies runs in 5th week. Antigone
gets staged at Keble and Philoctetes at Corpus, both in 6th week.

New Writing
The Burton Taylor, famous for new writing, matches these expectations this
term: virtually every week it will play host to something newly written. The
pick of the bunch will be OUDS’s New Writing Festival in 7th week, where
there’s some guarantee of quality: four shows out of 29 entries selected by Anya Reiss, a young British playwright.

Philosophy, Disney-Style
A Theory of Justice: The Musical running in 3rd week, in Keble, sees John Rawls travel back in time. See the article on the left.

Prepositions 
“In” features heavily this term; Angels in America, at the Playhouse in 2nd Week; Marx in Soho, at the Burton Taylor in 4th; and A Day in the Death of Joe Egg, at the Burton Taylor in 6th, will all star this much-beloved monosyllable.

Revenge
The Oxford Revue take theirs in 8th week in the Burton Taylor.

Serious Shakespearian Actors
Bill is unearthed again for The Merchant of Venice in 7th week at Corpus, and gets parodied by the Imps at the Burton Taylor the week before.

Tragedy
See New Writing, and Kin-Killing.

Zazzy
Cherwell Stage this term.

PPEists Pla-to the crowd

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Let’s make A Theory of Justice the musical.” “You know what, that would be a fantastic revision method!” It was with flippant comments like these, made during the run-up to PPE prelims, that A Theory of Justice: The Musical was born. A similar process gave Oxford The Aeneid: The Musical in 2007. Evidently, examinations are good for the creative spirit.

About a year later the writers, Eylon Aslan-Levy, Tommy Peto and Ramin Sabi, the last poised over a piano, sat down again. “We started bouncing back a couple of ideas for the plot, humming a couple of tunes, and then we realised that we had a cracking Broadway classic on our hands,” said Aslan-Levy.

The musical will see John Rawls, the twentieth century American philosopher, travel through time to draw inspiration for his magnum opus. He talks, or rather sings and dances, with a selection of other philosophers. All
the while Rawls tries to get the girl, Fairness, and defeat the villain, Robert Nozick, another twentieth century American philosopher.

The mention of a girl and a villain might make you think this will be like every other musical you have ever seen. That’s because it pretty much is. “The relationships are very much based on traditional Broadway, Disney-style musicals…we satirise all of those tropes,” Sabi explained. “It’s almost, but not quite, a parody of Broadway musicals,” said Peto.

“We’re also mocking the time travel genre,” Sabi said. He talked of “some inexplicable reason” why Rawls was able—and willing—to travel back through time. “But Ramin, it is explained! There’s a time vortex!” cried Aslan-Levy. In actual fact there’s an explanatory song too (demonstrated during this interview). Sabi had clearly missed one of the writing sessions. The show is not primarily an exposition of political philosophy. In fact, the closest they
come to this is in taking the mick out of Rawls’ famously tedious style of writing. Although we don’t all share the toils of being a PPE student, this is surely one philosophy in-joke that every student here will appreciate.

Not that Aslan-Levy, Peto and Sabi have written the musical with merely an Oxford audience in mind: they insist that “it would work just as well staged here or on the other side of the globe.”

As for the songs, there are “show tunes, Disney-style”, a cabaret-esque song, a rock anthem, and a barbershop quartet. Hobbes and Locke get a duet – “We knew from very early on we wanted them to have a rap battle,” Aslan-Levy explained. “Immanuel Kant has a Mariah Carey-type power ballad,” he continued. Kant will also be in drag, for which, alone, it might be worth seeing the show.

A Theory of Justice: The Musical will run in 3rd week, Wednesday to Saturday, at the Keble O’Reilly.