Tuesday, May 6, 2025
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Petition launched against ‘academic racism’ at Oxbridge

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A petition calling for Oxford and Cambridge Universities to “stop racially excluding black academics from equal job opportunities” has been launched by a group of academics, many of whom work in or have links to Oxford or Cambridge. It has attracted signatures from researchers at Russell Group universities.

A petition calling for Oxford and Cambridge Universities to “stop racially excluding black academics from equal job opportunities” has been launched by a group of academics, many of whom work in or have links to Oxford or Cambridge. It has attracted signatures from researchers at Russell Group universities.
The petition, to be delivered to the Vice-Chancellor’s Office, has the aim of “fighting and removing institutional racism” in elite British higher education (HE) institutions.
Campaign volunteer and Oxbridge alumnus Charlotte Goldenberg stressed this was “not the usual Oxbridge-bashing”, telling Cherwell, “The campaign was started by a group of current scholars, alumni, and academics from all racial backgrounds.
“These people love and cherish Oxford and Cambridge and want to see them change in the right direction on equal job opportunities for black and minority ethnic academics.”
The petition claims that black academics are “systematically excluded”, leading to Britain “losing out on highly skilled and intellectually creative black graduates”, who have “no choice” but to go and work abroad.
It describes the Equality and Human Rights Commission, a body established by the 2006 Equality Act to promote and enforce non-discrimination laws, as a ”fangless cobra” on black academics’ rights.
A spokesperson for the University of Oxford described the university as “an international community that has always thrived on diversity”, and stated, “The University is committed to increasing its proportion of black and minority ethnic (BME) staff and always particularly welcomes applications from those staff. Panel chairs must undertake a course on recruitment and selection.”
However, Goldenberg dismissed “positive action statements” as “acting covers for excluding blacks in favour of candidates with similar characteristics to existing white-dominated staff”.

The petition, to be delivered to the Vice-Chancellor’s Office, has the aim of “fighting and removing institutional racism” in elite British higher education (HE) institutions.

Campaign volunteer and Oxbridge alumnus Charlotte Goldenberg stressed this was “not the usual Oxbridge-bashing”, telling Cherwell, “The campaign was started by a group of current scholars, alumni, and academics from all racial backgrounds.

“These people love and cherish Oxford and Cambridge and want to see them change in the right direction on equal job opportunities for black and minority ethnic academics.”

The petition claims that black academics are “systematically excluded”, leading to Britain “losing out on highly skilled and intellectually creative black graduates”, who have “no choice” but to go and work abroad.

It describes the Equality and Human Rights Commission, a body established by the 2006 Equality Act to promote and enforce non-discrimination laws, as a ”fangless cobra” on black academics’ rights.

A spokesperson for the University of Oxford described the university as “an international community that has always thrived on diversity”, and stated, “The University is committed to increasing its proportion of black and minority ethnic (BME) staff and always particularly welcomes applications from those staff. Panel chairs must undertake a course on recruitment and selection.”

However, Goldenberg dismissed “positive action statements” as “covers for excluding blacks in favour of candidates with similar characteristics to existing white-dominated staff”.

When asked why they were targeting Oxbridge specifically, Goldenberg said, “Due to their international status, what happens at Oxford or Cambridge is of great concern and interest to people elsewhere. If they have always led in terms of world-changing ideas, they can be leaders in race relations.”

The University spokesperson asserted, “[We] reject any suggestions that we are systematically excluding black academics from job opportunities, or favouring white candidates. We do recognise that BME groups are under-represented at most academic levels. However, this is true across most leading universities, HE in general, and many other sectors. Oxford is taking steps to encourage applications, offer career support, and monitor progress.”

41 per cent of Oxford academic staff are foreign citizens, and 6.3 per cent of staff describe themselves as UK BME. This compares with 6.7 per cent for academics nationally, and 7 per cent for the entire UK labour force. The University reviews its Race Equality Scheme annually.

MP and former UniversitiesMinister David Lammy spoke toCherwell, indicating support for the petition and describing it as “an area of public life that needs scrutiny”. Pointing to the prominence of black academics such as Condoleezza Rice in the US, he said, “There are real questions about why we’re not seeing that mirrored, particularly in our Russell Group, and why so many black academics tell a tale of woe and discrimination in relation to their progress.”

He called on HE establishments to reassess the exercise of “good faith and goodwill” necessary in Britain, which, unlike the US, does not enact affirmative action policies.

Black students at Oxford, however, were wary of such accusations. One second year undergraduate described it as “a serious charge” and said he “never felt race was a barrier”. He said, ‘Universities simply select those best qualified for the position rather than consciously trying to exclude ‘black academics’. What is the petition ultimately seeking? US style race-based quotas? Not a good idea.”

A DPhil student remarked, “My experience with Oxford is excellent. I held a lectureship, and that opportunity had nothing to do with my colour and everything to do with many other factors – chiefly, what I could actually offer.”

Another doctoral student admitted that there was “noticeable sparseness” in staff minority ethnic representation, but highlighted related factors such as “little or no funding for aspiring students” for MAs and DPhils, which “particularly hits able BME students.”

Second year PPEist Victoria Gbadebo commented, ‘Senior academics often conform to the stereotype of the well-off, white, older man. When elite universities accept more people from less well-off backgrounds, numbers of black and minority professors should increase.’

Preview: Pergolesi – Stabat Mater

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   The opening movement of Pergolesi’s Stabat Mater was the second track I bought when I first installed iTunes, aged fourteen. The first was Right Here, Right Now. There is possibly no better testament to the great work’s emotional power than my deeming of it as a worthy successor to Fatboy Slim’s magnum opus when first compiling my music collection.

   Stabat Mater is a tremendous piece: arguably the most famous setting of the 13th century hymn describing the sorrows of Mary at the cross, it is famed for its evocative depiction of grief and in particular the heart-wrenching ascending suspensions of its opening . The performance of Stabat Mater taking place on the 27th November at St. Peter’s College Chapel should be no different; though in its early stages of rehearsal when I previewed it last Tuesday, it exhibited the potential to be a very engaging production.

   The vocal soloists are the strongest facet of this production. Harrison is superb, especially when given the opportunity to show off her commanding high register. The counter-tenor James Potter is also strongest in his middle to higher register where his tone is gentle yet rich, and highly effective in solo sections of light scoring. Potter did have a tendency to be overpowered in heavier scored passages or sections in which both voices sing together – the dissonant suspensions so characteristic of this piece would occasionally suffer due to this imbalance between the vocal parts, and a few noticeably fell short of their full piquancy – but in general the soloists displayed excellent intonation and stylistic awareness.

   The quartet and continuo provided solid accompaniment under the clear baton of David Todd and produced a reasonably blended sound with appropriate weightiness where necessary despite their small numbers. A couple of movements were undeniably rough around the edges with certain tempi and a good few notes still a little insecure; but this was, as Johanna assured me, not a polished preview performance but ‘just a rehearsal, not even a dress rehearsal’ – one of the string players told me this was the first time they had met as a group. What has been achieved even at this early stage is impressive, and the music will become more assured with rehearsal.

      With purists sure to appreciate the intimate period arrangement, and anyone less familiar with the piece likely to find it a perfect access point to the period’s sacred music, this performance should have something to please everyone. If nothing else, the candle-lit setting of St. Peter’s College Chapel should be spectacular; and the two soloists are certainly vocalists to watch.

An Interview With… Double Edge

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For tickets go to http://www.oxfordplayhouse.com/btsstudent/

A patchwork of Michaelmas Memories

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Sophie Baggott

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Ollie Robinson – “Early morning outing on the river. A very Oxford way to start the day before returning to the library to work.”

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Hannah Bond- “Living amongst the attractive buildings of Oxford it’s easy to forget there’s lots of beauty in the surrounding countryside.”

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Ieva Maniustye – “Wandering around Oxford, spending amazing days in a place where dreams can come true; best way to escape from essay crises!”

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Ieva Maniustye

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Kathleen Bloomfield – “I took this in Michaelmas of my first year (so three years ago now), but I still remember the colours: the purples and blues of the street and sky and then the yellowy light of the church.”

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Richard Nias –  ‘I’d taken my camera to london for the weekend, and I was walking back from the station trying to finish the roll so I could get it developed, and ended up taking one of my favourite pictures of the weekend.’

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Richard Nias – “I like the colours. Even though it’s quite a busy shot, the lamppost really stands out against the ugliest building in Oxford.”

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Sophie Baggott 

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Amy Rollason 

Getting it right

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In 1633, the Roman Inquisition formally charged the astronomer Galileo Galilei with heresy for holding the belief that the Earth revolved around the sun. The Church’s qualms, of course, were not with the accuracy of Galileo’s evidence or the methodology used to gather and analyze it; rather, Papal authorities saw the heliocentric model of the universe as an ideological affront. In a letter to his contemporary Kepler, Galileo complained that many of the Jesuit astronomers who objected to his theories refused even to look into his telescopes, despite frequent invitations to do so.

Though it took until 1992, the Church has reversed its condemnation of Galileo. However, the collection and presentation of objective data are still being confused with the ideological advocacy of the data’s implications. Nowhere in recent memory has this conflation been more apparent than in the United States presidential election.

Former baseball statistician Nate Silver made a name for himself by correctly predicting the winner in 49 of 50 states in the 2008 election – as well as the winner of every senate race – on his blog FiveThirtyEight. The principle difference between his method and those utilized by nearly every other pundit and talking head in the political media is that instead of relying on “gut feeling” and other subjective cues, Silver relies solely on numbers.

Amazingly, the stunning accuracy of Silver’s 2008 predictions did not cause other pundits to rethink their methodologies and phase out forecasting based on subjectivity and superstition. In 2012, the reality was quite the opposite. When reliant on subjective cues, a forecaster can use a prediction to reaffirm his or her ideology, and that’s exactly what happened. Republicans pundits predicted a Republican win, not because they had access to different data, but instead because that’s what they wanted to happen.

Former Reagan speechwriter Peggy Noonan made the following case for a Romney landslide in a Wall Street Journal blog post: “All the vibrations are right.” She asks, “Is it possible this whole thing is playing out before our eyes and we’re not really noticing because we’re too busy looking at data on paper instead of what’s in front of us?” Rather than data on paper, she cites the number of Romney yard signs she saw on a trip to Florida, the energy of the Republican’s supporters at rallies, and Obama’s distracted look at a charity dinner.

Countless other conservative media figures made similar predictions. “The average pollster is either biased or has terrible gut instincts” wrote Wayne Allyn Root in the Washington Times. “I have a history of predicting political winners and losers without ever taking a poll. I just take the pulse of the thousands of people I know… What I see and hear is a coming Mitt Romney landslide.”

Patent dismissals of polling data allowed these pundits to make whatever prognostications best served their belief systems. Many high-profile members of the conservative media ignorantly assumed Silver was doing the same. Like Rome to Galileo, they likened his objective data to an ideological manifesto based on the data’s implications. Because Silver had long predicted an Obama win, conservatives attacked Silver as a partisan demagogue, attempting to advance liberal agenda through his predictions. Referring directly to Silver, MSNBC’s Joe Scarborough remarked that “anybody that thinks that this race is anything but a tossup right now is such an ideologue, they should be kept away from typewriters, computers, laptops and microphones for the next 10 days, because they’re jokes.” Scarborough cites his “gut” in a Politico column as a source for the tossup analysis. On top of disputing the possibility that Silver would repeat his 2008 success, UnSkewedPolls.com’s Dean Chambers noted that “Nate Silver is a man of very small stature, a thin and effeminate man with a soft-sounding voice that sounds almost exactly like the ‘Mr. New Castrati’ voice used by Rush Limbaugh on his program.” Chambers predicted a comfortable Romney win. David Brooks of the New York Times charged, “If you tell me you think you can quantify an event that is about to happen… I think you think you are a wizard.”

Legitimate complaints about Silver’s methodology were vanishingly rare. The reactions to Silver’s predictions betrayed a fundamental misunderstanding of data and mathematics. Comments indicating poor comprehension of statistics were common, and those that conflated data with ideological advocacy were ubiquitous.

Brooks got it wrong. Silver was not the self-assessed wizard. If a pundit could make an accurate prediction based on “vibrations” or “gut feeling,” a letter from Hogwarts might be in order. No, Silver’s predictions were not the stuff of magic. He simply aggregated polling data and converted the figures into probable electoral votes, with no room to factor in either his personal politics or his indigestion.

And yet it moves. The Earth revolves around the sun, and Silver correctly predicted the winner of all 50 states. This was a landslide in the contest of mathematics versus superstition. Gut feelings most likely will not graciously concede defeat anytime soon, but there are glimmers of progress. Sales of Silver’s book The Signal and the Noise: Why So Many Predictions Fail – But Some Don’t have skyrocketed in recent days. Quantitative election analysts Drew Linzer and Sam Wang, whose predictions proved almost as accurate as Silver’s, have also benefitted from increased visibility. Perhaps a heightened interest in data science will afford the public a better understanding of predictions. Most importantly, Obama’s affordable healthcare laws should allow more Americans to cure those curious premonitory feelings of the gut.

 

Photoshoot: Tales of Corruption

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Diary of a Drama Queen

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I have spent many an hour roll­ing up and down the spine – mine and others – and even more rolling along the floor. It took two weeks to perfect the art of walking at one sixty fourth of the average walking speed – an art I have learned best not to practice on the tube during rush hour. I am the flame, the tree, the microbe. I have touched my fellow course mates in places a third date wouldn’t warrant.
We roam the corridors like an army, each one in black – you can never have enough black – all armed with a bamboo stick, a yoga mat and an energy drink. The cafeteria is not allowed to sell any dairy or refined sugar. This is of little worry when the majority of your lunch breaks are spent in the local pub – that is, if your director remembers to give you one at all.
But Central obviously has good intentions to improve our level of wellbeing, and at first I am excited to see a Friday massage class appear on my timetable. But I soon realise that a drama school “Fri­day massage” involves walking on backs, a lot of walking on backs. At 5”1 and 95lbs it is hardly de­sirable to have a 6”3 male standing on my poor spine, however “But oh” it may be.
I spent my secondary school years as an over-achiever with a scholar­ship and yet I am struggling to in­habit the mentality of a lemon. Our library closes at five and we write one single essay per year. That said, I have never been so over worked or so mentally drained; turns out it is easier to write an essay then prepare a cheetah for animal studies – who would have thought? My classwork involves running until I collapse, hardening my shell, being constant­ly criticised, constantly exposing and stripping away all that makes me – well me, and through all this somehow realising how grateful I am to be one of those special few. But I take comfort in the thought that however much they push me, how­ever stupid the task, however futile – be it nudity or bin bag or the classic sour lemon – to know I am one step closer to becoming an approved per­forming monkey. Well, let’s just say it makes the bin bag cum leotard worth it.

I have spent many an hour roll­ing up and down the spine – mine and others – and even more rolling along the floor. It took two weeks to perfect the art of walking at one sixty fourth of the average walking speed – an art I have learned best not to practice on the tube during rush hour. I am the flame, the tree, the microbe. I have touched my fellow course mates in places a third date wouldn’t warrant.

We roam the corridors like an army, each one in black – you can never have enough black – all armed with a bamboo stick, a yoga mat and an energy drink. The cafeteria is not allowed to sell any dairy or refined sugar. This is of little worry when the majority of your lunch breaks are spent in the local pub – that is, if your director remembers to give you one at all.
But Central obviously has good intentions to improve our level of wellbeing, and at first I am excited to see a Friday massage class appear on my timetable. But I soon realise that a drama school “Fri­day massage” involves walking on backs, a lot of walking on backs. At 5”1 and 95lbs it is hardly de­sirable to have a 6”3 male standing on my poor spine, however “But oh” it may be.

I spent my secondary school years as an over-achiever with a scholar­ship and yet I am struggling to in­habit the mentality of a lemon. Our library closes at five and we write one single essay per year. That said, I have never been so over worked or so mentally drained; turns out it is easier to write an essay then prepare a cheetah for animal studies – who would have thought? My classwork involves running until I collapse, hardening my shell, being constant­ly criticised, constantly exposing and stripping away all that makes me – well me, and through all this somehow realising how grateful I am to be one of those special few. But I take comfort in the thought that however much they push me, how­ever stupid the task, however futile – be it nudity or bin bag or the classic sour lemon – to know I am one step closer to becoming an approved per­forming monkey. Well, let’s just say it makes the bin bag cum leotard worth it.

Preview: The Maids

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The Maids is a perplexing and perverted depiction of familial and servile relationships. The Maids tells the story of two sisters so disgusted by the excesses of their mistress that they seek to ruin her life and then kill her. Christopher Ad­am’s interpretation of The Maids ful­fils all expectations of eccentricity. The proximity of the actors in the Mi­chael Pilch Studio is not only unnerv­ing but also enticing, drawing you in to the strange and sadistic games of the sisters, Solange and Claire.

The relationship demonstrated by Zoe Bullock, who plays the role of Solange, and Hannah Gliksten, who plays Claire, is fascinating and disturbing. They illustrate perfectly the unconditional love that the sisters have for each other and the deep hatred that they share for their mistress, and paradoxically for each other.

Particularly unsettling was how close the actors came to each other when indulging in their role plays. Gliksten and Bullock often came face to face and seemed to be continuous­ly stroking or beating each other. At points during the preview the actors played on the ambiguity between love and hate, creating an air of in­cestuous sexual tension between Claire and Solange. This atmosphere of corruption was both intriguing and distressing and kept a structur­ally simple play interesting.

Although the preview only showed me a couple of scenes and the play was still at an early stage in rehears­als, it was clear that The Maids has the potential to be a thoroughly stimu­lating play. The tension between the characters is presented exception­ally; the acting superb.

Personally, I found the ability of Gliksten and Bullock to play the mistress and each others’ characters remarkable. Not only was Gliksten able to demonstrate the differences between Claire and Madame but she also skilfully exposed Claire’s de­cline into panic and chaos. Alice Por­ter was also convincing in her por­trayal of Madame. Porter juggled the flagrant deficiencies of her character with obvious vulnerability and hints of kindness beneath the cruelty.

Unfortunately, as the cast are still two weeks away from their first per­formance, I was not able to see the set in all its glory. The Michael Pilch Studio is due to go through a trans­formation before eighth week, with many more props yet to arrive or even be made. The director enthused about the web that will be draped around the stage and infiltrated with props that hint at the devilish actions of the maids. Adams also ex­plained that a huge flour circle that will be created in the middle of the stage.

Even with an incomplete set, it was clear that the play had potential. With the addition of extra props to emphasise the themes of betrayal and suspicion the play will be capti­vating for its audience.The Maids will be a t hought-pro­voking play, but be warned, it may haunt you afterwards.

FIVE STARS

Review: Laughter Track

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I am a ridiculously nervous audience member. Pavarotti could walk on stage before me and I’d be waiting for him to miss a note, and John Cleese could whip out his parrot and I’d be praying people laughed. So, sat in the front row for The Awkward Silence’s latest Laughter Track evening, the irony of the comedy duo’s name was certainly not lost on me.

 However, as soon as the hosts/comperes/all around funnymen Ralph Jones and Vyvyan Almond took to the stage, their assured performance, comedic chemistry and variety of style let the audience know we were in for some fun. Which is what you want at a comedy night, really. Laughter Track, a regular event at the Port Mahon, takes the form of a comedy showcase featuring stand up and sketch, interspersed with material from the hosts. The format is a solid one, throwing in slapstick, wordplay, and that opiate of the masses, observation, to keep the crowd engaged and willing to respond to the performer in front of them.

 Despite my passive aggressive reference to observational comedy, the first two performers won their fair share of laughs, albeit the polite, scattered kind. Jack Barry is an endearing chap whose self deprecating, self-referential style was entertaining if well worn. Indeed he was so observational that one of his jokes had been made in the bar ten minutes earlier. I laughed at the coincidence more than the comedy. Following him was Matt Hobs, a comedian with glimpses of the surreal which were sadly negated by everything else he did on stage. But alas, we were gifted a post-interval Paul Fung, a Laughter Track regular. Confident and cool, he’s the type of comic you want to befriend, whilst simultaneously making you hate yourself for fitting the character in a joke he just made. See his material on students and their misuse of irony…

 However, it was the art of sketch which won the crowd in the end. (Hurrah!) The sometimes tricky form was realised brilliantly by a brief stint from The Oxford Revue, and by the hosts themselves. The Revue were both witty and silly, but above all, polished. Good jokes, good timing, and very fresh. It was clear however that ‘The Awkward Silence’ are a comedic cut above. Written by Jones and performed by both he and Almond, every sketch was a hit, the audience breathing a sigh of relief whenever they came back on stage. From a scene with a wonderfully macabre door to door hummus salesman, to a tonally terrific conversation between Bob Dylan and his father, the sketches are innovative and quite simply, very, very funny.

‘The Awkward Silence’ are a pair to keep an eye on, bringing together a myriad of influences and their comedic peers to present us with an evening and a fiver extremely well spent. Now be sure to get yourselves down to their next shindig.

 FOUR STARS

 

Review: Jane Eyre

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When I studied Jane Eyre at school, I was particularly taken by the references to fire in the novel, and their symbolic representation as love, passion and unrestraint. My teacher was quick to tell me that I was wrong; fire, I was told, was an insignificant aspect of the novel. It’s pleasing to go to a play where  Eyre’s fiery intensity is given its due importance. 

However, the success of Jane Eyre extends far beyond that. Perhaps what most sets the play apart is the innovative presentation of Bertha Mason (Joanne Murray), who is portrayed in the beginning of the play as an invisible alter ego to Jane Eyre (Chloe Gale), and spends the rest of the play gesticulating, scowling and screaming at the back of the stage, locked in her Red Room. The play thus explores the relationship between Bertha and Jane Eyre in an original, entertaining fashion, by shedding a more sympathetic light on the character of Bertha than Bronte herself grants her, while serving as a depiction of Jane’s inner thoughts as the play unravels. This reaches a powerful climax towards the end of the play as Alex Stutt’s wonderfully interpreted St John sermons Jane as Bertha simultaneously sets fire to Thornfield. In addition, Chloe Gale’s transition from the young, uncertain Jane Eyre to the confident woman that she becomes is both convincing and admirable. 

Bronte’s novel is a hard one to adapt to the stage, and thus Polly Teale’s success in doing so is impressive. However, there are parts in the play, where, through an attempt to include all the details in the novel, the scenes sometimes seem fractured, and often there is insufficient time for real relationships between the characters to develop. Moreover, in a play which sticks relatively faithfully to the original text, the use of modern music sometimes came across as out of place, and quite frankly, repetitive. 

A strong performance by Phillip Gemmell presents Rochester in all his volatile, cruel and manipulative nature, while his softer side is also skilfully portrayed. Lucy Shenton shone in her brilliant transformation from Mrs Reid to Mrs Fairfax, two very different characters which she approached with confidence, while Alice Inglis, gushing with youth, gave life to both Adele and Helen Burns. Finally, Adam Diaper authoritatively depicted both Mr Brockelhurst and Lord Ingram with humour and energy. 

Overall, an impressive, all-round performance by the cast in a play which is hard to to put on but which is tackled skilfully and creatively to produce a refreshing and engaging presentation of Bronte’s novel. Definitely worth seeing. 

THREE STARS