Thursday, May 8, 2025
Blog Page 1595

Interview: Michael Crick

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Oxford is full of over-achievers. Everyone knows one, the person who will not rest until they’ve ascended the top societies; the suit who walks around town with the air of the Cabinet Minister they will one day become.

Michael Crick, previously Political Editor of Newsnight, and now Channel 4’s Chief Political Correspondent, was of this sort. He was an absolutely massive hack, editing Cherwell, chairing the Democratic Labour Club and becoming President of the Oxford Union – to which he returned last Thursday to participate in the Media and Politics debate. He’s a little embarrassed about it now – “It was awful. It was office accumulation for the sake of it” – but not at all remorseful. And why should he be? For it helped launch a glittering career in political journalism.  

After Oxford Crick joined ITN, helping to launch Channel 4’s news team in 1982, and then working as its Washington correspondent, winning an RTS award in 1988 for his coverage of the Bush-Dukasis Presidential Election. From there he swapped to the BBC, first with its flagship investigative programme Panorama and then with Newsnight, becoming its political editor in 2007. But last year he hopped back to 4; he is now the Chief Political Correspondent of the network he joined as a lowly trainee three decades ago. He is famous for the political ambush, the prickly question and the chase. His greatest hits are when he does all three. When Iain Duncan Smith faced a leadership crisis, he delivered a speech at Party Conference famous for the line “The quiet man is here to stay”. Ironically he refused to take questions after the speech. Crick followed him to the next event, from which, as Duncan Smith left, he yelled: “Aren’t you taking this quiet man thing a bit far?” It is in no small part thanks to Crick that we have political satire like The Thick of It. 

The job of political correspondents is to follow the day-to-day dramas that typify public life, and to analyse the characters of their subjects. Extraordinarily however, given the enormous pressure they exercise on the political class, what is often overlooked is the character of the journalists themselves. 

Crick exudes the same characteristics in person that he gives out on screen. He is sharp, boisterous and funny. Opening his speech at the Union, he pivoted around the despatch box to address the President, John Lee, to deliver a phoney tribute that concluded with a description of the relationship between the Union President and Standing Committee as akin to that between a “villain and his sheep”. He is totally absent of any deference to the Establishment, for the simple reason that he had already outgrown it by the age of 22. But he’s very different from Jeremy Paxman, to whom this description could also be attributed, because he doesn’t take himself all that seriously. He is entirely prepared to accost politicians in the street, or chase them down corridors at party conferences, to demand an answer to the question of when exactly they stopped beating their wives.

The reason Crick totally lacks humility with politicians is because he knows the game so intimately from his Union days. Alan Duncan, the International Development Minister, was a contemporary – beating him to the Union Presidency on Crick’s first attempt. He learnt from that, and won next time around. “The best elections” he tells me, “were when you frightened off the opposition so there wasn’t any, and there were a few of those.” This sound very much to be the school of Robert Mugabe electioneering, but then again it is the Union. During his campaign Cherwell “gave me a two page spread [fully one third of the entire paper in those days] – it was basically a manifesto for my candidacy.” Given the opprobrium regularly poured by the student press on the Union nowadays, I find this hilarious. But just as the country at large treated politicians with greater reverence in those days, so the Union was seen then as more of a serious focal point of student life.

And Crick has had no small role in smashing that wholly undeserved reverence. He clearly loves the job, applying the same skills he acquired as a student hack to making politicians squeal in front of camera. What makes a good hack, I ask? “It’s about getting people to do things when you don’t actually have much power, just the power of ambition” is the straightforward reply. The same applies to journalism. After the Leveson Inquiry the media industry is currently on its knees, but the importance of holding power to account has never been more important. 

Predictably perhaps, Crick’s familiarity with politicians has made him totally immune to their charms and suspicious of ideology. He left university firmly in the Labour camp, though “to the right of 1980s Labour”, a natural stance for a grammar school and Oxbridge lad of that generation to take. This soon changed. “You have an opinion-ectomy when you go into broadcast journalism” he says very matter-of-factly, though print journalism is of course an entirely different kettle of fish. At Oxford he had “always intended journalism to be the means into politics”, but when the opportunity to stand in a by-election in a safe Labour seat presented itself, he turned it down and has “felt liberated” ever since.

More than that though: thirty years of close association with Westminster life has hollowed out the politics in him. As a leading political observer he is constantly asking ‘how’, ‘why’ and ‘when’, but in doing so he has unlearnt and rejected the ‘ought’. It’s dispiriting to hear him say, both because of what it tells you about the cynicism of Parliament by those closest to it and the implications of that: that we’re going to continue to see dull humanoids occupy Parliament. So apathetic is Crick that he “[doesn’t] vote at all, partly because of the job I do but partly I don’t know what I think any more. The only view I have now is that I’d bring back capital punishment, but only for people who drop chewing gum on pavements.” 

What words of wisdom does he have for those who want to follow him into media career? “Build alliances” is his answer, “stay in touch with people you meet at Oxford.” The implication I take from this is that journalism is nepotistic – if you look at how many journalists had parents or close family in the profession then you’ll understand how true this remains. Crick however claims never to have obtained a job through contacts, but as the industry contracts and graduate schemes become scarce, they will be increasingly important. “Being a journalist employs a narrow range of skills” is his last piece of advice, so it’s vital “to master those skills” and develop a specialism in the area you want to cover.

That powerful people go to great lengths to avoid Crick is a testament not only to how well he does the job, but to how much a spirited and informed democracy relies on quality, investigative journalism. As Newsnight, Crick’s old haunt, has been thrown into crisis in recent weeks, that point should be made with all the more force. Whilst I can imagine despising the nakedly ambitious Crick as a student, the grown-up version is almost impossible not to warm to. In that sense the message for today’s generation of hacks is far from bleak.  

Oxford academics criticise Higher Education Reform

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A coalition of the UK’s most high-profile intellectuals has launched a campaign to protect universities from the influence of the state and the market. The Council for the Defence of British Universities held its inaugural meeting on Tuesday calling for new members, funding and ideas.

Alan Bennett, Richard Dawkins, Lord Bragg, Lord May of Oxford, Dame A S Byatt, Sir David Attenborough are amongst the 65 writers, academics and broadcasters who have jointly founded the Council, many with strong ties to Oxford.

The council criticised the reform of Higher Education in England, particularly the Coalition’s decision to cut all direct state funding for arts, languages and humanities courses whilst continuing to subsidise science, technology, engineering and maths.

Sir Keith Thomas, historian and fellow of All Souls College, was primarily responsible for drawing up the Council’s manifesto which highlights the need to defend universities’ autonomy, to free scholarship from short-term economic concerns and to make university education accessible to all students who can benefit from it.

Professor Thomas says “I find much that is repugnant in the treatment of our universities by the present government and its recent predecessors,” criticising “the ever-increasing government regulation of academic life.”

According to Sir Thomas, “The very purpose of the university is grossly distorted by the attempt to create a market in higher education. Students are regarded as ‘consumers’ and encouraged to invest in the degree course they think most likely to enhance their earning prospects. Academics are seen as ‘producers’, whose research is expected to focus on topics of commercial value and whose ‘output’ is measured against a single scale and graded like sacks of wheat.”

Writing in the Times Higher Education Supplement, he speaks of a “deep dissatisfaction which pervades the university sector.” For Sir Thomas, “the understandable concern to improve the nation’s economic performance, coupled with an ideological faith in the virtues of the market, has meant that the central values of the university are being sidelined or forgotten.”

“Scientists and scholars should be permitted to pursue knowledge and understanding of the physical and human world in which we live and to do so for their own sake, regardless of commercial value,” he added.

According to Baroness Deech, a founding member of the council and former Principal of St Anne’s College, “University education is for the public good, regardless of who pays for it, and ought not to be put to gain political advantages.”

She feels the government is tightening its grip “over entry standards, the right sort of students, fees and scholarships, the size of the student population and the quality of teaching provision.”

At the inaugural meeting, Professor Gordon Campbell FBA and member of the Steering Committee, identified the need, “in the first instance, to articulate what has gone wrong, to understand how one of the world’s greatest systems of universities has come to be threatened by managerialism and oppressive layers of bureaucracy.”

However Tom Wakeford, Senior Research Fellow at University of Edinburgh, writing in The Telegraph explained “we are no longer in the world of the 1980s BBC comedy drama A Very Peculiar Practice, when the arguments could be understood as a simple case of academic freedom versus corporate greed.” 

According to the Professor Wakeford, the claim that academics know best “is both out of date and damaging. Some 17 billion pounds of public funds will be spent on universities this year. Such a level of resources can only be morally justified if built on the basis of a dialogue with the public.” 

David Willetts, the Minister for Universities and Science, welcomed the launch of the new independent body. “The Council will create welcome space for well-informed debate about the future of higher education.”

 The Minister countered the Council’s criticisms, “To see the new Council as simply an attack on the government of the day misses the point. It is important that people understand what our reforms are doing. They save public money while simultaneously protecting university income.” 

According to Mr Willetts, Britain’s universities are world-class and the Council will help them remain so. “Education is already a great British export industry. We should be celebrating its vigour and diversity and exporting it across the world.”

Charlotte Greene, a second-year from Exeter commented, “as the government no longer pays for student fees it should have proportionally less influence within universities.”

Nicholas Evans a graduate student from Wadham, thinks the Council “is a significant development, which will help to highlight the extent of the attacks the system of public education in this country.”

“The attempts by the government to force marketisation, stratification and privatisation through the sector need to be exposed and challenged,” he explained.

Evans, a supporter of the Socialist Worker Student Society, added that “The movement to oppose the government benefits from initiatives such as this. However, it also needs students and staff to organise together from below.”

250 year-old opera revived

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The Sheldonian Theatre hosted the first complete performance of Jean-Philippe Rameau’s opera, Anacréon (1754), in over 250 years. It was revived by Jonathan Williams, Director of Music at St Hilda’s, who reconstructed the score from manuscripts scattered around Paris.

When asked why he began the project, Wiliams told Cherwell, “The sources were incomplete and little was known about the music or its composition – it hadn’t even been published – so it presented some interesting challenges to the novice musicologist. The first was to arrive at a definitive version of the score. The autograph score hasn’t survived and none of the surviving musical sources is complete. It was quite a puzzle!”

The piece was performed by the Orchestra of the Age of Enlightenment. Williams claimed that they were the obvious choice for the project, saying, “More than any other orchestra I know, the players of OAE combine an open-minded approach towards scholarship with an unparalleled virtuosity and creative enthusiasm and flexibility. So to perform Rameau with OAE, world-class soloists and the Choir of Magdalen College at the Sheldonian is a dream come true! Rameau is seldom performed in the UK so Friday’s concert was an opportunity relished by performers and the audience alike.”

Jonathan Cross, Chair of the Musical Faculty Board, commented, “This was a thrilling event for all involved – performers and audience alike. The rapturous reception said it all. The musicians of the orchestra made the music dance. The soloists performed with Gallic verve. It was a true coming together of musical scholarship and practice. The memory of the evening will linger for a long time.”

Eric Clarke, who was Chair of the Faculty Board when the idea was first proposed, was equally impressed by the musical, saying, “The performance was a fantastic success: not only did the music turn out to be wonderful (and thus quite wrongly neglected for over 250 years), but the playing and singing were electrifying – as the Sheldonian’s packed audience demonstrated with their rapturous reception.”

Students who saw the opera were equally thrilled. Jem Lowther, second year musician and Choral Scholar at Corpus Christi, added: “The whole production was a wonderful piece of musical theatre, with panache, precision and flair. In the theatre, it felt as though a part of history was being rejuvenated on stage. To be there, for that moment, was magical.”

Bronze Age arrowhead found in Oxford

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An excavation at Minchery Paddock, near the Kassam Stadium, which ended last weekend after over a month of digging, has uncovered a Bronze Age arrowhead, estimated to be around 4,000 years old, among other findings of important archeological interest. 

The excavation constitutes a major collaboration between the Oxford University Department of Continuing Education and Archeox, the Archeology of East Oxford Community Project. 

The original aim of the dig was to explore the area where Littlemore Priory once stood, a nunnery established around AD1110 which was closed in 1525 under Cardinal Thomas Wolsey during the Reformation. A large amount of medieval pottery as well as decorated glazed floor tiles were discovered, while various stone walls, floors and hearths were also found by the archeologists, suggesting that the nunnery was much larger than previously thought. 

Project Director Dr David Griffiths commented that “we expected to find traces of the medieval priory, but perhaps not such well-preserved walls or with so much pottery, animal bone and other finds.” 

However, according to Dr Griffiths the “real surprise” came with the discovery of a number of prehistoric flints, including a Bronze Age arrowhead as old as 4,000 years old, which could hint to prehistoric settlements in the area. In addition, Roman pottery and tile finds point to the likelihood of Roman presence in the past. 

Dr Griffiths wished to highlight the role of volunteers in the excavation, over 500 of whom were involved in the project, pointing to the fact that “volunteers are part of the whole research process – doing more or less everything on site from digging to recording.’ Volunteers include anyone from members of the local community to Oxford University undergraduate and postgraduate students. Moreover, Dr Griffiths stressed the work of the University in “engaging with the community” through this and other projects in conjunction with the Department of Continuing Education. 

Oxford University Vice-Chancellor Andrew Hamilton, who visited the site last Friday, agreed, saying that “it is so important that the University and the local community maintain an active and close relationship, and the fascinating discoveries of the excavation are testament to what can happen when town and gown work together.” 

Archeox and their volunteers will now prepare a research report of their findings to be released later in the year, and future excavations at the same site have not been ruled out in the coming years.

Restaurant Review: At Thai vs Shanghai 30s

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AT THAI

 

For those unaccustomed to the long-established Oxford tradition of crewdates, they can seem a daunting prospect. Your most mortifying encounters are relayed through incessant sconces. Inexplicably, your companions develop an implausibly accurate aim with pennies – that bottle of wine you smugly picked up half price in Tescos is less appealing when downing it. Surviving that, you might be stranded in no man’s land – or, the end of the table – with only the boy whose conversational abilities are limited to gash, lash and rugby. Despite this glowing account, crewdating is in fact a very entertaining part of the Oxford experience; At Thai, along with a few other stalwarts, is an establishment that facilitates the crewdate experience no end.

 

As a crewdate host, it does what it says on the proverbial tin. It provides a lively atmosphere, where shouting, chanting, sconcing and standing on the chairs are accepted, indeed often encouraged. However, those looking for a quality Thai meal should prepare for a somewhat uninspiring and lacklustre offering. The set menu consists of an admittedly abundant quantity of plain rice, alongside a variety of noodle and meat dishes. One dish, with prawns and noodles, I would consider buying outside the context of a crewdate. The rest were merely tolerated, in accordance with the ‘I’ve paid for it so I might as well’ school of thought. Here, bland flavours prevail.

 

In At Thai’s defence, their efforts far surpass the efforts of the now defunct yet still infamous Jamals; kudos to anyone who completed the latter’s chicken korma, a suspiciously yellow liquid sporadically interrupted with small pieces of rubbery meat. At least in my experience, while At Thai’s food may drift into the realms of the mediocre, it provides a good enough service and atmosphere – particularly when faced with a bunch of rowdy students. Frankly, by the end of your meal, you’ll be too drunk to notice or care anyway.

 

SHANGHAI 30s

 

I won’t beat about the bush; this is an absolute hidden gem on St Aldates. Shanghai 30s boldly claims they are ‘Oxfords best Chinese’, and I don’t doubt it. An opulent interior, pleasant atmosphere and – crucially – delicious and genuine food combine to lend weight to that assertion. The décor aims to emulate 1930s Shanghai, and whilst its authenticity might be questioned, its overall sleek and chic feel definitely adds to the ambience.

 

And now to the food: I am still engaged in an unremitting, nay all-consuming affair with their crispy chicken rolls, wrapped with ham and asparagus in a peanut satay dressing. Whilst my culinary horizons may remain narrow, the menu boasts a wide range of choices; there is plenty of choice for the vegetarian and the meat-eater alike. I can highly recommend the vegetarian platter, a melee of stir-fried beancurd, mange tout, black mushrooms and spring onions. The biggest issue this restaurant presents seems to be selecting the dish, since you are overwhelmed with equally delicious sounding dishes of fish, seafood, chicken, duck, beef and pork, variously fused with rice, noodles and soups.

 

Granted, you do pay slightly more for the quality – however, the emphasis being on ‘slightly’, as the food here is far from extortionate, and certainly within the reaches of a student budget. Anyone looking for an excellent Oriental meal in the heart of Oxford, look no further.

Bonfire Bonanza

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Behind the Scenes: Volpone XXX

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Marketing is tough. Marketing for busy, fickle students is tougher. Marketing for busy, fickle students who are over-saturated and under-whelmed by flyers is toughest. But, it’s a worthwhile challenge.

There are a couple of options of how to market a play for Oxford students.

a.       The Phallus. Everywhere and all the time with the in-out missionary job of printing a shed-load of flyers and posters.  

b.      The Vagina. Complex, hard to figure out, but once conquered, very rewarding. More recent examples include tarot cards, origami swans and floor chalking.

c.       The Arse-hole. “Only 35 tickets left. Get yours now!” Right. It’s 0th week.

Or, you put these options together in a variety of exciting positions.

The first line of our marketing plan was: “sex is a highly marketable asset.” Cooped up teenagers in close proximity with no parents result in copious amounts of copulation. Our way to exploit this without causing public outrage (except perhaps from the Christian Union) is customised condoms. The theory goes that because a condom is so useful, it won’t get thrown away like the plethora of paper flyers destined for the recycling bin. Throwing a condom away would be like throwing away a banana or an umbrella or a USB pen.

We have 500 customised condom matchbooks which are being dispersed like sexually transmitted wildfire around Oxford as you read. Condoms, however, are rather small, and putting a flyer’s worth of information on a prophylactic seemed ridiculous. So we reneged to partake in option a. But, we’re avoiding the missionary position. Volporne XXX is set in the pornography industry, an industry whose marketing is notorious for the high calibre of its witty titles and sophisticated artwork. It’s an industry whose idiosyncratic branding gave us the opportunity to use our flyers as  “movie posters” for our hero Volporne’s latest hit productions.

 Cue ‘Cumbeline’, ‘Tits Andronicus’, ‘Measure for Pleasure’, ‘It’s Okay She’s a Whore’ and ‘A Midsummer Night’s Cream.’ And a huge discount from Stuprint who, after being sent the artwork, replied with an offer of free express delivery and some wonderfully unprofessional suggestions of their own:“CoriolANUS” and ‘Homeo and Juliet.’

So why have we chosen to put this classic play in a setting so seemingly incongruous, and so full of potential for gross miscommunication? Because we’re pretty sure people will be surprised by just how congruous it is, and by the genius of a script that simultaneously illuminates and is illuminated by its modern context. We’re willing to trust that people will make up their mind about this interpretation only once they’ve seen the glowing set and the dance routines, the jazz band and the unique score, the gripping plot and the complex characters. After all, we aren’t staging a porno. Volpone is a dark comedy written by Ben Jonson, one of the heftiest titans in the canon of English Literature, which we are setting in the pornography industry. And it’s pronounced Vol-poor-nay. Not Val-pohn, not Vole-porn. There are no voles. 

Volpone XXX is in the Keble O’Reilly in 7th Week

 

Marketing is tough. Marketing for clever, arsybusy, fickle students is tougher. Marketing for clever, arsybusy, fickle students who are over-saturated and under-whelmed by flyers is toughest. But,  it’s a  fun worthwhile challengejob..

 

There are a couple of options of of how to market a play for Oxford students.

 

a.       The Phallus. Everywhere and all the time with the in-out missionary job of printing a shed-load of flyers and posters. 

 

b.      The Vagina. Complex, hard to figure out, but once conquered, very rewarding. More recent examples include tarot cards, origami swans and floor chalking.

 

c.       The Arse-hole. “Only 35 tickets left. Get yours now!” Right. It’s 0th week.

 

Or, you put these options together in a variety of exciting positions.

 

The first line of our mMarketing planbid was: “sex is a highly marketable asset.” Cooped up teenagers in close proximity with no parents result in copious amounts of copulation. Our way to exploit this without causing public outrage (except perhaps from the Christian Union) is customised condoms. We are banking on theThe theory goes fact that because a condom is so useful, it won’t get thrown away like the plethora of paper flyers destined for the recycling bin. Throwing a condom away would be like throwing away a banana, or an umbrella or a USB pen.

 

We have 500 customised condom matchbooks which are being dispersed like sexually transmitted wildfire around Oxford as you read.

 

Condoms, however, are rather small, and putting a flyer’s worth of information on a prophylactic seemed ridiculous. So we reneged to partake in option a. But, we’re avoiding the missionary position. Volporne XXX is set in the pornography industry, an industry whose marketing is notorious for the high calibre of its its witty titles and sophisticated artwork. And, It’s  an industry whose idiosyncratic branding gave us the opportunity to use our flyers as  “movie posters” for our hero Volporne’s latest hit productions.

 

Cue ‘Cumbeline’, ‘Tits Andronicus’, ‘Measure for Pleasure’, ‘It’s Okay She’s a Whore’ and ‘A Midsummer Night’s Cream.’

 

AlongsideAnd a huge discount from Stuprint who, after being sent the artwork, replied with an offer of free express delivery and some wonderfullyhighly unprofessional suggestions of their own:“CoriolANUS” and ‘Homeo and Juliet.’

 

But, heading down the dark dank alleyway of pornography has not been an easy ride all the way through. We had a very awkward moment when a bold auditionee sent in some explicit photos, we’ve seen our “Do you want to be a Porn star’ audition flyers in the bin of the EFL and we’ve had to significantly tailor the subject heading of our mail-out for schoolsemails because theyit wereas, unsurprisingly, getting shot down by sex-hating spam filters. filtered into spam.

 

And, of course, some people just don’t get it.

We’ve been at the bottom of OxStu’s drama ruler twice because they thought our marketing left a “bitter taste in the mouth. I’d be quite worried if it didn’t. We’re not promoting a classy musical or a Miller play. We’re marketing a production set in the pornography industry, which, more often than not, leaves a bitter taste in more than just its reviewers’ mouths. 

 

So why have we chosen to put this classic play in a setting so seemingly incongruous, and so full of the potential for gross miscommunication? Because we’re pretty sure people will be surprised by just how congruous it is, and by the genius of a script that simultaneously illuminates and is illuminated by its modern context. We’re willing to trust that people will make up their mind about this interpretation only once they’ve seen the glowing set and the dance routines, the jazz band and the unique score, the gripping plot and the complex characters. After all, we aren’t staging a porno. VolponeAlthough our marketing may be focussed on our adaptation of the text, we’d like to make clear that the play itself, in answer to the questions that we’ve been asked, is not porn. It’s is a dark comedy written by Ben Jonson, one of the heftiest titans in the canon of English Literature,a contemporary of Shakespeare, which that we are setting  in the pornography industry. AndAnd it’s pronounced Vol-poor-nay. Not Val-pohn, not Vole-porn. There are no voles.


 [BI1]What does this bit say? That porn is just really bitter for everyone?

 [KE2]This is the paragraph I’m worried about. I’m not sure about using their pun and I’m not 100% about sentence structure. It might sound weird because I’m trying to avoid repeating the “pornography industry. An industry which/whose” motif of the previous paragraph. 

Preview: Jane Eyre

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Polly Teale’s unconventional approach to Jane Eyre splits our heroine in two. It opens with two young girls reading aloud to one another and leaping about the stage: one is Jane (Chloe Gale) whose progression from ‘queer’ child to wilful adult is skilfully conveyed through precise direction and confident diction. The other is billed as Bertha (Joanne Murray), Mr Rochester’s insane wife who lurks in his attic for the majority of the novel but features prominently in this adaptation. The audience is presented with two Janes – one outward ego who interacts with the world around her, and another inward id which is fused with Bertha’s character.

Bertha is onstage for the entire production and although Murray doesn’t have a lot of lines, she makes the most of an incredibly physical role and communicates with the audience throughout. Her writhing and moaning behind the rest of the cast throughout the play deserve a review of their own. This uninterrupted performance could potentially wear thin and seem laboured or distracting at points but it also sets this dramatisation apart from the novel and adds another layer to a familiar story. Murray’s movement opens up questions of sexual repression in an original way as well as constantly reminding us of the gap between Jane’s thoughts and her actions: without soliloquies, this distinction can easily be lost in plays.

The concept is effective in the opening scene: Jane is scolded by the cruel Mr Reed, and the two girls respond with one voice. This technically demanding touch works well as a vocal performance and brought home Jane’s duality to me for the first time. The concept also works well when St. John tries to pressure Jane into marrying him and coming to India with him as a missionary: Jane rejects him articulately while Bertha’s violent movements rail against his Christian hypocrisy on a raised platform behind them. Alex Stutt conveys St. John’s pompousness and piety with deliciously disdainful curls of the lip: his performance is mature and assured throughout.

Josie Richardson is versatile and extremely watchable as Bessie, Blanche Ingram and Diana Rivers, three diverse supporting roles which she performs with an array of accents and mannerisms. These solid supporting performances ground the play in reality . Whether or not such a psychoanalytical presentation of Bronte’s novel appeals to you, this is a play well worth attending. The calibre of the actors means you’re always in safe hands, yet this Jane Eyre has been dangerously and innovatively reworked. 

FOUR STARS

Zoom in on…OU Photo

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Carl Turpie became president of OU Photo after a term of membership. He shares with us some insights into the world of digital photography.
How did you get into photography?
I’ve always been the person in my friendship group who takes all the photos. I’m sure every set of friends has one. It wasn’t until two summers ago that I decided to take up photography properly and bought myself a DSLR camera with money earned over that summer. Since then I’ve dabbled in taking photos of all kinds of things. I like taking pictures of people, buildings, and anything in-between.
What made you apply to be president of
Oxford University Photography Society?
When I bought my DSLR I decided that I should learn how to use it properly, so (combined with lots of internet research) I went to the Oxford University Photography Society. In the first few weeks they mentioned that the elections for the new committee were coming up. I thought it could be fun to run for president and it couldn’t hurt my CV either. By the end of term [MT 11] I was President.
What are the aims of this society and what have OU Photo members been up to this term?
The main aim is to improve people’s photography. We run weekly classes taught by a professional photographer that aim to show a new technique, critique photographs or just go out and take some pictures. We also have a four-hour studio workshop coming up next week, which is an intensive class about studio set ups and using flash for portraits and fashion photography.
Are you considering pursuing photography further after university?
Personally I don’t have any aims to pursue photography as a career. It will definitely always be a hobby of mine and I would consider doing photography jobs on the side to help pay for that new lens or tripod that I want if not necessarily need.
Do you have any advice for aspiring
photographers?
Firstly, get out there and take lots of photographs, find out what you like, what you’re good at, and how to use your camera. Also look at the work of others, it’s great for inspiration. 500px.com has some amazing photos. The internet is a fountain of knowledge on everything from the technical side of photography to artistic effect. Last but not least, come along to Oxford University Photography Society!
The OU Photo termcard and information can be found at www.ouphoto.com.

Carl Turpie became president of OU Photo after a term of membership. He shares with us some insights into the world of digital photography.

How did you get into photography?

I’ve always been the person in my friendship group who takes all the photos. I’m sure every set of friends has one. It wasn’t until two summers ago that I decided to take up photography properly and bought myself a DSLR camera with money earned over that summer. Since then I’ve dabbled in taking photos of all kinds of things. I like taking pictures of people, buildings, and anything in-between.

What made you apply to be president of Oxford University Photography Society?

When I bought my DSLR I decided that I should learn how to use it properly, so (combined with lots of internet research) I went to the Oxford University Photography Society. In the first few weeks they mentioned that the elections for the new committee were coming up. I thought it could be fun to run for president and it couldn’t hurt my CV either. By the end of term [MT 11] I was President.

What are the aims of this society and what have OU Photo members been up to this term?

 The main aim is to improve people’s photography. We run weekly classes taught by a professional photographer that aim to show a new technique, critique photographs or just go out and take some pictures. We also have a four-hour studio workshop coming up next week, which is an intensive class about studio set ups and using flash for portraits and fashion photography.

Are you considering pursuing photography further after university?

Personally I don’t have any aims to pursue photography as a career. It will definitely always be a hobby of mine and I would consider doing photography jobs on the side to help pay for that new lens or tripod that I want if not necessarily need.

Do you have any advice for aspiringphotographers?

Firstly, get out there and take lots of photographs, find out what you like, what you’re good at, and how to use your camera. Also look at the work of others, it’s great for inspiration. 500px.com has some amazing photos. The internet is a fountain of knowledge on everything from the technical side of photography to artistic effect. Last but not least, come along to Oxford University Photography Society!

The OU Photo termcard and information can be found at www.ouphoto.com.