Monday, April 28, 2025
Blog Page 1608

Lodge strip club reopens pending hearing

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The Lodge strip club, which was closed two weeks ago when the Council refused to renew its licence, was reopened on Wednesday after the High Court stayed the decision pending a full hearing.

Following campaigns to have the club closed at its city centre location in April 2011, the Lodge relocated last October to its current location by the Ice Rink on Oxpens Road. However, when the club owners sought a renewal of the club’s stripping licence, they were denied this by the council on the basis of local complaints.

After receiving a reported 23 letters from local residents opposing the renewal of the club’s licence, the Council announced its decision to deny it, with Sub-Licensing Committee Chairman Van Coulter alleging, “We have evidence that the existence of the club has created a hostile atmosphere, and we decided to give weight to that.”

At the time, Al Thompson, the manager of The Lodge argued that the accusations were “hearsay” and stated the club would appeal the Council’s decision. 

Following their appeal to the High Court, the decision by the Council has been stayed and the club allowed to temporarily reopen. Oxford City Council released a statement, saying, “We have been notified that the High Court, on the application of the owners of The Lodge, has granted a stay of the City Council Licensing Committee’s decision not to renew the sexual entertainment venue licence. This will allow them to carry on providing sexual entertainment until their judicial challenge to the decision not to renew their licence is resolved. 

Unapologetic about their prior decision, the Council claimed the ruling was “a disappointing development which runs counter to the evidence presented to the Licensing Committee on concerns generated by the presence of The Lodge.”

They continued, “The committee’s decision not to renew the licence for these premises for sexual entertainment was taken in good faith on the balance of evidence presented to it, and the Council will continue to monitor the operation of these premises during the period of the ‘stay’ to ensure that the limited controls provided by licence conditions are adhered to.”

Club manager Al Thompson told Cherwell, “We are very very pleased that the decision of Oxford City Council to refuse our application to renew our SEV license at The Lodge Gentleman’s Club Oxpens Road has been stayed by the High Court pending the full hearing.“

The Court have noted the good history we have operating in Oxford and the potential strength of our case. Myself, staff and the management team are both relieved and delighted to back at work.”

Not all are pleased with the latest developments, however, with one female student, who wished to remain anonymous, telling Cherwell, “The issue was not so much the club itself as its customers. When coming home from midnight ice hockey on a Wednesday evening we’ve had to call an ambulance for one man who was passed out on the road and subsequently wet himself.“

Another time I walked past a pair of men about to get into a taxi. One of them tried to grab me and although luckily his friend held him back, as I walked away I could hear the friend convincing the first man that he couldn’t ‘have’ me, even though ‘he could have if he had wanted to’.”

However, one employee of the club, who said she was a graduate student working there to fund her education, defended it. She claimed the area outside Lodge was “relatively safer than the road outside Park End or another big club.” She also added that the Lodge was a “pretty good employer”, where all the girls were selfemployed and able to earn a decent commission for their night’s work.

Netiya Shiner, a commenter in the Facebook group ‘Misogyny Overheard at Oxford Uni’  voiced the belief, “I don’t think it’s my place, as a feminist, to tell other women what is and what is not an “acceptable” profession. That said, no one should have to put up with harassment for any reason, let alone their career choice, and to ignore the issues many face in the sex industry is to reinforce patriarchal values like the objectification of human beings.”

Benedict Hardy, added, “It seems to me that working in the sex industry should be ‘just another job’. Clearly it isn’t, because exploitation is still rife in all sectors of the sex industry, but that doesn’t mean that the problem lies in sex work itself. There are (shock horror) women who happily work in the sex industry, of their own free will, and for fair pay.’

Covered Market in trouble

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10 out of the 58 businesses in Oxford’s Covered Market are looking to sell. 

Stall owners are blaming proposed rent increases of between 20 and 90 per cent, as well as competition from the internet. Smoothie vendor Moo Moo’s faces the largest rent increase, though its premises are little more than “a shed”. 

The Oxford Boot Store is due to close. Staff member Matt Lintern described the rise in rent as “the final nail in the coffin.” 

Resentment towards the city council is running high among traders. The manager of Next to Nothing claimed that the council “don’t seem very interested” and that “everyone knows they’re not helping.” 

Sandie Griffith, manager of Jemini (one of two florists) and secretary to the Covered Market Traders’ Association, described the proposed rent increases as “disastrous.” Jemini had to halve the size of its premises from four units to two and the number of staff from 15 to eight after the previous rent rise five years ago. 

Lintern said that the Covered Market used to be “more like an indoor market than just a big cafe.” 

Griffith stated that the market now sees “more of a tourist industry” and alleged that the council used to adhere to an informal policy of keeping rents low in the Covered Market and reserving stalls for independents, especially those that are “labour intensive”, such as butchers, fishmongers, florists and bakers. 

Several chain stores now have premises in the Covered Market, including Timpson’s and Cards Galore. The manager of Cards Galore told Cherwell that he was unaware that the rent was increasing, and did not know how much the rent was in the first place. He claimed that the only person who does know works in London. 

Executive member for city development, Colin Cook, told Cherwell, “This situation is not just down to high rents. It’s partly as a result of the age of some of the traders, who are looking to retire and cash in their chips.” 

Griffith was “incensed” with Colin Cook’s statement. She argued that even if this were true, it would be impossible for older traders to sell and retire because of the proposed rent increases. 

Cook also said, “There is still room for negotiation over rent increases and the level of increase could come down during negotiations.” 

The Covered Market Traders’ Association has its “own surveyor in negotiation with the council”. Sharon from Timber Treasures said this “could be the end of the Covered Market.” 

Lintern said, “By the time they [the council] realise it’ll be too late.” 

Exeter passes motion to remove porn filter

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Exeter College JCR has passed a motion calling for the removal of a college internet filter that blocks ‘pornographic’ websites.

The motion pointed out that there were ways of circumventing the filter, which were “inconvenient and unnecessary”.

It furthermore noted that the filter blocked websites which were “needed by students for genuine research purposes”, which included sites mentioning ‘The Origins of Sex’, a history book written by a tutor and fellow at Exeter.

Fourth year maths and philosophy student and ex-JCR president Katy Moe proposed the motion, in which she noted: “There is nothing wrong with viewing pornography.” Moe explained that the “provocative wording” was “deliberate”. She said, “I’d anticipated that the JCR would move to change the wording to rule out illegal and exploitative pornography which, of course, is not okay.”

However, she asserted, “Exonians are adults who are able to make their own ethical judgements. Exeter College is not in loco parentis. ”Describing the debate, she remarked, “Opposition to the motion was not very vocal. One person mentioned the risk of computer viruses. It was countered that this is not the reason the IT staff give for having the filter in place.”

The motion was passed on Sunday with 27 votes in favour, versus 17 votes against and 12 abstentions. The resolution mandated that the JCR Domestic and Accommodation Officer “propose to the college IT Committee that the pornography filter be removed”. 

Exeter College did not comment on the current system, but JCR IT officer Harry Willis explained how it worked. “Pornography websites are blocked by a standard commercial web filter, similar to those at most institutions,” he said.“College have the facility to whitelist incorrectly blocked sites, and the instructions for requesting such a change are clearly stated on the ‘blocked’ page.”

Exeter students generally agreed this was a long time coming. One PPEist vented, “Researching the film ‘Deep Throat’ for my politics essay on free speech proved difficult last year.” Second year PPEist Matt Slomka quipped, “Having spent many an unsuccessful post-Park End night frustrated in my room, I hope future generations of Exonians will no longer have to go elsewhere for painfully slow streaming.” 

Second year lawyer Jasmine Leng commented, “Whether you watch porn or not is irrelevant. It’s strange to me that students, who are usually encouraged to be engaged and well informed, should be censored on a controversial topic that actually provides a good forum for debate on wider issues.”

First year PPEist Asfandyar Qureshi hailed the “repeal of the porn laws.” Stating that there was  “nothing wrong with viewing legal pornography”, he remarked, “The JCR has sought to remove an unjustifiable ban that did nothing but bring student productivity to its knees through sexual frustration.”

Exeter equalities officer Ed Nickell added, “Our JCR fund a controversially named feminist magazine that discusses all matters of sex, gender, and sexuality. We’re a progressive college: caricatures of testosteronefuelled ‘lads’ couldn’t be further from the truth.”

OUSU women’s officer Sarah Pine commented, “Students are in a position to think critically about pornography. I hope they consider if anything they watch is ethically made: without coercion or danger to those involved.”

Other Oxford students applauded the move. An anonymous Christ Church physicist remarked that the JCR was “in good hands.” He added, “I regularly watch erotic movies on the JCR widescreens to give me inspiration for my next problem set.” 

St Anne’s student Ryan Widdows expressed “shock” at the filter. “Watching pornography is not illegal,” he said. “I sincerely hope that the block is removed so that Exeter students can experience poorly written porn films like the rest of us’.

Porter rescues bike

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Miranda Essex, a third year geographer at Hertford, had her bike stolen on Sunday evening, only for it to be spotted and chased down in town the following day by Angelo Fernandez, a heroic Hertford porter.

The bike was one of many to have been stolen from outside Hertford College on Catte Street, in a spate of recent thefts. It was taken at about 8.30pm on Sunday. Essex had reported the theft to the Lodge, but assumed she would never see the bike again.

Luckily, one Hertford porter was walking down Broad Street on Monday afternoon, on his day off, when he recognised her bike being ridden by an unidentified man. He chased after the person, shouting “That’s not your bike!” On hearing this, the perpetrator stopped, threw down the bike and fled the scene. Fernandez then returned the bike to Robert Dyas. He informed Essex of the events the following morning, and she later picked it up.

Essex was hyperbolic in her praise of her beloved porter. She said, “I’m amazed that Angelo was able to recognise my bike even when it was being ridden.” She added, “It’s way beyond the call of duty for him to accost a thief on my behalf and I’m very grateful. He’s saved me a lot of money and reunited me with my trusty (albeit unstylish) mountain bike!’

Dave Haxell, Head Porter at Hertford College, was equally impressed with Fernandez. He said, “Of all the bikes we have outside, it’s amazing that he recognised Miranda’s, especially as it’s not even a particularly unusual one. That it was being cycled makes it all the more impressive!”

He mused, “What a guy! You could say he’s an angel.” Haxell mentioned how lucky he thought Miranda was, acknowledging that it was a very unusual incident, and adding, “A Hertford porter is never off duty.”

Ben Williams, a third year English student at Hertford whose bike was purloined from outside college earlier this term, commented, ‘If only I had been so lucky to have a knight in shining armour rescue my bike!’

Hugh Grant receives Honorary Fellowship

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Hugh Grant has been elected Honorary Fellow at New College. Limited to 40 people, this is the ‘College’s highest award and is bestowed upon distinguished Old Members.’ It is presented to those with a sustained achievement in their chosen field.

The Dean of New College, Michael Burden, said, ‘There is no particular reason why the election was made at this time, and there are no expectations that an Honorary Fellow will do anything for the college. They may do so, but this is not a condition of election.’

Last Tuesday, Grant attended a Fellows’ Dinner, for purposes linked to his appointment. He then accompanied students to the JCR college bar, much to the delight of many undergraduates. A New College first year described Grant as ‘swamped’ with a group of fans.

The student continued, ‘I think it was really nice of him to come to the bar, and so many of us were waiting for him there! This has exceeded my expectations of Oxford – meeting abona fide celebrity in the first few weeks of being here!’

Not all students were equally impressed, however. Second year Classicist Poppy Rimington-Pounder commented, ‘He took so long to actually come to the bar to meet us. He’s not really quite good-looking enough to make us wait that long – I left.’

During the visit he joined the rugby team for a drink, and was presented with a club tie. Unlike on some of his previous trips to Oxford, he did not continue the party with New College students at a nightclub afterwards.

Few students have strong feelings about Grant receiving the Honorary Fellowship. JCR Vice-President Alexander May, speaking, on behalf of the undergraduate body, said, “I would say that the general feel was that it was a nice novelty, but not massively important.’

Sam Sharpe, a second year New College PPE-ist said, “I don’t really care about him being an Honorary Fellow or not. He did seem like a nice guy, and it’s good of him to come back. That, and About a Boy is a good movie.’

Leah Lazar, a second year classicist at New, added, ‘If his fellowship means he will be in the New College bar on a regular basis, then I’m all for it!’

Grant won the Galsworthy scholarship to study English at New College in 1979. He graduated in 1981 with a 2:1.

According to the New College website, Grant ‘abandoned doctoral studies in art history and soon became one of the most preeminent and successful actors of his generation.’

Indeed, Grant was involved in acting during his time at Oxford, with a part in his first film, Privileged, produced by the Oxford University Film Foundation, when he was a member of OUDS.

Nor did Grant go unnoticed by this publication during his undergraduate career: in 1981, Hugh Grant was described in Cherwell’s John Evelyn’s gossip column as ‘New College’s answer to Brooke Shields.’

Dean’s punishments cause outrage at Brasenose

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Disciplinary actions following post-Matriculation celebrations at Brasenose have sparked outrage amongst students.

Freshers and second years received fines, ranging from £25 to £100, for hosting and attending parties incollege rooms.Three students were summoned to an interview with the Dean and were assigned scout work as a punishment.

As Cherwell understands, it is a tradition at Brasenose that celebrations begin in the JCR common room after Matriculation. This year however, owing to drinking and loud music, the meeting was broken up by the junior dean. Subsequently parties,some as large as 20-30 people, spreadinto student rooms. As college regulations stipulate that no more than10 people are allowed in one room, the parties were dispersed and thenames of those involved were taken.

The following day the students in whose rooms the parties had taken place were called to the Dean’s office for an interview. JCR members alleged to Cherwell that the Dean was abusive, telling students that they “did not deserve to be at Oxford” and that they “fundamentally misunderstood the nature of such an institute”.One student stated, “it felt like a cross-examination”. One student told Cherwell that the Dean said that there was no reason to celebrate afte rMatriculation since they had not yet achieved anything.

Those interviewed have told Cherwell that they were asked to provide names of other students involved and directly asked to name the 2nd years who had told freshers about ‘Matriculash’, despite the fact that the Dean had already obtained a comprehensive list of names.

One student commented that around 40 students are believed to have been fined. Some BNC students claim that the fines have been handed out arbitrarily and resulted in students being fined who were not involved and some who were not even on college premises at the time. A fresher commented, “one of my friends wasn’t fined although she had given her name to the junior dean, while another friend who wasn’t asked for her name received a fine”.

The Dean sent round an email to those who were fined which read, “For violation of College Regulations regarding behaviour on 13 October you are subject to the Decanal fine of £25. The fine must be paid to the Assistant College Accountant by the end of Fourth Week (2 Novembe r2012). Failure to pay by that date will result in the fine being increased by 20%. Cheques should be made payable to ‘Brasenose College’.” No indication of which college regulations had been broken was given.

The actions of the Dean and the decanal team have led to anger among the student body. One student commented that the Dean, who he described as “softly spoken, but slightly evil”, seemed to be “going out of his way to scare people”. Another student called his behaviour “outrageous”, “absolutely horrendous”. Several students are contemplating on paying the fine in 1p coins.

Students being assigned work usually done by scouts has caused concern, as students worry it impliesthat work as a scout is equivalent to punishment. One student told Cherwell,“it does seem to denigrate their role to have it used as a punishment, seeing as it is not really justified by any significant damage or mess. The parties weren’t especially raucous.” Others, however, have viewed it as appropriate, with one second year commenting, “I don’t think it’s that bad as a punishment; it’s effectively like detention we had at school.”

A student said that the JCR Committee had been very sympathetic, and that they had tried to deal with the matter by attending meetings with the decanal team. When presented with the allegations, Dean Christopher Thimpson declined to comment.

Review: Beasts of the Southern Wild

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Aspiring to a ragged sort of transcendence, Beasts of the Southern Wild is a rare creative gesture, an ambitious slice of magic realism which is spoilt by an overeager desire to manufacture pathos. Set amidst a post-Katrina community in southern Louisiana – ‘the Bathtub’ – the film unfurls from the viewpoint of its diminutive heroine, six-year-old Hushpuppy (Quvenzhané Wallis), a naïf effect that desperately evokes Days of Heaven but feels more akin to an episode of Kids Say The Funniest Things. The result is an altogether too user-friendly walk on the wild side, a film of surfaces that pretends to emotional and spiritual depths.

As Hushpuppy surveys her fragile web of living with an insatiable curiosity, she converts environmental catastrophe into a wider allegorical struggle for sense of self and place: the harsh beauty of the natural world is forever juxtaposed with the sterile, controlled environment of modern civilisation (“Ain’t that ugly over there?” says Hushpuppy’s father pointing out the power plants on the horizon, lest we miss the point.) By projecting her coming-of-age onto this austere landscape, Behn Zeitlin estranges the personal from the person, which in a film with already scant characterisation is nothing if not off-putting. Less a paradise of self-sufficiency than a haven for unrepentant alcoholics, Hushpuppy becomes the poster child of the Bathtub’s rugged individualism (“brave men stay and watch it happen… they don’t run,” she stubbornly says about an approaching storm, having taken part in a particularly unhelpful neo-Luddite detonation of a neighbouring levee).

Adopting a distinct us-versus-them stance, there is something rather uncomfortable in how Behn Zeitlin revives tired notions about the untutored wisdom and moral superiority of the ‘noble savage’. The film fetishizes poverty to the point at which being broke is roughly equivalent to a state of grace, painting the isolated marshland as an enchanted locale of subalternity where daily activities are abnormally heightened experiences. What is sacred and what is humble in a world where sucking the fresh meat out of sea crabs functions as a quasi-Eucharistic sacrament? It seems as though Zeitlin is yet another indie director who finds it hard to imagine a pudding can ever be over-egged.

The faux-documentary style, shifting between off-centre compositions and restless tracking shots, gives a dynamic agency to such neorealist skits – most successful in the film’s blistering prologue, a bacchanalia replete with carnival races, zydeco-inflected music and sparklers in the night – but it all feels too manifestly and knowingly stage-managed. It’s this conscious shoehorning of cultural insight, toothless criticism and fable status that makes Beasts of the Southern Wild ideal for such lazy critical anointments as ‘The [insert superlative] American film of the year!’

2.5 STARS

Review: Miss Julie

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I had very high hopes for Miss Julie. The premise of the play seemed interesting, as although the story of a young titled women attempting to escape social constricts is hardly unique, I was excited to see how the love triangle between the main character, Miss Julie, her servant and his paramour, would play out. The posters looked promising and walking into the theatre I saw that the production team had succeeded in creating a stage which immediately sets the scene in a 19th century country estate.

Then the play began. Whilst the first scene, a conversation between two of the main characters, servants Jean (Alex Stutt) and Christine (Tanya Lacey-Solymar), is passable, the actors are drowned out by the background music, which is more thrilling than the action on stage. This is a problem which runs throughout the play, which is not aided by the fact that whilst Stutt and Lacey-Solymar give competent performances, they lack the chemistry needed to make Strindberg’s weighty dialogue exciting. Lacey-Solymar succeeds in making Christine’s submissive personality evident, but as a consequence she lacks any real stage presence. The dramatic entrance of Miss Julie, played by Sophie Ablett, is a welcome break, as she skilfully establishes herself as the haughty and demanding lady of the house. However, the play never really progresses past this. Even as the plot develops into an interesting power struggle between the three characters, a level of genuinely high emotional intensity is never achieved, and so it falls flat. Visually, Miss Julie is perfect.

Each of the characters looks the part, and unfortunately, this is the highest compliment I can give the play. The actors are definitely more settled in the latter parts of the play, and there are glimmers of good performances, especially from Stutt. However, they fall back into portraying their characters are stereotypes, rather than exploring the parameters of the script and really seeing what they can do. Furthermore, their performances become somewhat repetitive as each actor seems to have a go to facial expression which they use whenever the script calls for a dramatic moment What Miss Julie lacks is clear direction, as despite some competent performances, the play never really goes anywhere. Whilst I’m sure that the actors will become more confident in their roles, opening night left a lot to be desired, and was mostly forgettable.

TWO AND A HALF STARS

Review: A Tender Thing

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On visiting Liechtenstein, I felt the novelty of being in one of the world’s two doubly landlocked countries quickly fade. As long as the country was taken lightly, what with a Post Stamp Museum as its main tourist attraction in the capital, I could manage, even be amused; but as soon as any serious travel was contemplated – God, was it tedious.

Ben Power’s A Tender Thing presents Romeo and Juliet as rarely seen before; as an elderly, married couple, whose lines are taken from all across Shakespeare’s script in cut-and-paste fashion. This works fine at the outset, as a refreshing bonne bouche that teases your knowledge of the original, and for such playgoers who like quoting along to Shakespeare the evening is ideal: the balcony scene becomes raunchy, wizened banter – think stilettos turned slippers – its beauty, grace and amorous anticipation all slain at one fell swoop, a massacre at which the bard himself would boggle. “That’s so clever!” was the catchphrase of the night. We see a masterpiece on holiday, so we bubble and giggle.

But soon enough, we see that Power means business, when tragedy kicks in and Juliet is wheelchair-ridden. A Tender Thing parades all the known repertoire about illness in old age – the feeding of porridge (coughed out), the washing by linen cloth, the amnesia – to the background of a sentimental sea and John Woolf’s aimless music. My plaint is that it did not take an adaptation of Romeo and Juliet to deliver this hollow shell of a story, nor even a play; both author and director show little understanding of the stage, and a mimicking one of film – the scene-lengths, scene-changes, and flashbacks point only towards an half-empty cinema.

Juliet is avidly played by Kathryn Hunter, whose part – a hodgepodge of personages from the Nurse to Mercutio – denies her coherence, and indeed a truly great performance of which she is surely capable. Richard McCabe gives a kindly, bumbling Romeo one would fancy as a neighbour. His tough physique could have borne him onto smouldering heights of passion, to Oedipan roars of anguish – difficult for earlier, leaner Romeos – but, alas, McCabe kept in character. All in all, I had dry eyes and a heart unmoved throughout, as I did looking onto the unchanging scenery of Liechtenstein.

Royal Shakespeare Theatre, Stratford-upon-Avon

Review: Isobel

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When did this play about Oxford undergrads turn into a chilling murder mystery? The first act starts off in a college room: two friends are bantering about Formal Hall, Philosophy tutorials, and a pub crawl last Friday night. The conversation, as well as the setting, is painfully familiar. The character’s room is furnished with a shapeless armchair and a gaudy nylon rug; the bed is unmade, and the desk is covered in papers in disarray. It feels like home. Thanks to the intimate space of Burton Taylor Studio, with the audience sitting face to face with the actors, there is no sense of narrative distance. We are here, at Oxford, looking at two girls and a guy created in our image.

Now, all good thrillers start with a sense of the familiar that we want to cling to, but that gets violently disturbed. And the macabre events of Isobel’s plot do come with a blow. But the question is: is our surprise that of the delighted horror fan in awe of the villain’s cunning, or is it a one of disbelief? Starting off by mocking university life, then adopting themes from the detective novels that one of the characters reads, the play is mildly ironic on so many levels that it is unclear how seriously we should take all this. Is it intended to be a dark play about the vanity of spoilt Oxford kids, a moral exploration of the ‘banality of evil’? Or is it a self-referential piece exploring our everyday lives and our high- and pop-culture obsessions? The game of catching cues from Agatha Christie, Stephen King, and The Shining seemed to preclude dwelling on the ethical issues behind a horrible crime.

But the answer, really, is that you could take it either way. Isobel leaves you in a place where you want to laugh, amused by the absurdity of last century’s crime stories coming to life in today’s Oxford. But at the same time, laughter feels uncomfortable; it is mixed with some genuine guilt and unease. The characters’ words seem at times to be borrowed and inauthentic (“I led her to believe that we were both invincible. In fact, it was just me,” Jack says, eager to come off as the antihero). And then at once, Jack is no longer striking a pose. In the monologue in which he remembers a childhood accident, he is not pretending; he is speaking his true heart, and therein lies horror.

The play’s great surprise ending made me forget all scepticism. Walking home from this late-night show, I caught myself looking anxiously back, scared of my own shadow. Then I knew that Isobel had done a great job. A literary game turned deadly serious, the play manages to catch you off-guard and give you the chills. You could take it as just a game, as a joke on the way we Oxonians tend to take ourselves and literature too seriously. Or you could let go of the critical stance and let yourself be very scared.

FOUR STARS

Isobel is showing at the Burton-Taylor studio until Saturday 27th October, 9.30pm. Tickets are £6