Tuesday 24th June 2025
Blog Page 1697

Keble crackdown on library noise

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Students at Keble College have been reminded about the need for silence in their college library in a sharply written notice from the Senior Dean, Dr Simon Hunt.

The notice, which has been displayed in the lodge for over a week and was emailed to all Keble students in a response to ‘consistent complaints’, stated, “It is mainly just chit-chat by people who don’t take the trouble to converse outside the library…[but] there are other inconsiderate noises such as noises in earbuds and crinkling wrappers.”

It warned that “on library etiquette there are no grey areas” and that “the deans and librarians would show no leniency” when dealing with disturbances. Hunt also added that they wished students to “exert peer pressure to alter the culture so that making a noise becomes simply unacceptable.”

The Dean reminded students, “that this term in particular, with exams and revision already ongoing, it’s essential for all students to observe proper silence in the Library at all times”, and wrote that the “Dean Team” would be making “random visits”. The Dean added that the college “would not hesitate to fine those making a disturbance’, warning students that there would be no ‘second offences”.

This new enforcement of library etiquette has met with mixed reactions from students. One fresher, who did not wish to be identified, said, “It is very distracting when people leave their phones out buzzing really loudly and whispering to each other, but I think the email did go a bit far.”

First year Classical Archaeology and Ancient History student Justyna Ladosz commented, “Even though it is really annoying when people make a noise in the library, I don’t think that the ‘Dean Team’ are nearly scary enough to make any difference.”

The email was also met by rather bemused reactions. First year linguist, Ben Haveron, told Cherwell, “The phrase, ‘there will be no second offences’ sounds like they’re going to kill you” but still advised that “at 4am you can make all the noise you want and there’s no one to get annoyed.”

Second year student, Owen Campbell-Moore, commented, “The email was pretty hilarious”, and remarked that people were already being stricter in the library, adding, “last week I whispered something quickly to my girlfriend next to me and someone told me to shush.”

Another first year, who did not want to be named, commented on the harsh nature of the email, saying that sticking to the new etiquette “will be difficult, I’m not a quiet person.”

They added, “People are people, you’ll see someone you know and talk, but I will try to help keep a good working environment now.”

Keble College librarian, Ms Yvonne Murphy, told Cherwell, “We are trying to make the library a good place for everyone, the restrictions haven’t changed – there’s nothing different, they’re just being re-enforced.”

Christ Church statue dressed in Chelsea colours

Two Christ Church students have been fined £175 each for adorning the Mercury statue with Chelsea paraphernalia, following their team’s qualification for the Champions League Final on Tuesday.

In the early hours of Wednesday morning, in response to Chelsea’s victory, undergraduates Theo Oulton and James Ware jumped into the pond surrounding the famous Mercury fountain in Tom Quad. They waded up to the figure, and wreathed it with a Chelsea football team flag. They then proceeded to add a woolly Chelsea hat to the 84 year old statue.

When asked to explain his actions, Oulton told Cherwell how he and Ware “proudly…front-crawled into the middle [of the pond] holding aloft the mighty blue. [We] climbed up, covered ourselves in cuts in the process [as] the Chelsea boys would have done, no less, and crowned Fernando’s shrine.”

The two were eventually identified by Oulton’s wallet, which was left at the scene. The disciplinary action that followed was swift, and has been deemed “harsh” by many students.

The Junior Censor at Christ Church, David Nowell, defended the action taken by the college, citing the possible peril which the boys might have brought upon both themselves and the statue.

He stated that “the statue concerned is fragile and potentially dangerous to access”, and refuted claims that the pair had been punished for what was called by some an essentially “harmless act”.

The celebrated Mercury fountain is also home to a large koi carp, donated by the Empress of Japan and reported to be worth a small fortune, the safety of which may also have been a cause of concern. Oulton commented that he had to overcome his “chronic fear of fish” in order to carry out the feat.

Nowell added that “the ‘adornment’ of the statue was only one of a number of disciplinary matters taken into consideration” when a suitable punishment was being decided upon.

Oulton and Ware received receipts detailing the breakdown of their £175 fines. They were each charged £75 for the actual stunt, and £25 for each offence of being drunk, failing to respond to the fire alarm, “causing a disturbance/playing music at 5am,” and being “not suitably dressed” in public.

The overwhelming reaction from students has been one of amusement at their actions and sympathy for the boys. Tyler Alabanza-Béhard, a first year student at Christ Church, remarked, “Everyone knows that Mercury is a massive Chelsea fan, so it was great at last to see some pride on his part.”

Another Christ Church fresher commented, “My morning walk across the prestigious Tom Quad in the rain was somewhat improved by the sight of Mercury showing his support for Chelsea’s victory, much to the confusion of several hundred Chinese tourists”.

Oulton expressed no regret for his actions, commenting simply that, “The lads deserved nothing less. Torrrrreeeeeeees!!!”. Ware stated that he was “still too ecstatic to comment”.

Sam Cato, a student at New College, similarly judged it “the perfect way to celebrate Chelsea’s win”, and a St Catherine’s fresher was likewise impressed, commenting, “LOL top banter!”

However, not everyone was as sympathetic. A fresher at Lady Margaret Hall commented, “Whilst their endeavour and commitment merits respect, I cannot help but express disappointment that they failed to realise that the only team’s flag worthy of adorning such a venerated statue is Everton’s. Huzzah!”

Don’t apply to Oxbridge, say teachers

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Nearly a fifth of state school teachers never advise their brightest pupils to apply to Oxbridge, with only 44% doing so at all – a figure down on five years ago, according to the latest research.

In response to the question ‘Which of the following best describes the frequency with which you advise the academically-gifted pupils that you teach to apply to Oxbridge?’ only 16% of teachers said ‘always’. 48% answered ‘rarely’ or ‘never’ and 10% did not know.
The survey of 730 teachers working in 468 English secondary schools in the maintained sector was carried out by an independent body, the National Foundation for Educational Research (NFER), on behalf of The Sutton Trust, an educational charity aimed at promoting social mobility through education.
Responding to Cherwell’s concerns about sample size, the NFER affirmed that, “Our panel of teachers is nationally representative and we feel these surveys provide sufficient information to gauge current opinions within the teaching profession.”
Sutton Trust chairman Sir Peter Lampl was troubled by the figures. “The sad consequence of these findings is that Oxford and Cambridge are missing out on talented students in state schools, who are already under-represented at these institutions based on their academic achievements. We need to do much more to dispel the myths in schools about Oxbridge and other leading universities.’
Brian Lightman, general secretary of the Association of School and College Leaders (ASCL), insisted however that teachers were not careers advisers and that students were entitled access to independent, qualified advisers when making educational choices. “Applying to Oxbridge is only one of many appropriate routes for our brightest young people. Social mobility is about far more than entry to Oxbridge.’
Hannah Cusworth, OUSU Vice-President responsible for access, said the findings sit uncomfortably next to research carried out by OUSU amongst potential Oxford applicants from non-traditional backgrounds. “It was clear that the students took what their teachers said about applying to university to heart. Teachers’ negative attitudes towards Oxbridge need to be turned around if access is to be widened.”
“The teachers that the University most needs to reach are those are most reluctant to engage with Oxford. School leaders, the government and these teachers themselves need to take more responsibility, instead of just blaming Oxbridge.”
Angela Trigg, principal of London Academy, opened in 2004 as one of Labour’s five flagship academy schools, was adamant that this was not the case, telling Cherwell that “far from discouraging students, it is an explicit intention that as many of our students as possible attend Oxbridge”.
Dr Graham Wright, a headmaster in Rochdale, gave a more nuanced defence.  Rochdale submitted only 13 applications to Oxford last year, the second lowest of all local authorities in England. 
He told Cherwell: “My colleagues do recommend Oxbridge to our brightest, if we believe them to be ‘bright enough’. Many of our students, whilst capable of attaining good degrees, lack the vital edge necessary for Oxbridge consideration. It is not appropriate for all of our students, even our brightest, as many of them will not be good enough, and we would be setting them up to fail.
“We would always push those students capable of Oxbridge study. If we do consider them to have some potential, we encourage them to take part in access and help prepare them for interview.  
“In fifteen years of being a state school headmaster I have rarely come across teachers biased against Oxbridge.  Many of us realise and want our students to benefit from the opportunities that successful study at Oxbridge brings.”
However, an unnamed teacher at an inner-city comprehensive, writing on the Guardian website, voiced frustration at “the way the other teachers spoke about Oxbridge and other highly selective universities like Durham and Bristol”.
“I don’t think it’s any of our business whether we think it’s elitist or ‘not for the likes of them’. When I have taken groups to Cambridge, they have been overwhelmed by how different it is from their own environments, but really excited by the idea that they could be part of it. We mustn’t inflict our prejudices on our students.”
First-year Hertford historian Rhys Owens owes his success to the support of his “amazing” history teacher. However, he added, “My teachers were really caught up in the misconceptions about Oxford, and some of them didn’t expect me to get in. Even the ones who did have faith had no clue how the system worked.”
The survey also showed that almost three-quarters of respondents thought that state school pupils are in the minority at Oxbridge, when the Sutton Trust lists the actual figure as 57%. 64% believe that state school pupils form less than 40% of the student body, when at Oxford this has never been in the case in at least the last two decades.
Founder of the high-profile West London Free School, Toby Young, was unsurprised by the findings. Young studied PPE at Brasenose before a successful career in journalism. Speaking to Cherwell, he remarked, “When I was at Oxford, I discovered how little encouragement most sixth formers in comprehensives were getting from their teachers.
“The main problem was anti-Oxbridge prejudice within the teaching profession. Oxford was viewed as an elitist institution full of posh boys carrying teddy bears. I still think that image persists today.”
“I think things are gradually improving. There’s a whole cadre of new state schools which are unapologetically aspirational on behalf of their pupils, and a new generation of teachers, many of whom have come up through the Teach First programme, who are really committed to getting more children from working class backgrounds into Russell Group universities.”
 
A spokesperson for the University called the results “frustrating”. “State school students are in the majority here, we run over 1500 outreach events a year, and we spend millions on activities. Sadly, just one bad headline can unravel that work in an instant, so we don’t blame the teachers: media coverage of Oxford tends to be negative and stereotyped.
 
‘Teachers play such an important role in getting students to aim for Oxford. These findings make us more determined than ever to continue our work with them. Misperceptions are a hurdle we must overcome.”
 

The recent survey, conducted on behalf of the Sutton Trust, also found that almost three-quarters of teachers also thought that state school pupils are in the minority. In fact, 57% of Oxford’s undergraduate body is made up of pupils from the maintained sector. Moreover, 64% believe that state school pupils form less than 40% of the student body, when at Oxford this has never been in the case in at least the last two decades.

Sir Peter Lampl, Chairman of the Sutton Trust, commented, “The sad consequence of these findings is that Oxford and Cambridge are missing out on talented students in state schools, who are already under-represented at these institutions based on their academic achievements. We need to do much more to dispel the myths in schools about Oxbridge and other leading universities.”

When asked with what frequency they would recommend their brightest pupils to apply to Oxford, only 16% of teachers said ‘always’. Just under half answered ‘rarely’ or ‘never’.

Brian Lightman, general secretary of the Association of School and College Leaders (ASCL), insisted that teachers were not careers advisers, and that students were entitled access to independent, qualified advisers when making educational choices. He said, “Applying to Oxbridge is only one of many appropriate routes for our brightest young people. Social mobility is about far more than entry to Oxbridge.”

Hannah Cusworth, OUSU Vice-President for Access, said, “It was clear that the students took what their teachers said about applying to university to heart. Teachers’ negative attitudes towards Oxbridge need to be turned around if access is to be widened.”

“The teachers that the University most needs to reach are those are most reluctant to engage with Oxford. School leaders, the government and these teachers themselves need to take more responsibility, instead of just blaming Oxbridge.”

However, Angela Trigg, principal of London Academy, opened in 2004 as one of Labour’s five flagship academy schools, told Cherwell, “Far from discouraging students, it is an explicit intention that as many of our students as possible attend Oxbridge”.

Dr Graham Wright, a headmaster in Rochdale, defended state schools’ reasons for discouraging applications to Oxbridge. He told Cherwell, “Many of our students, whilst capable of attaining good degrees, lack the vital edge necessary for Oxbridge consideration. It is not appropriate for all of our students, even our brightest, as many of them will not be good enough, and we would be setting them up to fail.

“We would always push those students capable of Oxbridge study. If we do consider them to have some potential, we encourage them to take part in access and help prepare them for interview.

“In fifteen years of being a state school headmaster I have rarely come across teachers biased against Oxbridge.  Many of us realise and want our students to benefit from the opportunities that successful study at Oxbridge brings.”

Rochdale submitted only 13 applications to Oxford last year, the second lowest of all local authorities in England.

Another teacher, who works at an inner-city comprehensive, writing on the Guardian website, voiced frustration at “the way the other teachers spoke about Oxbridge and other highly selective universities like Durham and Bristol”.

They added, “I don’t think it’s any of our business whether we think it’s elitist or ‘not for the likes of them’. When I have taken groups to Cambridge, they have been overwhelmed by how different it is from their own environments, but really excited by the idea that they could be part of it. We mustn’t inflict our prejudices on our students.”

First-year Hertford historian Rhys Owens told Cherwell that he owes his success to the support of his “amazing” history teacher. However, he added, “My teachers were really caught up in the misconceptions about Oxford, and some of them didn’t expect me to get in. Even the ones who did have faith had no clue how the system worked.”

Founder of the high-profile West London Free School, Toby Young, was unsurprised by the findings. Young studied PPE at Brasenose before a successful career in journalism. Speaking to Cherwell, he remarked, “When I was at Oxford, I discovered how little encouragement most sixth formers in comprehensives were getting from their teachers.

“The main problem was anti-Oxbridge prejudice within the teaching profession. Oxford was viewed as an elitist institution full of posh boys carrying teddy bears. I still think that image persists today.

“I think things are gradually improving. There’s a whole cadre of new state schools which are unapologetically aspirational on behalf of their pupils, and a new generation of teachers, many of whom have come up through the Teach First programme, who are really committed to getting more children from working class backgrounds into Russell Group universities.”

A spokesperson for the University called the results “frustrating”. They added, “State school students are in the majority here, we run over 1500 outreach events a year, and we spend millions on activities. Sadly, just one bad headline can unravel that work in an instant, so we don’t blame the teachers: media coverage of Oxford tends to be negative and stereotyped.

“Teachers play such an important role in getting students to aim for Oxford. These findings make us more determined than ever to continue our work with them. Misperceptions are a hurdle we must overcome.”

Responding to Cherwell’s concerns about sample size, the NFER said, “Our panel of teachers is nationally representative and we feel these surveys provide sufficient information to gauge current opinions within the teaching profession.”

The survey of 730 teachers working in 468 English secondary schools in the maintained sector was carried out by an independent body, the National Foundation for Educational Research (NFER), on behalf of The Sutton Trust, an educational charity aimed at promoting social mobility through education. 

Doctoral students set up Brilliant Club

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Two graduates have set up a company that aims to boost access to elite universities by employing doctoral students to give tutorial style master-classes to bright students at underprivileged schools.

Simon Coyle and Jonathan Sobczyk are both former Teach First ambassadors and left their teaching careers to start the Brilliant Club in March 2011.

 Thus far the programme has 36 confirmed secondary school programmes and is in the first stages of exploring expansion into working with primary schools. The programme has also been awarded a grant by the Sutton Trust, which told Cherwell it was impressed by the “clearly defined and compelling proposal.” The Trust is optimistic about the “real potential for impact and scalability”, raising “aspirations and attainment” by utilising the “largely untapped resource” of PhD students.

The company’s stated goal is to increase the representation of underprivileged students at top universities. 48% of privately educated students are able to gain a place at an elite institution but this number drops to 18% among state-school pupils and falls to only 2% among students qualifying for free school meals.

The Brilliant Club hopes to raise the aspirations of talented students at underprivileged schools and boost their chances of gaining a place at a top university. The PhD students are paid for each class they teach, which Coyle has stated will encourage accountability and ensure that the scheme is not based merely on “grace and favour”. Schools are also charged for each set of tutorials.

The group is currently focused in London and has recently reached an agreement to start a ‘partner university’ scheme with King’s College University.

 

OUSU delegates argue for weighted loans

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At the NUS National Conference in Sheffield last week, OUSU delegates argued for a fairer system of maintenance loans based on where a student goes to university.

The amendment proposed in a speech by Thomas Rutland, an OUSU delegate, recognized that the current basic maintenance loan is too low to cover the costs of student living in certain areas like Oxford.

Statistics published by the BBC in 2007 show that Oxford is the third most expensive university to study at in the country after Imperial College London and the Royal Academy of Music.

The figures were made using three indicators: student housing, groceries and drinks. The report shows that living costs for Oxford are 35% higher than the National average.

The amendment, which passed with a “handsome majority” according to Rutland, suggests that the government is considering introducing weighted loans outside of London.

Currently, a student living in London can obtain a maintenance loan which is £2000 bigger than students studying outside the capital to reflect higher living costs.

Findings from the NUS show that the average cost of living in London for a student is £11,697 per university year whilst it is £10,607 elsewhere.

Following the amendment, NUS has resolved to investigate the viability of loan weighting outside of London so that students from equally expensive cities are properly supported.

It will promote any positive findings to the government and lobby them to take action on the issue.

Rutland, the OUSU delegate who proposed the amendment is “very pleased” that it passed as he believes that it will “put more money in the pockets of Oxford students.”

“Students from the university often find that their maintenance loan doesn’t even cover their Battels bill for term,” he continued.

Charlotte Simpson, a first year studying History at Exeter College, commented that “Oxford itself is a very expensive city because it is a tourist trap.” “However, many allowances in the form of discounts are made for students,” she pointed out.

Millie Greene, a classics student, emphasised the burden of housing costs in private accommodation. “Next year I will be living out in Cowley and I will be paying a lot more than my friends in other universities,” she said.

Greene said she “welcomed” any changes to the maintenance loan system which would better reflect the “true cost” of living in Oxford.

Hey There Delilah

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This month the London based singer–songwriter, Delilah, begins her first headline tour, heralding what one might consider to be the official start of her solo career. Now 21, Delilah, real name Paloma Stoecker, signed with Atlantic Records when she was just 17 and has been writing and recording her debut album, From the Roots Up, ever since as well as touring, writing and recording with the likes of Maverick Sabre and Chase and Status. It would be fair to say that it has taken a long time for her to get to the stage of completion and her relief is evident. ‘Yes it’s done, it’s absolutely done. It’s been tricky because I’ve got songs that I’d written from years ago when I was about 13 or 14 so the hardest part was finding the sound [of the album]. We had tonnes and tonnes and tonnes of songs to choose from, more than 200, but finding the sound of  the music industry right now and what I’m about and my heritage, that was the trickiest part and it took some time.’

From the two EPs and 2–4am mix-tape that Delilah has so far released it would seem as though this time has been necessary and well spent. She is a purveyor of, as she terms them, ‘dark, melodic, soulful pop’ songs and seems to have forged herself a sound that is likely to become familiar to many households in the not too distant future.‘Nowadays it’s really easy for artists to be created, to stumble in as Bob or Jane and then leave with a manufactured persona. With me it hasn’t been like that. There’s been no big marketing plan. Everything that I write about comes from my upbringing and from how I am as a person and things I’ve seen in my life; it’s real.’

This sense of authenticity is integral to Delilah’s perception of herself as an artist and there is a firm underlying belief that this approach of taking one’s time and doing things the ‘old-fashioned way’ is essential to achieving this authenticity. Rather than a rapid rise to fame and millions of instant record sales, longevity is her goal. ‘I’m making music that my fans will hopefully be able to pick up in ten years’ time, like I do with the music that influenced me, and go ‘Yeh. Do you remember this album? This was a great album’ and enjoy it. It’s not all about how many hits you have on YouTube. I wanted it to sound like a first album, not like a big budget, multi-million pound record. As much as it’s about Delilah the artist it’s also about Paloma and the songs that I’ve written to get me through the things that have gone on in my life.’

This outlook is refreshing in an industry that has become plagued by talent shows offering hopefuls fifteen minutes of extremely fleeting fame. ‘Ultimately my dream is to make music and sing and perform so I want to do whatever is possible to make sure I’m still doing that in ten years’ time.’ The name of the album is suggestive and, despite the years she has already spent in the music industry, Delilah gives the impression of somebody who only now about to leave her family home and embark upon a road to follow her dreams. ‘I haven’t even begun to start doing what I have planned. Music is my first love and that’s all I can really see right now. Hopefully, from the roots up, I’ll start to show some real growth.’ 

Review: Demons’ Land

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Of all epics, Spenser’s The Faerie Queene seems the most difficult to dramatise: it is long, intricate, philosophical and allegorical. Aristotle considered epic and drama essentially the same: indeed, Milton’s Paradise Lost was originally conceived as a play. Epic poetry and theatre are linked, and yet we rarely think of the two in relation to each other, and even less often do we witness a stage production of an epic poem.

The audience at the Burton Taylor were lucky, then, to witness a performance of Simon Palfrey’s adaptation of The Faerie Queene, titled Demons’ Land. Palfrey’s response to the task of dramatising this epic is to re-imagine it, placing Fairy Land in a Tasmania populated by characters both familiar and harrowingly unfamiliar. The play draws on Spenser in an extraordinary fashion, while also creating its own, new theatrical world.

Two heroes of the poem star in the play, the Redcrosse Knight, also known as St George, here rechristened Red, and Britomart, the female knight of Britain, here, British Palfrey prefaced the performance, which hovered between a full staging and a reading, by noting that one need not know the poem to enjoy the play- indeed, that it might be better if one did not. This is certainly true. It is as if the entirety of The Faerie Queene has been placed in a blender at a very high speed, with a number of other things thrown in. I thought sometimes of Caryl Churchill’s The Skriker, which similarly dashes from one extreme of abject poetising to dramatic heights and back.

The play was nearly two and a half hours long, and could use some cuts or an interval. Nevertheless, its length reflects the challenge of getting epic bigness onto the stage, and intensifies the feeling it leaves us with. In the beginning, the language was so dense I felt alienated and disorientated in this new world, but eventually I slipped into its flow. The cast was wonderful through and through, especially Cupid. There is some great pathos in watching a sad old character such as the Collector rail on about youth, but these very human or emotional moments punctuate the darkness. It is a very funny play, and also a very sexy play. But nevertheless, I think Palfrey wants to ask the same sort of big questions that make us still want to read The Faerie Queene today: what is providence? How does it touch us? How do we realise ourselves, maybe change ourselves, find virtue? These are still open for debate.

Review: Dangerous Liaisons

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This is the kind of play that should do very well in Oxford. A slick and attractive production, with a slick (even oleaginous, in the case of the male lead) and attractive cast, with a slick and attractive marketing campaign. Dynamic duo Ramin Sabi and Christina Drollas know their target audience, and, despite some fairly major box office hurdles – finalist agoraphobia, undergraduate apathy, ghastly weather–this should do very well. Hers is a tremendously engaging production, and one that is superficially rather a lot of fun. However, engaging (more’s the pity) doesn’t necessarily mean good: those with a more profound understanding of either the book or what makes for a superlative production may leave rather disappointed.

On the face of it, though, things are bright. The laughs are not infrequent, the set is absolutely glorious, the cast are admittedly mostly rather dashing. The lower sixth drama class I spoke to at the interval declared the show ‘amazing’, and the Vicomte, apparently, a ‘lad’. In some respects, this is actually very apt: it is amazing that someone with Drollas’ relative inexperience should have managed to organise and engineer a production that, at its best points, is really rather professional. And the Vicomte? ‘Lad’ might not be the obvious choice of word: I actually came to find Ziad Samaha’s performance as Valmont immensely irritating (not least because he appears to have developed quite a pervasive little cough) – but his performance is admittedly quite misogynistic. I look forward to no longer seeing his face all over Oxford – including, apparently, over the urinals at a number of night-time establishments.

Ella Waldman’s Tourvel, on the other hand, is superb. Well-cast, presumably well-directed, and definitely very well done, Waldman delivers a gold star performance in a hugely difficult role. Claudia King is also to be applauded for appropriate breathiness. A more faltering casting decision has been made in Alice Portas’  Madame de Merteuil, who I found less convincing. Her scenes with Samaha lack any kind of sexual charge: though they paw at one enough concertedly enough, they could easily be assistants in an abattoir. That said, everyone looks very attractive, and (in a technique often used to great effect in movies that are made for television) the strains of a piano in the background made everything ever so much more emotional, darling.

Even in the hands of the ‘pros’, adaptation is a challenging process (cf. most of the Harry Potter films): Drollas has accordingly done quite well, though the ending is – if not totally botched –rather anti-climatic. In the Valmont’s final scene, they have missed out on a good opportunity to engage with a bit of ‘gore’, while Drollas’ rewriting of Merteuil’s endpoint feels unfinished. The choice to put it in the late thirties, however, is sometimes incongrouous and often bizarre: this really doesn’t work with either the semantic field or the themes of the narrative. The epistolary conceit is done away with almost entirely: the product is a fresh, pithy script, with plenty of humour. Should Drollas seek to have it reproduced, however, I would seek editorial support for clunkier or more wooden lines. Merteuil asks her young lover whether he has someone to write his lines for him, or whether he takes them from ‘bad melodramas’: I doubt this anticipates the winces that followed from a number of audience members.

A final note: given the number of  French undergraduates likely to descend on the Playhouse this week, I recommend asking for some handy hints on appropriate character name pronunciation. A very pretty show, though.

Three and a half stars.

Preview: The Penal Colony

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Adam Gethin-Jones and his cast are waiting for the brutes in St. Hilda’s Dramatic Society’s newest production, In The Penal Colony, a schizophrenic adaptation from the short story by Franz Kafka.

Now, I must admit to having been slightly sceptical before going to see the play: as a huge fan of Kafka’s work, I was afraid a poor production could ruin one of his gems for me. What I saw of the play was, however, a pleasant surprise, even if not a staggering cathartic masterpiece. The plot revolves around the execution of the Prisoner, observed by the Explorer, a mysterious traveller visiting the Penal Colony and the mysterious device used to carry out the execution, an object of almost erotic fascination for the Officer, who has a peculiar nostalgia for the bygone times of the former commandante of the Penal Colony.

Or was it a sanatorium? The original plot has been heavily adapted, with new elements added and the whole story transposed onto the realities of a decaying sanatorium. The Prisoner becomes a patient, new levels of alienation are created, and the plot conventionalised by the cultural context of the mental institution, a theme so overexploited in recent years that it has become a staple of modern popular culture. But quite apart from my (probably obvious) distaste for the concept of this adaptation the problem lies primarily with the lack of clarity. The actors still refer to each other as ‘Officer’, ‘Prisoner’ and so forth, despite their costumes and the set design. The sanatorium setting certainly adds to the schizophrenic qualities of the play, but unfortunately, probably not in the way the director would have liked.

What the play lacks in clarity and cohesion it definitely makes up for in acting talent. Jonathan Griffiths as the Prisoner deserves special attention, his brilliant portray of his character’s madness is the high point of the play and it’s worth the trek to St. Hilda’s merely to see this talented actor in what is a perfectly cast role. Also, the casting of two women in the roles of Explorer and Officer creates a fascinating new level to the script and the exposed sexual undertones of the Officer’s relationship with the former Commandante and her fascination with the machine add an intriguing twist to the basic plot. The other actors don’t disappoint, even if they sometimes seem to be ever so slightly overplaying their roles.

All in all then, a good play, well acted and directed, if perhaps sometimes overambitious in its attempts to produce a more modern reading of Kafka’s great story. Definitely worth recommending if you have a free evening and want to see a few talented young actors enact a masterful story by one of the literary geniuses of the previous century.

Three and a half stars

Review: Two Gentlemen of Verona

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Perhaps fittingly for an early Shakespearean comedy, Kate O’Connor’s production of The Two Gentlemen of Verona was at its best at its silliest and most amateur. The set channelled village pantomime, the band of outlaws looked like they’d stumbled in from a school production of Bugsy Malone and, should the weather permit outside performance during the rest of their run, the Christ Church gardens setting should only add to the hilarity.

Audience engagement was high, especially when the play was at its most overtly comic. Barney Iley’s Speed stole the show, slightly upstaging Stephen Hyde, who, as Launce, had to contend with difficult sight lines while seated with his dog in the play’s most well-loved scenes. The lovers had more of an uphill battle to climb. Alice Fraser worked hard to give Julia the depth of later comedic heroines and really came into her own in the second half of the production, but even the unorthodox ending couldn’t counter the awkwardness of the play’s denouement for a modern audience. Tim Gibson’s Valentine was largely competent and Amelia Sparling’s Silvia charming, but Ed Seabright’s Proteus less well-realised and his transition from loyal friend to Machiavellian villain made all the more bizarre by somewhat blunt characterisation.

The production was weakest when it attempted to be something more than a light-hearted romp. The Big Band era/Manhattan setting was laboured and unenlightening, the singing between acts slightly cringe-worthy and the final full-cast rendition of ‘New York’ tear-inducing for all the wrong reasons. Gestures were overblown and blocking could be awkward – directorial decisions which proved to the expense of the better actors among the cast. The decision to convert the Duke into a Duchess (Katie Ebner-Landy) also seemed to have little motivation beyond casting considerations and hampered the sense of the lines on a couple of occasions – a shame in a production which could provide a good introduction to Shakespearean language.

Overall, while the production may be a little rough around the edges, enthusiasm was abundant onstage and off and, as such, The Two Gentlemen of Verona should prove a fun night out for even the most uninitiated of Shakespearean theatregoers.

Two and a half stars