Friday 1st May 2026
Blog Page 1740

Interview – Martti Ahtisaari

0

Martti Ahtisaari is a unique individual. A Nobel Peace Prize laureate, he has been at the heart of resolving several of the nastiest and most intractable conflicts of the past few decades. He helped end a bitter war between the Indonesian government and separatists in Aceh, and was a major participant in the negotiations that sought to resolve what to do with Kosovo after the war and genocide of 1999. He was one of the architects of the Namibian independence movement, which made the country independent from South Africa in 1990, worked in Iraq and Northern Ireland, and in between managed to find time to serve a term as President of Finland, during which Finland joined the EU.

He is a tall and broad man, though softly spoken – approachable and imposing in equal measure. Asked what drew him to a career in mediating between groups locked in violent conflict, he is quick to say that he arrived at negotiation only indirectly, after years spent first as a schoolteacher and then as a diplomat. He does admit, however, that his childhood may have left him cut out for the task. The region of Finland into which Ahtisaari was born was annexed by the Soviet Union during World War II, and he spent the first years of his life as a refugee in his own country. He explains, ‘I grew up with the feeling of being a stranger, and I think that allowed me to develop a sensitivity to what people are thinking without even any words. That’s not a bad thing for a peace mediator to have.’ He says that even as a student, he was known among his friends for his willingness to step into disputes and calm things down.

That kind of calmness, he claims, regardless of how gruesome a conflict may become, is vital for third parties if they are ever to help bring about peace. He also stressed the importance of a concerted, international effort in resolving tension: ‘These days, governments don’t want to internationalise their internal problems; they think it’s easier to try to make peace themselves. This is what happened in Indonesia; they tried to make their own ceasefire and it lasted only half a year.’ Indonesia’s Aceh province was wracked by violence between separatists and government troops for decades, with little movement towards peace.

Perversely, it took the destruction inflicted by the tsunami in 2004, which destroyed much of the Aceh region, to bring both parties back to the table. International aid was desperately needed, but could not be brought in while there was still a threat of violence. Ahtisaari emphasises that negotiators cannot step in and initiate a move towards peace: ‘if the two parties are ultimately not interested in solving a conflict, then there is really very little I can do, however brilliant I might be’ he says, with a grim laugh.

Ahtisaari currently works with an organisation called Crisis Management Initiative, an NGO devoted to helping war-torn parts of the globe piece themselves back together. Though he stresses again that third-party groups such as his can never bring belligerents to the negotiating table without the support of national governments, he argues that they do have a useful role to play. ‘Our main advantage from the perspective of governments is to do with blame: if we manage to make peace, then the governments who support us get a piece of the glory; if we fail, then it’s us that takes all the blame.’

It seems like a bleak assessment of his sometimes thankless line of work, but he seems almost pleased to be free of the burdens of political office. I ask what drew him back to run for the Finnish Presidency after so many years spent working on the international stage, and again he is quick to deny any real political ambition. He had never held political office before running for President in 1994, having built his career instead within the diplomatic service. ‘I think that I won in the end because everyone was fed up with traditional politicians, though I doubt anyone with a similar background to me would be able to do it again. I am not pleased with our system, where people start out in politics as a teenager and stay in it till they retire. I would rather see people spend at least some time in another career before they move on to politics.’

In the end, he says, he ran because he was asked to by friends and colleagues, and more importantly because he came top of a surprise poll of potential candidates than included several non-political candidates along with the mainstream party figures. He comes across as perhaps the most reluctant head of state ever to hold office, adding that even after winning his party’s primary, he would have pulled out had the other candidates asked him to. ‘I had my own career and interests,’ he adds.

Ahtisaari is an firm supporter of the EU in a country that had long been sceptical of the organisation, until it joined in 1995 under his leadership. He argues that the EU is better placed than most nation states to help resolve conflicts across the world, not least because it is one step removed from the pressures of national election cycles. More important, and often forgotten in discussions of EU politics which tend to focus on the continents western half, is the diversity of experience in the body. ‘If you look at the Arab Spring, we have countries like Libya and Egypt that are emerging from authoritarian rule, and are trying to reform. A country like Poland that only twenty years ago went through the same process can give much better advice than a more established state like Finland or the United Kingdom.’

Again, he stresses the importance of trust and of good reputation, two qualities that Western states have not always done their best to maintain. Asked what he thinks of more interventionist bodies such as the International Criminal Court, which has come under fire in recent years for focusing almost exclusively on Africa, Ahtisaari seems cautiously optimistic about the organisation’s future. ‘I think we need organisations that can really take to task individuals who have committed crimes against humanity, but they have to deal with all cases in that category, and will face accusations of double standards if they focus on one particular region. But that problem is not unique to the ICC; it’s something that the UN has been dealing with for decades.’ There is still much work to be done. He is annoyed and even ashamed, he says, that the international community has allowed so many wars to become ‘frozen conflicts’ in Africa and Asia, left to smoulder away without any real steps towards resolution. He is throughout the interview a calm, even dour man, but underlying his work and his beliefs is a remarkable degree of optimism, and above all a faith that war is ultimately not necessary. In his own words, ‘all conflicts can be solved’

Syria: the tipping point

0

When the first wave of protests initiated what is now known as the ‘Arab Spring’, Syria hardly featured. A few disturbances were easily quashed and the respected Arab broadcaster, Al Jazeera, even suggested that “a popular president, dreaded security forces and religious diversity make a Syrian revolution unlikely”.

How much difference a year makes. Violence has gradually escalated, sanctions have been imposed, ‘elections’ have taken place, and the Kofi Anan Peace Plan to impose a ceasefire was supposed to come into effect on 10th April 2012. Instead of peace, however, Syria now faces the prospect of a full blown civil war.

True, Bashar al-Assad’s government is extremely repressive: there is and has never been any real democracy, the human rights record is appalling and bloody massacres have been associated with the regime for decades. However, it is easy to forget that under the al-Assad rule, women’s rights are strongly respected and freedom of religion is greater than in perhaps any other country in the Middle East. The ruling élite are Alawite Muslims, a branch of Shia, and as a small minority group, the government has found it useful to promote other minorities, producing progressive results for perhaps the wrong reasons. There are a few Jews, then 10% of the population are Christian, 16% are Druze, Alawite and Shia, while the 74% majority are Sunni. However, it is from this religious mix  that much of today’s trouble stems.

In Libya and Egypt there was a definite opposition and leaders willing to co-operate against the government. In Syria, this is not the case and co-ordination is still desperately lacking. The UN want dialogue with representative official figures, but with the pockets of resistance all fighting for different sects, different causes and in different demographics, the likelihood of success is low.

The Sunni-led Syrian National Congress has failed to win support from the large minority groups, who have resisted on the grounds that the SNC is dominated by the Muslim Brotherhood and unrepresentative of the rest. The Muslim Brotherhood are apparently strong supporters of democracy, of sexual equality and while their belief in internal discipline and support for Sharia law remains a worry to the West, their comparative moderation may be the best compromise in a post-Bashar government. But moderation seems a long way off; this is a part of the world where revenge is not just sweet, it is a duty. Alawite communities are petrified of repercussions should the Alawite-led regime fall. The most recent atrocities on civilians in Houla, are widely felt to have been the work of the Shabiha, the Alawite militia who support the regime, and revenge attacks are an ongoing concern.

But what of the ‘international community’? The ‘West’ is trying diplomatic pressure but will not get involved directly when no-one can see and end game, and the situation is one of such complexity. Nonetheless, Saudi Arabia is willing to get involved. True, it has an unsavory record on human rights, democracy and the position of women, but it does sit on a quarter of the world’s oil reserves. Hilary Clinton considers it a “key partner and friend”, and like Britain, is happy to sell them arms on a grand scale: only last week, British defence giant BAE signed a £1.9bn deal to supply Hawk trainer jets.

As a strict Sunni monarchy, Saudi Arabia, and other Gulf states, now actively finance Syrian rebels and lobbying hard for the US to step up its involvement against the al-Assad regime. But with evidence of Al Qaeda participation, and many attacks carrying the hallmarks of those with bomb-making experience from Iraq, the US finds itself in a tricky situation. It is hard to see any outcome other than further descent into violence and bloody sectarian disaster. No group looks like it can win and yet no-one is prepared to recognize that they can’t.

Ironically, Russia, the regime’s key ally, could now be the key to a path towards a solution. The US and the UK have made their stance quite clear from the outset – that Bashar must go. This bold statement, however, gives little room for negotiation; with their backs against the wall the regime will want to fight to the death. Russia sees its involvement in other countries’ civil wars as a grave mistake and has so far resisted attempts at international action against Syria. But as its patience runs out with the Syrian government, Russia may be the only chance in persuading the al-Assad regime that it must give up, and that exile in Russia is their only hope.

Sadly for the moment, the only certainty is that Syria is beyond all imaginable realms of complexity. There are so many contributing factors, that anyone who claims to understand it almost certainly doesn’t, including myself.

Izzy Westbury lived for 3 years as an expat in Damascus, Syria, between 1998-2001. She was in Damascus when Bashar al-Assad came to power in the summer of 2000.

Future Prospects- Dr.Dan Bebber, Earthwatch

0

Dr. Dan Bebber is Head of Climate Change at Earthwatch, an international environmental charity that has a centre in Oxford as well as bases in several other countries around the world. The charity aims to engage individuals and businesses in scientific research in order to promote an understanding of environmental issues.

Out of the Blue: Sneak Preview

0

You can book tickets to their shows at the New Theatre Oxford on 11th and 12th of June by phone on 0844 871 3020 or online at http://www.atgtickets.com/Out-of-the-Blue-Tickets/245/2333/ 

To find out more about Out of the Blue, visit their website at http://www.ootb.org.uk/

Want to keep up with the latest Out of the Blue News?

Like their facebook page: http://www.facebook.com/ootboxford and follow them on Twitter: https://twitter.com/#!/ootboxford 

Review: Closer

0

If there’s something I’ve learned about plays, it’s not to judge one by its online plot summary. The one for Closer briefly informed me that the story centred around the love lives of two men and two women, and made a general claim to an exploration of love and honesty. Sound like another pretentious drama dressing up unhappy marriages as the perfect depiction of our alienating society? Then buy a ticket and prepare to be amazed.

Closer is a play of banal settings with everyday extremes. Condensed into this busy and fluid dialogue is a core of real humanity – neither too coldly imperfect, nor too heatedly idealistic – just right. The key to its success can be found in the tight fusion of tear-jerking climaxes and dry joviality. If you want the recipe, it is a delicate balance of egg sandwiches (no crusts), philosophy and internet dating sites, all nonchalantly mingling with together like guests at an art exhibition.

I mentioned internet dating sites; this was one of the highlights of the set. None of the props were flashy, in fact the projected images of the Windows 98 start-up screen (complete with dial-up sound effects) and ‘LondonFuck’ chatroom seemed to be the most high-tech that it got. I won’t spoil the hilarious surprises, which such a setting will inevitably entail, and will move swiftly on to the conveniently exciting feature of two scenes in one. Three characters, two dialogues, one dinner table – do the maths, and you’ll come up with a sum of genius proportions.

The pauses were so well timed, the joins so seamless, the change in coloured lighting was almost necessary to remind any baffled onlookers that one dialogue was (in all senses of the word) a flashback. It was not just in this scene, but in the rapid transition between all twelve different places and times that the real ambition and achievement shone through. Not every scene change was utterly stream-line, but the background-noise sound effects quickly stuck the imagination where it should have been, and carefully appropriate funky rock tunes made the pauses in between perfectly pleasant. In fact, it was actually a relief to have a little time to fit each piece into the puzzle.

As intimately realistic as this play was, it still sought to remind its viewers of the artistry behind it: four frames, one set out for each character to stand in, (resourcefully used as entrances and exits throughout), bookended the experience with a brave self-conscious. The characters, with their captivating quarrels and casual quips, presented the most honest lie that I’ve seen on stage in a long time.

FIVE STARS

Preview: Kissing the Floor

0

Kissing the Floor is a very loose adaptation of Antigone – the geography of kingdoms, the culturally-loaded names and even the togas have all been dropped in favour of the modern world and popular culture. And, of course, there is the ever so slight addition of that topical elephant in the room, paedophilia. As if death, war and crazy incestuous parents weren’t difficult enough.

“What did you do to your hair?” Not exactly something that you’d expect from a paedophile meeting his sister for the first time in six years, but then again, what else can be said? The cast in Kissing the Floor are faced with a tight-rope walk between issues of abominable proportions and the natural, normal capacities of modern-day humans. Somehow, in amongst their nattering about Hollywood films, Annie and her “kinda different” brother Paul have to navigate their deep familial love for each other around the moral minefield of his crimes and urges. All this, squeezed into a few words and awkward pauses, with the occasional shudder. In some respects, I felt the dialogue was a little too stiff, a little too strained, especially when it should have been relaxed – but maybe that was the point.

You might think that a narrator figure might relieve some of this tension, perhaps give a little enlightenment. In fact, this performance has two, but the catch is that they are both characters who have simply stepped away from the action for a minute, only to rave about it and dump a wheelbarrow full of yet more rotten, seeping emotional compost onto each viewer’s head. The cynical, sarcastic Izzie may take centre stage long enough to thoroughly blacken our thoughts of Paul with her sickened words, but her subsequent pleas to her sister Annie are refuted by am idealistically loyal sense of kinship, although Annie herself knows, perhaps better than anyone, her brother’s monstrous tendencies. 

On the one hand, I expected a play with such delicate content to be slightly more sensational, in that it might try and present a stronger case for the humanity of criminals. Instead, the struggle was fairly equal, if not slightly conventional in Annie’s losing battle against an unforgiving society. But then again, what else is to be expected from a Greek tragedy? The fact that there is no one giving Annie a medal for her defiant and desperate love for her repulsive brother is eerily piteous. Moreover, without her failure, there would be nothing to be pitied, and no chance of a reconciliation (at least in emotion if not in social changes). Thus the mad method of the Greek tragedy unravels itself in this modern, thought-provoking adaptation.

FOUR STARS

Review: The Importance of Being Earnest

0

Wilde never wrote anything other than himself. This was his strength – he simply had no need to differ from this style – but it does mean that performances of his plays require perhaps a different tactic than performers might be used to, and it is to this production’s credit that every element accords entirely with that singular character. What I mean to say is that everyone in this production may be very much doing their best ‘I’m acting now’ faces and voices, but this is really the highest compliment, and pretty much the point. There are distinguishing subtleties, sure – Chris Morgan in particular excels in making manifest the implicit sleaze of a sexless age – but the triumph of this production is its cohesion and consistency in giving voice to the music of Wilde’s own.

The relocation to the 1940s then works well, enhancing precisely that poise and contrivance that defines the Wildean world, whilst at once suggesting something (slightly) more contemporaneously relevant than an 1890s-set show might. To this end the costuming and design are due much praise – there is a sense of authenticity to it all that pays off well as the play dances and contorts about its own fabrications and falsehoods.

Jack Hutchison and Jess Palmarozza’s direction is too to be applauded, as every actor moves and speaks with an overwhelmingly mannered sense of artifice – that Morgan and co-star Michael Crowe deliver the bulk of their lines in the opening scene out at the audience, as if soliloquising, is a particularly nice touch. The text, aside from the temporal shift, is mostly preserved intact, but the choreography, design, and one new visual joke with Edward Richards that has the audience (repeatedly) roaring with laughter speak of a wit behind this production that the playwright himself would approve of.

Now despite everything I’ve said (because what’s more appropriate here than contradiction?), the actors, as individuals, do distinguish themselves, especially in the very impressive case of Abi Rees’ Lady Bracknell: a true Reesvelation (I regret nothing). She speaks as if continuously swallowing gall, and often ages on the spot. It’s quite a sight. Richard Collette-White as Dr Chasuble is likewise a delight, and a big crowd-pleaser, who seems to be channelling something of Stephen Fry’s Lord Melchett in his hand-wringing tweediness. Imogen West-Knights puts the ‘young’ in ‘my God, she really does seem young’, and the aforementioned Edward Richards does a good job as the butler Lane, sounding something like Will Self, and funny in that sarcastic, disinterested way that Geoffrey from ‘The Fresh Prince of Bel Air’ was presumably supposed to be.

In all this is a deeply accomplished, professional production, and one that is certainly worth seeing for anyone with the slightest affection towards those wild, wild words. For anyone who finds, as many do, the whole self-regarding Wildean thing unbearable, this production is Hell: and that is the most enthusiastic compliment possible. 

FIVE STARS

The price of political hypocrisy

0

I meet Adri in a rain-soaked village at the edge of a lake in Southern Benin. ‘Hello Boss!’ he cries, as he greets me with a toothy grin and a shot-glass of welcome palm-wine. We’re here to talk about the business of trafficking – and his having been trafficked in particular. ‘We were on our way to Gabon, to work in the fisheries’, he explains. ‘Their lakes are much richer than ours, so we thought that if we went there we could use our skills and make some money’.

Adri and his fellow travellers had paid a smuggler a few thousand francs to get them across the water – ‘our Dads negotiated the price, we were excited to go’. ‘What happened?’ I ask. ‘Before we’d even arrived, we were rounded up by police, whites and NGO people. ‘You are child slaves, trafficked children’, they told us. We are here to rescue you.’’ ‘And then?’ ‘Then they sent us back to the village. Gave us apprenticeships we didn’t want and left. Most of the boys have migrated again’.

Adri’s story is not unique. Since the 2001 discovery of the Etireno boat on which Adri and hundreds of other teenage boys were travelling, Benin has been blacklisted as a global hub for the traffic in children. The country’s dark past as a lynch-pin in the trans-Atlantic slave trade has only served to cement this label. Now, the crime of trafficking – movement and exploitation – is called ‘modern-day slavery’, and is said both to be the major force keeping the country’s rural young out of school and best tackled by keeping them ‘at home’.

 I head to the central cotton-belt to learn more. In Sehere village, John tells me that he was himself in school until his father died. ‘I didn’t have enough money to continue’, he says, ‘so I decided to move to Nigeria’. Sat with us are five other boys who have just returned with John from the mines across the border. Officially, they too are ‘victims of trafficking’, since they moved to engage in work that the anti-trafficking establishment deems inherently exploitative for minors.

‘The work wasn’t that bad, you know’, Peter explains. ‘Sure it was hard, and we spent hours under the sun, but we ate well, we were paid, and we worked surrounded by all our friends’. Rory continues: ‘Of course school would have been great, but I did two years there and earned 140,000 francs (about $200). That’s enough to set me up now that I’m home’.

When I ask what they make of the way their work is viewed by policy-makers, the boys are palpably dismissive. ‘The government, foreigners, NGOs, they all come here and tell us that moving is bad – that we’ll end up as slaves if we go. It’s just not true’. Village elders echo these frustrations. ‘There’s nothing wrong with boys doing hard work’, Elise says. ‘We all do hard work, and we have to move in order to find it, because what we have here just doesn’t provide. Life depends on money, and our crops don’t earn us enough like they once did’.

Where the policy establishment has blamed both the migration and exploitation that comprises trafficking and keeps rural children out of school on ‘ignorance’, ‘devious traffickers’ or unspecified ‘poverty’, the ‘trafficked’ and their communities tell a different tale. It is the crash and sustained depression in cotton prices that they identify as underpinning their problems, forcing them out of the classroom and on the road to tough jobs elsewhere.

‘When cotton worked, things were different here’, Charley states, pointing to the brickbuilt houses around him as evidence of better times past. ‘Farmers earned money, young people stayed at home and went to school, people were able to build things for their families’. Now? ‘All that has changed’. This change came in the late 1990s, when an international collapse in cotton prices heralded a prolonged depression that devastated household incomes. As the World Trade Organisation itself recognised, this depression didn’t just ‘happen’ – it was a partly the result of American cotton subsidies, and it deepened as these subsidies have continued.

When I ask policy-makers why they aren’t addressing such tangible and unjust ‘root causes’, instead of focussing on stopping movement or demonising work, the responses I receive are as damning as they are revealing. ‘We know that this is a big problem, but our hands are tied by the State Department’, one US staffer tells me. ‘That is simply not our responsibility’, says another. Sandra, a wisened Beninese government official, perhaps best sums it up: ‘Politicians aren’t going to change these policies just because a few kids are forced from school or are trafficked. In their reports, they say ‘poverty is the cause’, they blame culture or the poor distribution of resources. We know it’s a lie, everyone knows it’s a lie, but what can we do? We aren’t allowed to say anything, so we don’t. It’s organisational hypocrisy’.

The more I learn, the more I ’m left with the feeling she’s right. Trade Justice activists have long since argued for reform in this field. In a paper produced back in 2003 as part of Oxfam’s campaign against US subsidies, the economists Nicholas Minot and Lisa Daniels suggest that subsidies represent as much as a $60 annual loss to the average Beninese cotton farmer – the difference between a family like Peter’s sending two of their children to school, or two of them away to work.

Though this is all well known, still nothing changes. As with so much in the development field, the political interests of the powerful are once again trumping the basic needs and rights of the powerless. While the institutions that are supposed to work on their behalf remain deafeningly silent. In the meantime, young people like those I talk to are caught in the middle. Unable to continue school because subsidies have hollowed out their earnings, they are unable to migrate for work because trafficking policy calls that work slavery – and promptly returns them home if they are found. In meeting Adri again, I ask him how he feels about this. ‘Bof’, he replies. ‘C’est la vie, non?’

OxBardFest 2012

0

The Shake-Cake-Bake-Off  @ the Turl Street Kitchen

One of the stranger events of Bardfest was the Shakespeare-themed cake competition, the ‘Shake-Cake-Bake-Off’. On the afternoon of 22nd May people flocked to the library of the TSK with their cupcakes, sponges and biscuits for a celebration of ‘Shakey Baking’. With G&D’s judging and awarding prizes, the atmosphere was tense as the bakers passive-aggressively proffered their wares for tasting. One of the entries was a group of cupcakes emblazoned with letters spelling out ‘Alas Poor Damien’. The sequence was concluded with a cake depicting a skull. After staring blankly at this culinary display for a while, the link was explained to me: it was a reference to Damien Hirst, whose famous diamond encrusted skull is a bit like that one in Hamlet, which is addressed in the play with the famous words, ‘Alas Poor Yorick’. Hmmmm. Who knew food could be so intellectualised: cakes that comment on flagging artistic credentials? If you fancied tasting one of the cakes you had ensure the sequence still made a word. The winner of the competition was a trio of cupcakes decked in flowers and glitter and labelled ‘Titania’, ‘Oberon’ and ‘Peaseblossom’. A deserving winner in my opinion: easy to understand and consumable without any semantic challenges.

Carmella Crinnion

Montagues & Capulets @ Brasenose College Chapel

What do Prokofiev and Taylor Swift have in common? Romeo and Juliet, apparently, as Oxbard Fest 2012’s Montagues and Capulets displayed in an enjoyable, if frankly slightly bizarre evening of musical couplings which saw songs from Dire Straits performed alongside instrumental selections from Leonard Bernstein’s West Side Story. Opening with the rousing overtures of Prokofiev’s ‘Romeo and Juliet’ suite (made notorious through Apprentice fame), the gild and panelling of Brasenose’s 17th century chapel provides an interesting, but not overwhelming backdrop to the music of literature’s most epic tragic romance. With strong performances from all, special mention should be extended to Jaymee Coonjobeeharry on the flute for a performance both beguiling and well executed (and for having a pretty terrific name, let’s be honest). Sophie Giles sang strongly in her rendition of Taylor Swift’s ‘Love Story’, but attempting to elevate pop schmaltz into any kind of meaningful ballad is always a difficult endeavour. Likewise, Jack Graham singing Dire Straits’ ‘Romeo and Juliet’ was solid and convincing but with only the soft accompaniment of the piano, the overall effect fell a little flat. In comparison to the emotionally wrought falsetto from the Killers’ Brandon Flowers in the band’s 2007 cover, the lack of a pained, highly strung energy seems palpably absent. While putting such a medley of genres on the same bill may seem at best, eccentric and at worst thematically incoherent, this should not detract from what was ultimately an evening of well-executed, well-rounded and highly engaging musical proficiency. A resplendent start to Oxbard Fest 2012.

Olivia Arigho-Stiles

Lend Me Your Ears @ Ashmolean

Set in the beautiful Randolph Sculpture Gallery of the Ashmolean, the concept of the show was to marry Shakespeare with a variety of modern music. The first half of the show consisted musical performances of twentieth century composers Igor Stravinsky and Howard Blake, both of whom wrote song cycles set to and inspired by Shakespearean verse. The performances were musically adept but it was often hard to hear the lyrics, a drawback considering the theme of the event.
Happily, there were no such problems in the second half which saw performances from two of Oxford’s favourite a cappella groups, Out of the Blue and The Oxford Gargoyles, both of whom were superb. Each group performed a set of songs, prefaced by a reading of an extract from a Shakespeare play or sonnet. The idea being that the audience frame the song they were about to hear through the thematically similar extract and thus find new meaning therein. Although the connection wasn’t always obvious, the idea was a good one and the listener couldn’t help marvelling at the continued relevance of the works of the great Bard. Considering this was the purpose of the event, it was, all in all, a great success.

Patrick Scott

Banter of the Bard @ Worcester Gardens

Closing the Shakespeare Festival is ‘Banter of the Bard’; Katie-Ebner Landy, student at Oriel and organiser describes the event as ‘enjoyable, light entertainment, a night filled with music, food, drink and Shakespeare.’ In one evening seven scenes will be performed in Worcester Gardens, with the audience voting for their favourite act. ‘We wanted to do something different,’ Ebner-Landy tells Cherwell, ‘not just another play in a garden. That’s why we turned it into a competition’. The idea arose from the wish to bring theatre into other areas of entertainment, to not just keep as a separate art. They decided to turn it into ‘a proper fest’ with the audience seated on cushions in the middle, surrounded by 4 stages. Phoebe Braithwaite, co-director of the Midsummer Night’s Dream scene, states that the setting of Worcester gardens is perfect for the event, describing them as ‘genuinely rural and very idyllic’. The different plays being performed are a combination of traditional and new scenes, including classics such as Taming of the Shrew and Twelfth Night. All food and drink is centred around the Shakespeare theme, with ‘Shrewdrivers’ and ‘Much Ado about Muffins’ on sale throughout the evening. Although the scenes have been put together by individual groups, the entire event will be hosted and brought together by MC Will Mendelowitz from Worcester, ‘The Bard’. The MC introduces each new act taking on a variety of appearances, including dance critic and naughty schoolboy. Braithwaite explains, ‘It’s a mind-trick for the audience with Will appearing as recognisably himself, but in different guises.’ The final night will see Worcester Provost and Shakespeare expert, Jonathan Bate, who holds a position on the board of the Royal Shakespeare Company, as special guest and judge. Ebner-Landy encourages all to come and enjoy ‘a great night and something which has never been done before. After all the plays shown during the Shakespeare festival, this competition will be a fun finish. See it as the final festival of the entire festival.’
Banter of the Bard takes places on the 3rd, 4th and 5th June in Worcester Gardens.

Isabelle Gerretsen

Titus Andronicus @ University Parks

Revenge, murder, rape, people baked in pies –  the perfect way to spend a summer evening.  With a character survival rate of about ten per cent, Titus Andronicus is not your standard light hearted garden-variety Shakespeare comedy.  Nevertheless, sitting on the grass of University Parks, drinking Pimm’s and eating G&D’s makes for a pleasant evening, even with the constant, gratuitous violence of one of the Bard’s least respected plays. Admittedly, director Rebecca Claire Thomas toned it down a little by substituting the blood for red ribbons strewn generously over the grass, though perhaps went too far in the inclusion of a slightly irritating and overused drum.  The purpose of it was presumably to add ‘dramatic’ emphasis to certain lines and events; a nice concept, but it may have required a slightly more judicious use. The acting, for the most part, was passable.  A few of the central characters (Dionne Farrell as the titular general especially) were well-acted, though the remainder are mostly there to read out their lines in a suitably angry, sad or pleading fashion, depending on the prevailing mood.  This is, not by any stretch, an especially good piece of drama. It is, however, outside: the glorious sun will likely blind you to this production’s various deficiencies, and, for the £3 you pay, it’s a perfectly pleasant evening.

Angus Hawkins

A Shakespearean Evensong  @ New College Chapel

Before the English Reformation, English choral composition enjoyed a richness it was not to recover until Handel in the eighteenth century and Britten in the twentieth. This was an era before polyphony was seen as a barrier to worship, an immoral practice. Choral music was rich, contrapuntal, extravagant.  The nationally acclaimed New College choir led by Edward Higginbottom performed some of these extravagant compositions in the shockingly ornate New college chapel. The frieze of saints stacking above each other like symbols at a catacomb; the eighteenth century glass windows illumined by this Great British Summer. Though the flyers for Bardfest were outside, there was no mention of it. The evensong service was performed as it has been for centuries. The choir process: small boys delicate or ungainly (clearly none of them good at sport), ruffed like little Philip Sidneys, precocious attendants of the liturgy. The service was advertised as singing the music Shakespeare might have heard : choral responses were by the composer Thomas Morley and by William Byrd. The anthem was Weelkes’ ‘Alleluia, I heard a voice’, a profuse and fluid stream of sound (Spotify it). The joy of polyphonic music is watching how casually the melody, or even the voice that you can pick out of the group, is tossed from singer to singer. It’s easy to think of Shakespeare as a modern man, an urban rebel, but he certainly went to church and would have been familiar with the divine services. Perhaps we underestimate the effect of antiphonal singing on dialogue, and the witty ripostes of lovers are heir to the call and response of choirs.

Christy Edwall

Films on Friday #5 Remembrance

0

Filmed in the middle of winter in St. Michael’s Church on Cormarket Street in Oxford, Lincoln Film Production’s Society’s short drama shows a girl’s struggle to cope with a recent bereavement. To find out more about the society and to see more of their work, visit their website: www.impthelfps.co.uk (http://users.ox.ac.uk/~linc2943/index.html