Thursday 2nd April 2026
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Women’s Hour

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Eighty years ago, the establishment of a professional women’s football league in this country was simply unthinkable. Having been banned by the FA and with no funding, the vision looked to be a bleak one. Fast-forward to 2011 and this once seemingly impossible vision has come to be realized in the form of the WSL and it is one being embraced by an increasing number of women of all ages and ability. Whilst the game lacks the glitz and glamour of its male counterparts, it is gaining recognition from around the world and in turn helping women to find a balance between work and play.

Women’s football has been established in England for more than a century, and yet it has only been since the turn of the 1990s that the game really evolved. Up till then, women’s football remained detached from the wider FA, with the Women’s FA left to organize their own football in the UK. The watershed moment eventually came in the 1990s when the FA, having come to recognise the growing emergence of the women’s form of the game, took the decision to administer both the men’s and women’s game under the wider FA umbrella. Since then, the women’s game hasn’t looked back. Just over a month ago, the FA released figures relating to the growth of the game in the UK. The figures are impressive on both a local and national scale. Of the 2.1 million children participating in The FA Tesco Skills Programme, 42% are girls, whilst 106 of the Skills Coaches are females. In fact, there are now over 23,000 women coaches who have achieved a Level 1-5 Coaching badge. On the playing side of things, the figures show a consistent increase in the number of female youth teams being formed – 6,461 in the 2009-2010 season in comparison to 6,027 in the previous season. The effects of these initiatives and enthusiasm have, more importantly, had a hugely positive effect on the national team.

In recent years, the ‘Three Lionesses’, as they are known, have come on leaps and bounds, so much so that they are now being talked about as one of the favourites for this year’s World Cup taking place in Germany. Whilst the U19s have reached the European Championship Final on three of the last four occasions, lifting the trophy in 2009 in Belarus, the senior team have followed suit, reaching the quarter-finals of the last World Cup and the final of the 2009 European Championships in Finland, eventually losing out to Germany. Such has been the rise of the women’s national game on the global stage, that – contrary to many reports – two Englishwomen were nominated for awards at last year’s Ballon D’Or – star striker Kelly Smith for the women’s World Player of the Year and England national team coach, Hope Powell, for women’s Coach of the Year. More importantly the FA has, since 2009, placed seventeen England players on central contracts – essentially enabling them to work part-time whilst simultaneously allowing for more training. Arsenal Ladies, despite being one of the most successful teams in England, only usually train for just two evenings a week! The four-year deal which will be renewed annually will see players paid from a pot worth £1.28 million and will be governed by the Women’s and Girls Football Strategy, established in 2008. With over 50 FA Centres of Excellence in existence across the UK for talented girls, the start of the inaugural professional FA WSL in April marks a new goal for young players coming into the sport to aim for.

The FA’s WSL marks a watershed moment for the women’s game in this country. In establishing the league, the FA has very much modelled itself on leagues in Holland and Germany, in particular, where the women’s form of the game has grown. Whilst the stadiums used will be small-capacity ones, it is the pricing initiative of the games which is the most pleasing to read about. Tickets will be priced at £5 for adults and £3 for children, with the focus being on creating a family atmosphere, filling the grounds as well as attracting younger faces to the game. From a players’ perspective, the stand-out feature is that players from the eight teams will be paid for the very first time. A salary cap has been set, whereby only four players per club will earn more than £20,000 a year – something which the FA hopes will ensure an even distribution of talent throughout the league. It therefore means a chance to give up ones day job and to instead concentrate on ones real passion – football. However, what the establishment of the WSL signifies, above all, is what the women’s game has been craving for for many years now – recognition through television coverage. The league, running from April to August, will see games televised live on EPSN who will also provide a weekly 30-minuts highlights show. Although no income will be received as a result of the coverage, the FA will not be expected to cover the production costs for ESPN – something of a rarity in women’s sport. Nonetheless, fears of foreign imports coming into the game and players being lured abroad by larger salaries remain.

Whilst the dream that was once held by women playing football around the country of being able to earn money by playing football, has now been realized, the blunt truth is that several top English players, including Kelly Smith, have already been lured to move to the USA to join the Women’s Professional Soccer League, albeit it before the establishment of the WSL. For the record, an average seven-month contract for a woman footballer in the USA is worth £24,000. Of course, money is not their sole motivation however there’s no doubt that it is certainly an important factor. Smith herself, on her move to the Boston Breakers, was quoted as saying that “it was not just about money, it’s about playing with and against the best players in the world, training every day and everything else about being a professional footballer”. The FA will hope that the WSL will help to stem this tide, albeit a small one. And whilst some move to pastures new, there is a familiar cry from the Barclays Premier League which is already beginning to ring in the WSL circles – that of the influx of foreign internationals into the game. Some teams, such as Chelsea and Doncaster Belles, have already imported foreign players whilst others, for example Lincoln, have expressed their intention to follow in their footpaths. Whilst it may be proving difficult for some teams to find players of the necessary quality needed for the league, it is hoped that the WSL will come to modernize the development of English players and thus create a bright future for women’s football in this country.

Despite significant developments made by the women’s game in recent years, the reality is that much more still needs to be done in order to raise the game’s profile. A large chunk of this can be attributed to the failure of the FA to capture the public’s imagination. In Germany, the women’s Bundesliga has attracted a great deal of support and popularity and even our friends across the pond have shown more support for the game, that despite supposedly having no real footballing tradition as such. Indeed, whilst the 2009 European Championships attracted some television coverage, the game largely remains confined to small column inches in newspaper sports section. Nonetheless, a great deal of credit should be given to The Guardian Newspaper, in particular, whose devotion to covering Women’s Football in this country is very pleasing to see. Although criticism has been levelled at the game by some who believe that the quality is no way near that of the men’s game in relation to speed, athleticism and, above all, technique, there is still plenty of time for that to improve. The view held by many within the game is that within a short space of time, the game will come to be able to hold its own and thus no longer need to rely on financial support from the FA. However, regardless of the length of time taken for the game to evolve, if it helps to raise the profile to younger girls and women across the country thus increasing standards within the game and creating a wider pool of players to choose from, then the WSL would have already played a huge role in the development of the women’s game in this country.

It’s incredible to think that whilst football remains by far and away the most popular participatory sport for women in the UK, its icons remain virtually unheard of. Although the WSL is a fresh, innovate idea, it is perhaps too late a reaction to the already well established professional leagues abroad. Whilst the WSL is the pinnacle of what has been achieved by the game here in the UK, challenges still remain ahead. The challenge for women’s football is to find its very own role-model and answer to Athletics’ Jessica Ennis, Cycling’s Victoria Pendleton, Rowing’s Rebecca Romero and Swimming’s Rebecca Adlington. This form of the game though, unlike its male counterpart, is free of agents and lavish lifestyles and instead played by those whose sole motivation is for the love of the game itself – something many can aspire to. Move over boys, it is very much time for women’s hour!

Cherworld Week 7

“You start change from the ground up, and I really think it’s tiny niggly things that have become totally normal to us that are the most obvious aspects of Oxford that need to change…”

As Brasenose JCR reacts to fossilized Anglican rituals at formal with bad grace, Beth and Robin return to talk over the place of Latin liturgy in twenty-first century Oxford.

Produced by Evie Deavall and Oliver Moody

Thought for Week 8: Stephen Fry

“I would be greatly indebted to the man who could tell me whatever could be appealing about those damp, dark, foul-smelling and tufted areas that constitute the main dishes in the banquet of love.”

Luke Maxted and Robin McGhee discuss the stormy marriage of the emotions and the intellect in student life, looking at the Cambridge years of the patron saint of British culture, Stephen Fry.

Produced by Oliver Moody

Interview: Johann Hari

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Johann Hari shifts uneasily in his seat. The camera flashes, and he winces theatrically. It\’s clear he\’s more than a little uncomfortable. Yet this awkward shyness seems somewhat strange, given that he has gained a reputation over the past decade as one of the most confident, outspoken and intelligent journalists in the country, and has long been a regular on programmes like The Review Show, 10 O\’Clock Live and Question Time, and it becomes downright baffling when you consider his new, trim figure. Once a podgy, rotund lover of junk food, Hari vowed to turn his eating and exercise habits around when he was presented with a special loyalty card by the staff at his local KFC, and even wrote an extended article about his new fitness regime. Nonetheless, the slimline Johann still dislikes the camera, and after sipping his smoothie timidly from a straw, makes the solemn request: \’Don\’t ever let me see these pictures!\’

This marks just one facet of Hari\’s intense self-awareness, and while he might dislike how he looks, he\’s far more comfortable with how he sounds. While he admits, \’My default mode is just whiney, preachy,\’ this is an indispensable part of his appeal. His penchant of pointing out uncomfortable truths and giving a voice to the disadvantaged has made him one of the most renowned columnists in the country, and has earned him praise and disdain in equal measure. His list of accolades is eye-wateringly impressive, but he dismisses this with an uncertain shrug. ‘Most of these awards are kind of bollocks… The times when you feel good are not that kind of thing, but when you get a fifteen year old gay kid writing to you saying, \”I\’ve been treated really badly and your article gave me hope to carry on,\” or something. That\’s much more powerful than any of those things… The degree of interaction with your readership now is just amazing and incredibly enriching.\’

However, the positive feedback he receives from readers is invariably matched by the regular arrival of vitriolic hate mail. ‘I get loads. Well, I always feel like I\’m not doing something right if I\’m not getting loads of hate mail.\’ Does it mostly come from very right wing readers? ‘They come from an incredibly broad spectrum of people who hate me… It can be really random. Like after I criticised the Dalai Lama, I got the world\’s first ever Buddhist death threat.\’ In fact, death threats are not out of the ordinary for Hari, and he\’s almost casual about receiving them. ‘I forward them to the police and they deal with it.\’ Is it, in a perverse way, quite encouraging? He pauses, before laughing, ‘It\’s a sure sign they don\’t have a very good argument if they\’re threatening to kill you.\’

Since reading Christopher Hitchens\’ infamous exposé of Mother Teresa, The Missionary Position, at the age of 15, Hari knew he wanted to be a journalist, and spent most of his time at Cambridge pursuing this goal. ‘I did a lot of student journalism… I remember at the start of my second year, the leader of China came to Cambridge, and the university just absolutely fawned, rolled out the red carpet, and I just remember, in my quite naïve student way, thinking, ‘Ooh, but what about all the people he\’s killing?\” I remember being quite startled just trying to get anyone from within the university – God knows how naïve I was – to even criticise the Tiananmen Square Massacre.\’

From here, Hari progressed rapidly. He left Cambridge with a first – though dismisses this accolade with a shake of the head, saying, ‘I did Socio Political Science, which is quite an easy subject\’ – quickly made his way onto the New Statesman, and by the time he was 23, had been given a twice-weekly column in The Independent. I recite this list, only for him to respond with another shrug. ‘I was very lucky.\’ Though his talent is evident, it seems somewhat surprising just how successful he has been, given that so much of what he writes is so far to the left of the media discourse. ‘Yeah, well the media discourse is shaped by the fact that newspapers are… paid for by billionaires and corporate advertisers, and the degree to which you can diverge from the interests of those billionaires and corporate advertisers is very limited… Most British newspapers would never employ someone who says things like me.\’ Has The Independent ever refused to run one of his articles? ‘No. Actually, I\’m quite proud of this. The Independent has literally never once, ever, said, \”You can\’t say that\”. The one time ever they didn\’t run an article of mine, they said, \”We can\’t run this for another week.\” The last Pope was about to die, and I wrote an article that was going to be headlined, \”Why I will not grieve for this evil Pope,\” and they said, \”Look, he might actually die tonight, and then people will wake up tomorrow and that will be the thing in the newspaper. Just give it a week\”.\’

As a journalist, Hari\’s focus is almost always acutely fixed on the more serious and important issues of contemporary life, and he is continually confronting difficult truths. However, he spent much of his earlier career covering more light-hearted fare, including an interview with Busted. ‘That was my idea. I kind of suspected I\’d dislike them and I thought it would be a funny interview, but I did not suspect I would loathe them as much as I did. I thought they were absolutely hateful.\’ More recently, there was the extremely popular article on his weight loss; I ask if this is a sign of a new, less serious direction in his writing, but he denies it. ‘I wouldn\’t want to be someone who was writing every week on how I learnt to stop eating Big Macs. Although there\’s a place for that kind of journalism, it\’s just not what I want to do. I think everyone\’s got a responsibility to talk about things that matter.\’ Yet in highlighting the hypocrisy of others, isn\’t there a danger of failing to meet those standards yourself? ‘I know what you mean, but I don\’t think so, because I definitely never present myself as a kind of moral paragon.\’

He\’s as unforgiving of his own faults as he is of other people\’s, and currently is one of the government\’s most vocal critics. Is he at all optimistic about the future of the coalition? ‘I\’m optimistic they might lose… They\’ve been even worse than I thought they\’d be.\’ Does he view Clegg as beyond redemption then? ‘Well, if you think about the whole Cleggmania during the election, now it seems like those Christmas number one singles that everyone buys as a joke. It\’s like Blobbymania, isn\’t it? You just think, what the fuck was that? We look back three years later and think, my God, why did we buy this shit?\’ I ask him if there\’s a danger of seeming too downbeat in his views, and he agrees that this is a concern. ‘The worst thing you can tell people is, \”The world is shit. Bye!\” You know, I\’m not a pessimist… I think it\’s always about trying to say, here\’s a problem and here\’s how it can be resolved.\’

It seems that Hari\’s own principles won\’t let him avoid certain issues, and if that means making a few enemies, then so be it. In fact, I get the sense that he rather relishes the combat: as the interview draws to a close and he asks for the bill, he is happy to pour scorn on some of his fellow journalists, including Giles Coren – ‘I think he\’s fucking repulsive… I really loathe him\’ – and Toby Young – ‘He\’s such a bellend.\’ Has this ever led to any awkward encounters? ‘I met George Osborne once. It was a really weird experience… There was a dinner for Andrew Sullivan, and George Osborne was there – this was about three years ago – and he completely blanked me. This hasn\’t happened to me since I was a teenager. I don\’t mean he mostly ignored me, I mean literally, I said hello, and he blanked me repeatedly throughout the whole night. Whenever I spoke, he just looked away. It was absolutely bizarre, and I thought, how unbelievably thin-skinned he must be.\’

It is little wonder than Johann Hari gets up as many people\’s noses as he does. He\’s made a career out of sticking to his principles, and seems to almost enjoy the hostility that he elicits in others. As we get up to leave the restaurant, he reflects, ‘I feel like I\’ve been unusually unobnoxious in this interview…\’ He\’s as unwilling to compromise in person as he is in writing, yet throughout our chat remains unfailingly polite and friendly. Is he uncomfortable being confronted in person? ‘The first person who ever recognised me on the street was the worst time this has ever happened… It was about six months after I\’d started at The Independent, I\’d just got off the tube and a woman came up to me and said, ‘Excuse me, are you Johann Hari?\’ and I said, ‘Yes, I am!\’ I was really chuffed, and she said, ‘You make me sick,\’ and spat at my feet and stormed off, but didn\’t say why!\’ Buddhist, probably. ‘Yeah, exactly. Bitch.\’

 

Intelligent Design

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 The term ‘cosmopolitan’ may seem rather cliché, particularly within the realms of design. Yet the interior designer Alessandra Branca is certainly the embodiment of a cultural melting pot in her approach to and inspiration for interior design.  Melding a cocktail of influences, from a childhood in Rome to her current life in America, Branca is a venerable menagerie of innovation when it comes to decorating your abode.  Her work has been described as incorporating \’the comfort of the British, the chic of the French, the passion of the Italians and the wherewithal of the Americans.\’

 \’It’s interesting that each of those places is somewhere someone in my family came from — my father’s mother was French, my father English, and my mother is Italian.’ Her background as a dealer in antique prints, which she had collected since the age of 14, alongside her Italian roots, clearly comes through in her work.  It is classic — but the inevitable twist comes with an injection of vibrant personality and enthusiasm for life.  Visiting the Branca store in Chicago I was struck by layer upon layer of beautiful antiques and objects —it has a certain Wunderkammer feel — yet also by some of the intriguing curiosities placed amongst splashes of vivid colour.  African headdresses and riding boot trees reinvented as lamp stands particularly caught my eye.  Despite such talent for design, a sense of humour doesn’t fail her.  Laughing, she muses on her sartorial display – \’as my husband would say, it looks like I feel into a cubist sofa!\’

 Discussing her past work as a fashion buyer it becomes clear that interior design is a platform through which to explore other areas of human life.  She notes an example of such interconnectedness in the influence late 18th Century fashion had on furniture design in Europe. \’As women wore more comfortable dresses, without hoops, people started making sofas that were deeper and thus more comfortable.  This started way back with the Romans — people lay down all the time on divans, so clothing had to be soft and able to move.  Everything is connected, fashion and furniture are about living and both of them are very important to each other.\’

 Such influence of interior design on human social life also comes through in a more direct way in her role — ‘I’ve become the best marriage counsellor you’ll ever meet!’  Mediating the intricacies of as large an investment as a home is an emotionally delicate one. As a designer she aims to locate the ‘common ground’ — some people struggle to articulate the visual, in which case her role as a psychoanalyst comes to the fore in essentially reflecting on ‘how they feel when they feel best, memories from home and from travels when they felt completely comfortable, happy and excited.’  For others keen to indulge their own styles she is more of a ‘portrait artist’ — ‘if I don’t show a home that is an extension of them rather than me, then I haven’t done my job.’

 She cites moving to America as key to developing her work philosophy — ‘you do learn to problem solve and to organise information from the Americans — i mean the work ethic is unbelievable.’  The land of Bernini and espressos has remained similarly fundamental however — ‘Italians do show a bit more — but really in the end Italian homes are about architecture, space, colour and light. The Americans are not as comfortable in their homes. Comfort is the one thing that I make a huge effort to bring to a home.’  A black and white house plan morphs into an approach to design ‘like a business plan’ — taking a temporal view to how the house will be used — which is then ‘organised by subject, not by room.’  Colour and form are then explored within the context of the space to see what is going to work — ‘good design has to work, it can’t just look great.  It’s like healthy body/healthy mind — you’ve got to have both.’

 Continually reading and learning is key to maintaining a flowing current of ideas — ‘the more you educate yourself the better.’  Discussing the trials and tribulations of the potential of stylish studentdom, she again exudes characteristic optimism — ‘student living is a fantastic place to practice making the most out of very little space – realising yourself, your needs, and your interests. I think the fun thing is that this is where so much is born — it’s the best time of your life, it really is.’ Champagne studentdom — reign on!

 New Classic Interiors (Stewart, Tabori, & Chang) is out now, RRP £34.99; All sales proceeds are donated to inner-city educational programs.

Review: Lemonworld (New Writing Festival)

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Lemons make you pull a face.

Lemonworld, the new short play by Matt Fuller, a product of OUDS\’ New Writing Festival running this week at the Burton Taylor, won\’t. It does, however, share with its namesake its shape; far from turning out pear-shaped, this production is competent and assured in every aspect of the production, but takes a while to get into.

The main body of the play is engaging and thought-provoking, and rounds off into a nicely redemptive concluding point. The story, which concerns itself with the dynamic between a young man struggling to come to terms with the death of his mother (Adam Scott Taylor); his dependent brother (Dylan Townley) who aspires to become a playwright and his troubled lady friend neighbour, tempestuous tempress Ada (Sarah Perry), asks questions of art, of grief, of human relationships, and is reassuringly hopeful in its outlook. It seems to lack, however, a real sense of pace and scope; the omnipresence of the boys\’ dead mother and Ada\’s abusive partner, neither of whom appear onstage, feels a little tired, and the dialogue at times veers toward the mundane. The play\’s meta-meditation on the nature of theatre, and its humorous analysis of the life of the playwright, is a particular highlight, and is refreshing in its consciously naïve and light-hearted self-reflexivity.

The low-key, this-could-be-happening-in-the-house-next-door mood of the piece is affected well by the ‘well-lived in\’ (messy) set of the boys\’ apartment, and by Scott Taylor\’s understated embodiment of the everyman, trying with the best of intentions to find his way in the world. Townley\’s portrayal of the awkward, childlike playwright-to-be is touching in its simplicity, and Sarah Perry\’s Ava brings to the play the urgency and humour which really propels the plot and engages the audience. Archie Cornish\’s direction captures the reality of the situations within the play, and walks nicely the line between everyday experience and the theatrical extraordinary, encouraging in the performers a vodka-and-lemonade blend of humour and poignancy. The audience travelled along with the characters on their respective journeys perfectly well through their dialogue and action, and the choice of musical accompaniment between scene changes felt a little extraneous, but would doubtlessly would appeal to those with a taste for soul-searching singer-songwriters.

Altogether, Lemonworld makes for an enjoyable and worthwhile experience; it won\’t leave the bitter taste in your mouth which I am not sure as to whether or not was its intention, but is certainly theatrically refreshing, and well deserves its place in the thespian fruitbowl of the New Writing Festival.

 

Raoul’s Recipes Episode 5: The Bloody Mary

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Raoul’s bar manager, Jack, guides us through the fifth cocktail of the series – the Bloody Mary.

Curtains Up: The Oxford Revue Talks To Strangers

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Cherwell talks to the Oxford Revue about their upcoming show: ‘Talks to Strangers’, which is running from 8-12 March at the Burton Taylor Studio at 9.30 pm. We also get a sneak peak at some scenes from the show.

http://www.oxfordrevue.com/

Thought for Week 7: Talk Talk

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“It’s time for every per-son as beings of sound to acknowledge their responsibility to uplift the consciousness of the entire fucking world.”

The art of speech is dying in Oxford. Our senior Culture writer Concepta Cassar talks talk for talk’s sake.

Produced by Oliver Moody

Review: The Tea Party

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Ramin Sabi’s The Tea Party will no doubt divide audiences into two camps: those who think it is a profound and harrowing vision of our absurd metaphysical condition, and those who think it’s pretentious drivel. I’d put myself firmly in the first camp.

 

The play centres around six not-quite-real, formally dressed characters trapped in an eternal hell of tea and banality. William, Charles, Duncan, Lucy, Victoria, and Lydia sit around sipping tea, pouring tea, talking about tea, and spouting inane but pleasant-sounding sentences (a number of which are to do with tea). Think Through the Looking Glass meets Importance of Being Earnest meets The Trial.

 

The Tea Party starts off feeling like a bizarre and disjointed dream, but as the characters ‘crack’ one by one and stop playing their parts in the grotesque comic saga of their existence, the play takes on an altogether more sinister vibe. Beneath the mindless chatter, there is a terrifying emptiness about which no one dare speak. Everyone but Lydia slowly realises the awful secret, and their collective anguish is eventually crystallised in William’s desperate cry of ‘why the fucking tea!’ Gradually the volume of the light-hearted inanity dies down, and we are left only with the haunting sounds of Lydia’s demonic cackle and the clinking of cups. I’m not sure what is more discomforting: the plain terror on the faces of the characters as they see for the first time the pointlessness of their lives, or the utter equanimity of Lydia, who seems completely dislocated from the world.

 

The script is a self-conscious homage to Oscar Wilde, with enough empty aphorisms and nonsensical witticisms to keep you scratching your head for days after.  At one point Lord Duncan triumphantly declares that ‘up can indeed mean down’, whatever that means. Sabi’s dialogue is sharp and witty, although possibly a little too ‘after Wilde’ to be considered original. The monologues are a bit ranty and don’t enhance the drama very much. If anything, they get in the way of an otherwise neat script.

 

It is a testament to the quality of the cast that The Tea Party makes such a powerful impression with a sparse set and minimal directorial input. Indeed for most of the play the characters are seated, drinking tea and talking. William (Lloyd Houston), Victoria (Olivia Barber), Charles (Luke Prendergast), Lucy (Rosa Bennathan), Duncan (Matthew Turner), and Lydia (Rosalind Stone) do a tremendous job to conjure up a surreal but somehow convincing dynamic. Watching The Tea Party is like being in a nightmare – it is entirely believable (and scary) while it’s going on, and although you wake up and leave the theatre knowing it’s not real, the experience is nonetheless deeply disconcerting.

 

Some people who see this play will be of the opinion that, like a nightmare, it makes no sense when subject to close scrutiny. I think this response misses the point. The Tea Party isn’t meant to make sense, it is meant to give a chilling insight into the absurdity of the human condition, and to give the audience a few cheap laughs in the process