Tuesday, April 29, 2025
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No more fitties: Fitfinder founder fined

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FitFinder founder Rich Martell has pulled the plug on his website, after facing disciplinary action from UCL, who have accused him of “bringing the university into disrepute”.

Since its launch on 24 April 2010, FitFinder has received over five million hits from students across 50 different universities. But now Martell, the 21 year old creator of the site, has come under pressure from University authorities to take the site down for good.

Martell revealed that UCL had summoned him multiple times for meetings with “very senior members of the University”. Martell was fined £300, the maximum allowed under UCL rules. University bosses told him that “we want you to take the fine now” and that the university would “take disciplinary action” if he did not cooperate with the university discipline.

“My degree could be put in doubt if the site remains up” said the worried computer scientist. “This could be taken to a disciplinary hearing – if it is, then my degree is withheld until the result of that hearing. A punishment such has expulsion would not be out of the question”

When Cherwell asked Martell which UCL don was threatening him he answered “I really don’t want to wind them up further by them knowing I’ve given their name.”

Cherwell has seen a letter sent to Mr Martell by Ruth Siddall, UCL’s Dean for Students.

It reads “A potential charge UCL can bring against you is ‘bringing the College into disrepute’ by setting up this website…it could be taken as inciting internet stalking and sexual harrassment…There is very strong feeling from senior colleagues here at UCL and also in the complaint from LSE that we should take action against you… Richard – do you have a lawyer? If not I suggest that you get one!”

Martell said that he has been left penniless by the fine and unable to afford legal advice of his own, forcing him to take the site down.

UCL’s disciplinary code states “Misconduct which may be the subject of disciplinary procedures under this Code is defined as…behaviour which brings UCL into disrepute.”

Martell wrote on theFitfinder.co.uk about the “increasing pressure to take the website offline by Universities”. Speaking to Cherwell, he said “I think the main reason UCL were taking action was because they received complaints from other universities such as LSE.”

Last week the London School of Economics told The Times: “We’re against the site and we’ve asked people not to use it. First of all we had some complaints from students who found it insulting and secondly if you’re in the library you’re there to study.”

UCL’s Press Office said in a statement that “UCL does not approve of or condone this site” and admitted that the Dean of Students took “disciplinary action against the student for bringing the college into disrepute”. UCL said, “We gave him a fine and that was the end of the matter.”

A UCL spokesman said that an academic hearing was discussed internally but it was concluded that this would be “heavy handed” and decided not to take it further. He added that there was “no question” that Mr Martell’s degree would be withheld.

Martell assured Cherwell readers that “When I’m sure my degree is safe in my hand, then what we’re going to do is improve the site…we will be coming back with a more developed website as soon as possible. We are also looking to bring FitFinder to people via apps on mobile devices and across music festivals over the summer.”

Protest against the loss of Fitfinder has been coordinated online, where one petition gained over 3000 signatures in the first 24 hours.

A Facebook group set up by Scott Bryan of York University defended the site, saying that the “great majority of messages are friendly jokes and compliments…if it does look a little bit crude sometimes it because we are young and us young people are sexually frustrated.”

Oxford students’ reactions to the loss of the website were mixed. Some were outraged, seeing UCL’s approach as draconian, and condemned what they saw as the university’s vendetta against one of its own students. History student Greg Manuel said that UCL were “unreasonable to ask [Martell] to close the site as it just opens the way for [other companies] to do the same thing.”

But not all comments have been so supportive. One poster on Fitfinder’s Facebook page condemned Mr Martell’s decision as cowardly. Oliver Warren said “YOU have caved in to their pressure. Getting people to waste their time filling out surveys is ridiculous and unnecessary…just re-open the site…get some balls – try looking to the pirate bay for inspiration if you really lack a spine.”

Oxford Women in Politics president Krisztina Csortea thought the site should stay. She said “I haven’t noticed any increase in misogyny since the appearance of Fitfinder. As far as I am aware, it mentioned both men and women, and I don’t think it had significantly more adverse consequences than gossip columns or ‘fit’ contests.”

Other students were concerned about how they would while away long library hours without the site. One Exeter lawyer concluded that “Not only is FitFinder a laugh and a light hearted way to break up revision, practically speaking it’s also effectively a sat-nav for clunge.”

FitFinder courted controversy from its opening. One week after launching, the Joint Academic network, the UK’s education and research network, blocked FitFinder from UK university networks over the perceived level of distraction offered by the site. However, the ban was lifted within 24 hours following floods of complaints from students.

 

Finally! When exams finish…

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Did it all kick off at the English trashings? We find out to the sweet sounds of generic rock (naturally).

Presented by Naomi Richman

Filmed by Evan Whittal-Williams

Edited by Luke Bacigalupo

Last orders: Hertford bar to be privatised

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Hertford students were left outraged on Thursday as they learned that the SCR had voted to put the JCR bar under college management.

The bar was managed and financed by the JCR. Housed in a cellar of the college, it was renowned throughout Oxford and won awards for ‘Best College Bar’.

The status of the bar had been the subject of an emergency JCR meeting earlier in the week, in which members voted unanimously to oppose any effort to privatise the bar. A report compiled by the JCR also found that 96% of JCR members and 94% of MCR members oppose any replacement of student management with professional management.

The decision of the SCR, which sources say was a unanimous one, was made at a council meeting on Tuesday afternoon. Hertford JCR President, Mak Bavcic, was allowed to attend the meeting on behalf of the students, and presented members of the SCR with the report’s findings. Bavcic was told the SCR’s decision at a meeting yesterday afternoon.

As well as being under the management of the college, the bar will now be moved to the room occupied by the JCR, which is above ground in the Holywell quad. The new bar will house a coffee shop for use during the day. The cellar which housed the bar, described by one Hertford second year as “a brightly painted cellar with dry rot and one subterranean window”, will be converted to a JCR. Work is expected to take place over the Long Vacation.

There is uncertainty as to why college authorities have taken the decision, and students have as yet received no official communication from the SCR regarding either a decision or reasons for it.

However, there are suspicions among some Hertford students that last term’s Penguin fiasco – where several members of a drinking soceity were rusticated – may have played a part in the SCR passing the motion.

The decision making process has received harsh criticism from many members of the JCR.
JCR Treasurer, Alex Whitehead, expressed anger at the lack of JCR involvement in the decision-making process. The motion to privatise the bar was put in a section of the meeting named “Reserved Business”, a space normally used for sensitive issues, and one from which students are barred from taking part.

Whitehead said “It has been clear for some time that members of the SCR are militantly against the bar existing in its current form and what might be perceived as the ‘drinking culture’ of Hertford.
“They perceive a negative link between the social side of the college and academic results. Yet this is clearly wrong. Hertford is in the top half of the Norrington table; it manages to balance the academic and social sides very well.”

Over the past few terms Hertford has seen a rise in rent costs, and a scaling back of annual Freshers’ Week activities.

Others are angry about the way senior authorities have conducted themselves. Anaar Patel, the JCR Secretary, said that “by putting the motion in the Reserved Business section of the meeting, the JCR was actively excluded from a debate that affects all of its members.”

The Hertford bar is well-loved at the college. Whitehead commented that students “did not want bar to be privatised for ideological reasons. The bar and its student-run aspect personify Hertford – it is friendly and welcoming, open and cheap.”

Now that the motion has passed, some students are even considering leaving the college in protest.

“The bar was the reason I chose to go to Hertford” said Second Year PPEist Celia Carr. “Now there is nothing keeping me here.

“I am going to apply to move to Balliol where there is a better bar. At least ten people are also planning to do so,” she said.

Yet some are not so dismissive of the proposals. Hannah Pollard, a Second Year commented, “We shouldn’t dismiss it without considering the plans, though I’m not happy with the way the decision process was carried out without the consultation of the JCR. It was all done on the quiet.”

When contacted by a Cherwell reporter, the Dean of Hertford hung up the phone. The Principal was also not available for comment.

A funny type of attraction

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Last week, I went to see Flight of the Conchords live and I had a little epiphany. Afterwards, I found myself saying over and over again- in slightly shocked tones- “They’re…they’re really attractive.” “Yes,” said my female (and a few male) friends. “They are.” Possibly I’m just late to the party on this one- after all, guys with guitars have always been attractive and these are two guys with guitars – but I’d never really bought into their perceived sex appeal. One live show and I’m under the spell of those Kiwi charms: it’s that deadpan lack of charisma, the way they kind of can’t be bothered to speak. Except apply those qualities to any actual person, and I’d run a mile.

The other day, I jokingly (read ‘tipsily’) announced to a crowd of friends a long-held secret belief of mine: that I was going to marry comedian, columnist, writer, actor and ubiquitous panel show personality David Mitchell. “What,” said one of them frowning and holding up a picture of him on his iPhone, “him? Really?” Yes, I declared staunchly. He is erudite, laconic and has nice eyes. However, he is also apparently full of self-loathing, has a fairly nasal voice and, let’s face it, is not exactly an Adonis. Again, put him in the real world and I probably wouldn’t look twice.

So why are these three men so attractive? Well, there’s one fairly obvious factor I’ve yet to mention- the funny. It’s common knowledge that women like funny men: often the first thing women say they look for in a partner is the ability to make them laugh. But this is getting silly- I know women who have admitted to crushes on Hugh Laurie (think Blackadder not House), Eddie Izzard, Stephen Fry, Chris Morris, Dylan Moran, Bill Bailey. Bill Bailey looks like your mad uncle. Chris Morris resembles the kind of teacher who stood a little too close to you in the corridor. And yet fancy them we do, in droves.

I don’t claim to speak for womankind on this matter but I’m certainly not alone in it. I suspect there are several explanations. First: intellect. There’s nothing interesting about fancying Brad Pitt: look at him. You do or don’t find him attractive. But fancying comedians is a statement- it’s a badge of honour, irrevocable proof that we prize intellect and wit over looks, engaging the neurons not the saliva glands. Comedians are the Thinking Woman’s Crumpet.

Second: power. A lot of male comedians play on awkwardness, shyness and social ineptness; a lot of women find this puppyish naivety appealing. Combine it with a razor-sharp wit underneath and voila: a smart guy who can make you laugh but, crucially, won’t make you feel inadequate or talk down to you in conversation- who highlights, in fact, your superior social skills. To quote that Bible of female wisdom, Bridget Jones’s Diary, ding-dong.

And there’s a third reason, one which we must whisper: could it be, perhaps, because they are on TV? After all, fame does have a certain glamour about it. Women are supposedly attracted to men with power and what power could be greater today than dominating the airwaves? Comedy is just opinions, after all, and we invite our comedians to give theirs over and over again- on panels, in columns, on the radio, onstage. And we think they are right because they are funny. Sometimes they are- but comedy is also acting, and if you’re not a little bit convinced by the end of the set then they haven’t done their job right.

Agree with them and it’s easy to like them, even love them: after all, one only appreciates Brass Eye’s ‘Paedageddon’ episode if one agrees that the media’s handling of sexual abuse scandals causes more problems than solutions. Oh, that Chris Morris, he’s ever so clever, gosh, I think I fancy him, etc etc.
Despite this, I would like to think that were I to meet David Mitchell at a party, and he wasn’t famous, but he was as funny and engaging and unpretentious and concerned about the world we live in as he is on TV, then, yes, I’d like to think I’d still be attracted to him. Fortunately for me, I’ll never have to find out. See you at the wedding.

 

Brasenose head in expenses leak

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A report leaked to Cherwell this week revealed doubts over claims for travel expenses made by Brasenose Principal Professor Roger Cashmore and his wife.

A college finance committee addressed travel expenses incurred over the past five years by the Principal, his wife, and the previous Director of Development, Mrs Robin Sharp.

The report is a summary of a dossier where much of the correspondence is marked “Confidential” or “Strictly confidential”.

The Sub-Committee include details of several travel expenses claimed by the Principal which were thought to warrant closer scrutiny.

Of a trip to Pakistan in November 2005, which was “funded mainly by the college”, the report raises “serious doubts” as to whether this trip was in fact made on College business.

The Principal attended three Brasenose receptions in Pakistan, and the report states that “circumstances point in the direction” that the main purpose of the trip was conference attendance.

But costs had already been reimbursed by the conference organisers. The report claims that the Principal “tagged on some college business” in order to use enhanced rates, at a cost of nearly £1700 to the college.

The report also notes “the high cost of the ticket” for the Principal’s journey to the North American Reunion in April 2004 and a lack of clarity over “who authorised [the] expenses” for his travel.

It states that “no authorisation seems to have been given” for a trip to North America in 2007 and a “Visit to Greece” in 2008, where in both cases the Principal flew business class and costs were met by the college.
According to the report, the College paid for transport by taxi to and from Heathrow airport on at least two occasions, despite the fact that the University rules state that this may only be done in exceptional circumstances. The report says, “No justification for the existence of such circumstances has been given”.

In addition to these allegations against the Principal, the report also claims misuse of travel expenses on the part of the Principal’s wife.

College policy of reimbursement of travel expenses explicitly refers to “members of College” or “college employees obliged to travel during their duties”.
However, the report reveals that prior to July 2008, the College “routinely met the travel expenses of the Principal’s wife” even though “such expenditure had never been expressly authorised”.

In one case, authorisation was expressly denied but the trip in question still went ahead.

The Committee did not authorise reimbursement for a trip to the United States in September 2009, on the basis that it was contrary to College guidelines. Despite this ruling, the report reveals that the Principal’s wife travelled to the United States in September 2009, and the college paid for this.

The Principal justified the reimbursement of his wife’s travel expenses on the grounds that his wife is a “very active member of the College” as she provides a “focal point for the women students” and arranges “receptions, dinner and drinks” for students, fellows and alumni.
The report understands that the Bursar “tacitly agreed” with the College meeting the Principal’s wife’s travel expenses.

The report concluded that it was “impossible” to be confident that University rules regarding travel expenses were adhered to. However, the Principal said that “[a]ll of the travel that I and my wife have been involved in has always conformed to [the University’s] rules”.
Both the Bursar and the Principal of Brasenose were approached by Cherwell but were unavailable for comment. The Principal was away.

 

Review: Iris Murdoch, a writer at war

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You’ve got a lot in common with Iris Murdoch. You’re in Oxford, probably studying here – as she did – and you’re reading the same Cherwell that Iris read. There’s a good chance you fancy yourself as a bit of a writer, or actor, or philosopher. But there’s something you don’t have in common: you’re not here as a world war breaks out. Your male friends will not be conscripted half way through their degrees, and you’re not worrying about how you can best be of use to the war effort after graduating.

I’ve always loved the film Iris: it places her wild Oxford life against her decline and eventual death from Alzheimer’s, and it has always moved me. I’ll admit that I’ve never made it through one of the acclaimed novels that she wrote in the middle of her life, but I was keen to read this collection of her letters and diaries and to get a feel for who Iris was as herself, at a similar stage in her life to where I am in mine.
A diary, written in the summer of 1939 as Iris toured Oxfordshire with a student theatre group, revealed much of life as an Oxford student 70 years ago. Not much has changed. Iris is frequently at the theatre before breakfast, works straight through the day, and often doesn’t find time for meals. Sound familiar? Her first set of letters are written to Frank Thompson, who studied at Oxford, left to join the war effort and was killed in June 1944. Our little problems and crises seem, suddenly, rather insignificant in comparison. As Iris observes, ‘we have so many urgent little problems of our own, that we have not time to look up and see the gathering clouds’. Her gathering clouds, of course, told of a coming war rather than an impending essay crisis.

And yet, serious as the situation was, she evidently retained a sense of humour, and her writing becomes increasingly to the point as she matures. She declares with cutting abruptness that ‘I should tell you that I have parted company with my virginity’ and – my favourite – ‘Darling the mice have been eating your letters’. She writes to Frank on a typewriter that she doesn’t get on with, despite ‘the lovely surprise when it does something wild and irresponsible on you like missing a letter or starting to write in red!’. The highlight of Frank’s replies (not including the fascinating accounts of his time abroad, obviously) is an impromptu lesson in modern Greek, featuring the charmingly irreverent translation of ‘What is that? That is a cat. Is that cat wild? No, he’s very docile’.

From the beginning of the book, we follow Iris growing from a naive undergraduate into a young woman genuinely very excited at the prospect of becoming a wife. In the second set of correspondance, with David Hicks, the impression given is one of unrequited love: the few letters that David did write in reply to Iris aren’t included in the book. In November 1945, having been apart for nearly seven years, the pair had a brief fling in London and became engaged. As they’re sent back to work in Europe, Iris writes regularly, only to receive a message in February calling the whole thing off. Her dignity shines through in her short, guarded reply to David’s rejection. ‘I don’t seem to have a real gift for making you happy, and others have it, that’s that.’
No doubt when you’ve finished reading this review you’ll immediately rush out and buy the book. But just in case you get distracted on your way, here’s what to take from it: we’re lucky to be alive now, and not in the time that Iris experienced. Follow your dreams – if you want to write, write until somebody reads it. And have a romantic correspondence – it’ll be fun and, who knows? Someday somebody might want to review your letters.

 

‘Iris Murdoch: A Writer at War’ by Peter J. Conradi is published by Short Books, RRP £16.99

A summer of literary love

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The image of the stuffy literature festival composed of old ladies sitting in a village hall listening to some dried-up poet recounting tales from their glory days, is long gone. Nowadays so much more is required: audiences expect to be galvanised and stimulated, there are workshops and debates, and the locations of festivals have gone from dowdy to dandy in one fell swoop. And mainstream music festivals are getting in on the act, as well. Don’t fancy seeing Dizzee or Snoop at Glasto? Go and join in the poetry slam instead. Here is our guide to the best literary events happening around the UK this summer.

Secret Garden Party

With a website that quotes Calvin insisting that ‘Happiness isn’t good enough for me; I demand euphoria’, 2010’s Secret Garden Party promises to be as crazy as previous years, cementing its position as a big player on the boutique festival scene. The theme is ‘Fact or Fiction’ – and it’s easy to imagine that the lines could easily become blurred over the course of a weekend in the idyllic, eccentric atmosphere which attempts to create a microcosm of the perfect creative community. If you fancy a few days of free-loving and impossibly groovy decadence, this is the festival for you. The line-up is a closely guarded secret, but expect plenty of avant-garde talks, strange but wonderful theatre, and crackpots waxing lyrical on lunar phases or the demolition of self through uroboric incest. 22nd-25th July, www. secretgardenparty.com

Hay Party

Pack your hunter wellies and some champagne for this chic, highbrow literary festival which takes place in the beautiful town of Hay-On-Wye in Wales. Expect serious discussions with heavyweight authors and political commentators followed by interesting conversations, browsing around Hay’s many bookshops and boutiques and some cosy publife. Peter Florence, the festival’s founder, says, ‘We prefer uncompromised seriousness of content, followed by robust partying and dancing to the world’s hippest music. DJs and comedians should be hip. Writers are profound, funny and articulate.’ This year’s line-up includes Hugh Fearnley-Whittingstall, Kasuo Ishiguro, Ed Miliband, Alain de Botton and Lynn Barber. 27th May-6th June, hayfestival.com

Port Eliot Festival

Now in its seventh year, Port Eliot is set in the grounds of one of Cornwall’s most beautiful stately homes.The festival attracts a crowd who want to party just as much as they want to feed their minds. If you can brave the hoardes of mosquitoes, you’re in for a rollicking good weekend of laughter, delicious food, amazing dressing-up courtesy of Luella Bartley and Biba-founder Barbara Hulanicki, and exciting stumbles upon breathtaking views of the estuary or some lovely little folly. Stars this year are Hanif Kureishi, Tom Hodgkinson, Alexander Waugh and Sarah Waters, among many others. Save some energy for Saturday night’s dancefest with Gaz Mayall’s ‘Rockin’ Blues’ and Queens of Noize. 23rd-25th July, portelioitfestival.com

Latitude Festival

For one weekend only, a park in Suffolk becomes a boho haven and the venue for one of the summer’s coolest festivals. A mixed programme includes some of the best live music around, as well as a hefty dose of other cultural pursuits. Expect girls in fairy wings wafting around the many stages while trendy hipsters munch on organic falafel, some excellent dancing opportunities courtesy of Florence+The Machine, Vampire Weekend and The Coral, and plenty of heated discussion. It’s worth the ticket price alone for Bret Easton Ellis – a member of the Brat Pack and acclaimed author of American Psycho. Other big draws include Sebastian Faulks, Julie Burchill, Wendy Cope, John Stammers and Blake Morrison. If you have any energy left, there’s also comedy, theatre and cabaret. 15th-18th July, latitudefestival.com

LOL? I nearly ROFLed

It was a dark, miserable night in the third week of Michaelmas that we trudged over to the Wheatsheaf for our first taste of Oxford’s comedic offerings. Being dragged by an overly-enthusiastic fresher to see the Oxford Imps and with only thoughts of essays and sleep in my head, I wasn’t expecting much from a city where all conversations seemed to revolve around hours spent in the library that week and A-Level results. Two hours later, I was beginning to change my mind. You see, it turns out little old Oxford isn’t just libraries and tourists buying hideously overpriced hoodies. Oxford is really rather funny. When replies to what our friends thought of the Oxford comedy scene were ‘what scene?’, we set out to talk to the best that Oxford had to offer. Because while most students have heard of the Imps and the Oxford Revue, there’s a lot more going on for people to indulge in.

‘Oxford has a great mix of comedy’, Imp Jamie Cooke enthuses, ‘You have stand-ups like Ivo Graham, the Revue doing sketches, improvised comedy like us, and comic plays like Turn Again Lane’. The formula for the Imps is pretty simple – you give them a word and they turn it into a scene. ‘The weirder the word, the better,’ Jamie continues. ‘When we were in Edinburgh last year, there was a little boy who gave us the word ‘toothbrush’. When we asked for something a bit different, he came back with ‘the fifth circle of hell’. That made for some pretty inventive comedy. But the best words are ones that some people in the group don’t know; there was a game a couple of weeks ago when an American Imp had to guess the Elgin Marbles. I don’t think even I would have guessed the Elgin Marbles’. ‘It’s family-friendly comedy,’ Ali Hall adds. ‘It doesn’t make a joke funny just to have swearing as the punch-line.’ He’s right, just with their brains, a word and some pretty serious raw comic talent, each week the Imps offer hilarious funny and totally original comedy. What makes it even more amazing is that it is all completely improvised. ‘We rehearse for three hours in the week and warm up for two hours before the show, but what you see on stage is completely new for us and the audience’. With a mixture of games, musical numbers and rap battles, and for only £3.50 for two hours, it’s easy to see why the Imps are at the forefront of the Oxford comedy scene.

But perhaps students are looking for something with a bit more history. The Oxford Revue was founded by Michael Palin in the early 1950s and, with alumni including Rowan Atkinson, Armando Ianucci, Angus Deyton and Richard Curtis, its legacy makes it more prominent. The Revue’s name was thrust back into the limelight recently with ex-Revue member Matt Lacey and his YouTube hit ‘Gap Yah’. ‘Oxford is very good for comedy but you have to look hard to find it’ says Ollie Mann, the group’s current president. But with the Revue maybe this isn’t the case; their most recent show The Oxford Revue and Friends, featuring the Durham Revue and the Cambridge Footlights, packed the Playhouse and time and time again people flock to see their mix of quirky, sharp and energetic sketches. ‘Imp Comedy is engaging because its improvised, however, with sketch comedy you have the opportunity to make the sketch as funny as possible and you don’t have the case of ‘Oh I wish I said that, that would have been funnier’. We meet as a group and brainstorm our ideas, but each sketch will have a different style depending on who wrote it’. With sketch comedy every scene is different so you can be guaranteed a laugh, especially if you go to the Revue’s shows where they choose only their best and most polished sketches. ‘We put on shows at the Wheatsheaf to try out new material and see whether it works, and that’s where we try out the students auditioning to join us’. Ollie is certain about one thing – they aren’t about to make their show family friendly.

‘Primarily, we do what we love and that produces the best comedy’. But it’s not only the Revue keeping people entertained, a new sketch comedy group Little Dark has just emerged on the scene, and following a successful show at the Burton Taylor, they seem ready to rival the Revue for the place of Oxford’s kings of sketch comedy.
Dark horses on the Oxford comedy scene are the stand-ups. ‘It’s the purest form of comedy,’ says Ivo Graham, ‘but in Oxford it’s far from being an institution. You wouldn’t want to start out in comedy here, but people obviously want it.’ Ivo incidentally won the So You Think You’re Funny? award at last year’s Edinburgh Fringe Festival, and runs a packed stand-up comedy night ‘Ministry of Mirth’ twice a term at the Wheatsheaf. Ivo, Chris Turner and Rory O’ Keeffe are just some of the comedians working Oxford’s circuit at the moment. ‘There aren’t many nights especially for stand-up comedy, so you have to do college events and just try and get your name out there,’ Chris comments. ‘Also Paddy Luscombe runs the ‘The Free Beer Show’ on Mondays at The Cellar, where there is always a well-known headlining act and then student comedy afterwards’. There is stand-up comedy out there in Oxford if you know where to look for it, and there’s some to suit every taste. Rory describes himself appropriately as funny; Chris describes himself as witty; and Ivo as rambling. But having spent an evening with these three, we can definitely assure you that they’re highly amusing (although Rory did try to argue that ‘there’s a fine line between a serial killer and a comedian’).

So much great comedy is on in Oxford; all it needs is people to seek it out. An evening of comedy is going to cheer you infinitely more than that chocolate muffin if you have an essay looming, and definitely perk you up more than that third espresso. So put on a comedy night at your college or spend an evening with Oxford’s finest. If you can’t catch them in Oxford, show your support if you’re at the Edinburgh Fringe this summer – catch the Imps, Racing Minds (a group of ex-Imps), the Revue and Ivo all doing shows. If you don’t, you’ll never know what you’re missing out on.

Review: Closet Land

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Burton Taylor, 1st-5th June, 7.30pm
Verdict: Thought-provoker

Inspired by politically minded author-director Radha Bharadwaj’s cult debut film, Closet Land makes for a disconcerting and challenging theatre experience. Commissioned in the early nineties by Amnesty International, the piece tackles political ideology, corrupt interrogation procedure, torture and sexual abuse.

As heavily laden with uncomfortable themes as it is, such a script would pose a challenge to any actor: Adam Scott Taylor and Olivia Charlton-Jones, directed by Matthew Perkins, rise to the occasion in this psychologically intense two-hander. He, the interrogator, and She, the prisoner, a

re alone onstage for the entirety of the play, locked in a bleak, nameless chamber.

The charge? Sedition. A children’s author has written the titular Closet Land, believed to be an allegorical attack on the state.

The disorienting claustrophobia suffered by the blindfolded Author is brought to life through the production’s sparse, dark design and simple black and white costume. The Author’s experience is personalised by original artwork by Vanessa Carr projected onstage, making explicit the possible dual interpretation of Closet Land as both universal parable, and individual study of the Author and Interrogator’s relationship. Josh Lowe’s minimalist score adds menacing depth to scenes of particular dramatic climax.

Adam Scott Taylor displays an impressive capacity for physicality in his assumption of a broad spectrum of threatening split-personalities; switching from the mindless smile of an implacable bureaucrat to the violent tics of a deranged ideological fanatic as he browbeats, psychologically torments, and eventually physically tortures his ward.
Olivia Charlton-Jones’ performance is equally accomplished in its multiplicity, combining gracefully the Author’s composed, dignified facade with an occasional glimpse of the fear, pain and self-doubt evidently bubbling below the surface.

Ever provocative and at times distressing, Closet Land is an emotionally draining, yet thoroughly watchable production. Not for the faint hearted.

Review: Rent

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Keble O’Reilly,
2nd-5th June, 7.30pm

Verdict: toe-tapping fun

With the UK rights to Rent having only just been released, director, Adam Baghdadi loses no time in mounting one of the first student productions of this dynamic rock musical. Set in Manhattan’s bohemian Alphabet City, the story follows a group of struggling young artists living under the shadow of HIV/AIDS. Baghdadi and musical director Nick Pritchard have kept true to the time- and location-specific script in its entirety, and Rent features a staggering forty-two musical numbers.

The intimacy of the piece will be translated through the use of the performance space: the balcony of the Keble O’Reilly will host a six piece band as well as actors.

The vibrancy of the music is well matched in impressive choreography and use of space. The stage is usually busy with atmospheric tableaux, the juxtaposition of which nicely individualises rousing canonical sequences. Innovative costume design encapsulates the 90s grunge mood, with one principal’s fairy light hemmed Santa’s helper outfit one to watch in particular.

The all-singing, all-dancing, all-acting chorus are uniformly strong, lending support to the leads through their energy and enthusiasm, and heightening the power of the show-stopping numbers to spine-tingling crescendos. The principal cast members are equally impressive: described by Baghdadi as ‘bizarrely suited to their parts’, they are evidently having a ball onstage and their sense of fun is infectious. The musical’s pathos is well elicited by an endearing performance from James Carroll as Mark, while the humour, as well as dramatic poignancy, is well captured by Marcel Miller’s Collins, and Cassie Barraclough’s vulnerable Mimi.

Emily Gill-Heginbotham and Ed Pearce, as Maureen and Joanne respectively, are a delight to watch. Pearce’s nuanced, thoroughly watchable performance is excellently matched by bubbly Gill-Heginbotham’s bombastic gusto.

While Joanne’s ‘Tango: Maureen’ is certainly one to watch, as is the rousing act one finale ‘La Vie Boheme’ which promises to get those feet tapping and hands clapping. Its catchy hook and lyrics, coupled with its accompanying table-top character roll-call is the most accessible musical moment for the jazz-hands inexperienced of you in the audience, as Rent is an intensely music led piece.

Despite one shyed-away-from gay kiss, the musical’s message of tolerance and the excitement of youth is one relevant in particular to a student audience. It will be interesting to see the reaction to its first production in Oxford University, where ‘struggling young artists’ jostle to compete with the silver-spooned set. But a really good musical well done can transport its audience away from the theatre, and the stresses of Oxford living, to a glossy, glamorous escape, and one with more dance routines than you can shake a stick at.