Wednesday 3rd December 2025
Blog Page 20

Oxford, gone decaf

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When I was having lunch with a friend, I ordered my usual, a double espresso, and – horror of horrors – it was decaf.

“Can I bully you a little bit?”

“For?”

“Drinking a decaf double espresso. People usually drink it for a hit of energy, you know? What’s the point?” 

The reasoning, dear reader, is simple: I have an anxiety disorder. If I drink caffeine these days, I begin to resemble Eeyore with a nasty coke habit, which isn’t a great look. The longer answer is that, during my year abroad, I discovered the staff room coffee machine at the school where I was teaching, and became eager to pick up a cup of coffee at every opportunity. At the same time, I was driven towards attempting Lent in earnest for the first time in my life, giving up caffeinated coffee and trying to cut my reliance on caffeine to wake me up in time to teach at 8am. I realised after Lent that I had a lot more energy throughout the day, whereas before, I would crash in the afternoon, and awaken myself with another dose. I had become one of those mythical creatures who could just summon energy from within themselves, rather than from a mere stimulant. 

Back in Oxford, this has proven particularly helpful. Caffeine, you see, has some undesirable knock-on effects: it has a half-life of six hours and disrupts the sleep-wake cycle through blocking certain neurotransmitters. Without it, I sleep full nights, and write essays fuelled by water and tea, rather than oscillating between writing and lethargy. I was worried that it would mean saying goodbye to the rich, deep, full-bodied flavour of regular coffee – a tragedy, really, having already lost the regular jolts of energy. It doesn’t have to be this way, though.

So, in order to direct the decaf-curious to the best spots, I have donned my food critic cap and tried out my usual order at several Oxford establishments:

Taylor’s

Taylor’s came in at £3, which set high hopes for its quality. However, although my grandmother considered Illy-brand coffee up the gold standard, this espresso fell short of expectations. Whilst it had a sweet-ish scent and a delightful rounded and warming flavour, I could tell that the usual vigorous hit of a double espresso had been lost in the decaffeination process. Not worth the £3, I’m afraid.

The Schwarzman Centre

A fellow member of Magdalen MCR recommended the coffee at the new Humanities Centre to me, so here are my thoughts. The price is not extortionate: £2.75, it’s not bad value for money. The espresso had an inoffensive flavour profile which lacked intrigue, though with a fullness to it which the espresso from Taylor’s did not. The acidity was gentle rather than overpowering. A slight gust of wheatiness could be detected in its scent. All in all, not a bad shout if you’re looking for a coffee break between pomodoro shifts in the library above. 

ItaliAmo

When I used to live on Longwall Street, I would march out of my room, furious at a botched essay, and take to ItaliAmo for a double espresso. On certain days, they offer a student discount, so you may be able to get a double espresso for as little as £1.98 (usually it stands at £2.20). ItaliAmo’s decaf coffee was warm and nonthreatening, with a slight scent of cinnamon. However, its downfall is in its weakness. This was the coffee which I felt was most detectably decaffeinated. Very much worth the price, but pay a few pence more elsewhere and a slightly better experience may await you.

Jericho Coffee Traders

Jericho Coffee Traders also hits the £3 mark for an espresso. But since they’re an independent cafe, and that use of a reusable cup gives you 20p off, I will cut them some slack on the price. The espresso here was akin to that at the Schwarzman, sharing its boldness and slight wheatiness, but with JCT’s coffee, the crema was thick and not much flavour seemed to have been lost in the decaffeination process. A strong contender.

Chickpea

More of a lunch spot, but one could easily pop in for a cake and a coffee. At £2.40, the double espresso was impressive value for money. On first whiff, I detected a gentle nuttiness, and a subtle hint of cherry in the first few sips. The flavour was bold and, yes, acidic, but without being coarse or insufferable – in fact, it went down smoothly. I was also impressed by the thickness of the crema. Go! Now! 

So, although you might be judged by those around you for making the (arguably necessary) switch to decaf, now you can go and pick up your fake espresso in the comfortable knowledge that you’re not compromising on flavour or experience – which are some of the main joys of drinking coffee, anyway.

In Conversation with Matt Williams

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Matt Williams is an Access Fellow at Jesus College. You may recognise him from your Instagram reels or YouTube suggestions. His work with Oxford’s outreach has gained hundreds of thousands of views – helping students across the world in understanding the Oxford application process. Matt’s content is insightful, detailed and covers a wide ground of questions and aspects of what can be a very difficult application process. In person, he is extremely warm and always open for a friendly chat. Cherwell spoke to him to find out more specifically about his work in access and how his successful social media and internet presence first came about.

Cherwell: First, I wanted to ask you: could you describe Oxford in three words?

Williams: Oh! I always ask people this but have never thought about it myself. So, I think it is friendly, which I’ve always found slightly surprising. It can be a bit scary, however, so that’s my second word, and just exciting! So friendly, scary and exciting. Few juxtapositions there, but in the best possible way.

Cherwell: Okay! Could you introduce yourself to our readers, what do you teach and how long have you been at Oxford, and when did you first get involved with outreach?

Williams: So, I came to Oxford in 2006 for my Master’s and DPhil. I teach politics, specifically British Politics and Comparative Government. I got involved in access when I was doing my DPhil at Wadham College – Wadham has always been really interested in access, and as a grad student, I was able to work with visiting schools and just really enjoyed it. I noticed that it was that side of sort of helping people get into university that I was beginning to find as interesting as my academic work. And so I was lucky that this post at Jesus College came up, which literally combined the two, so it couldn’t have been a better fit! I was very lucky, and I’ve been at Jesus for nine years now.

Cherwell: Well, my next question was going to be how you came to be the face of Oxford outreach. I assume there was already some outreach presence on social media, like YouTube for instance. But how did you start posting videos on Jesus’s channel, and when did they start going viral?

Williams: So, the Jesus College YouTube account predated me, but there wasn’t a huge amount of content being uploaded. What changed was the pandemic. We had organized lots of access events where schools were going to come visit us or we were going over to them, and that suddenly had to stop. Specifically, we had to shift our Welsh Jesus College Summer School fully online. I knew that some people wouldn’t be able to make all the sessions, so I just recorded them and posted them to YouTube, thinking it would just be an easy way to distribute those videos, but I didn’t think anyone else would be interested. One particular video on Personal Statements ended up getting hundreds of thousands of views, which I was really shocked by. But then I thought – okay, well, there’s obviously demand for this sort of stuff. It’s clearly quite an efficient way of helping people who might not otherwise be able to access the same information. So, I sort of doubled down on that then. But I wouldn’t say I was the face of Oxford at all – and that wasn’t my ambition either! All I really care about is making Oxford representative of Britain, so that we take the best students. So it’s not about me getting my face out there – I promise (said whilst humbly smiling.)

Cherwell: You mentioned that one specific video did really well – would you say there’s been a lot of growth between then and now?

Williams: Yeah, and in particular in the last year, because we recently hired an amazing digital access officer called Iman Ali – she’s only been working here for just over a year. She put us onto TikTok and Instagram so this past year we’ve had 10 million views across all platforms, which is much more than we’ve had historically. So, yes, there’s been quite a lot of growth.

Cherwell: Of course, the content you produce can help anybody who needs some extra support, or is a bit curious, but how would you say you’ve measured the tangible impact that your work has had on students who may not have had opportunities previously to have this kind of support, for instance, at school?

Williams: That’s the million dollar question in access – how do we actually prove impact and then have an evidence-based approach to policy? It’s markedly difficult! With any intervention we have, whether it’s our summer schools or working with individual schools on a sustained basis, it’s very hard to prove causation and conclude that, because we did something, someone ended up in some destination. And it’s just as hard, if not even harder, with something like YouTube, because the audience is slightly self-selecting their content: the algorithm has identified them as already adjacent to that sort of stuff, or they’ll have sought our content out deliberately. So to say that we somehow changed their perspective is very difficult. The best we can do is not quantitative analysis, but to more qualitatively say that there have been people who’ve told us it’s made a difference to them. And that’s good to know!

Cherwell: Yes, absolutely… Speaking of challenges in access work, are there any other kinds of challenges that we, as viewers, might not notice?

Williams: We don’t know what is going to have the greatest impact necessarily. So it’s again, just based on – for want of a better word – guesswork. Applications are fairly seasonal, so we try to have more interview content before interviews, for example. But otherwise, there are other bits of content we’re not sure about. One thing I really like to lean into is the psychology around applying. I applied to Cambridge when I was a teenager and didn’t get in. And I think it’s useful to share that just so that people understand that it doesn’t matter. If you try to stretch yourself and you don’t “succeed”, no one ought to think any less of you and you should take a lot out of that experience. I think there’s quite a lot of painful emotions that some, not all, people have around applying to universities like Oxford, and it can put them off applying in the first place. It’s why being vulnerable and open is important and, I don’t see many other Oxford or Cambridge YouTube channels doing something similar to that. In terms of difficulties you may not see, I’m half blind so I can’t see the camera I’m looking at, which means that I’m often not looking at it! I’ve got a pronounced squint, so my eyes are going in all sorts of directions, (which commenters will point out in pretty much every video). Those are some technical challenges. But again, that’s where having Iman has really helped me – in the past, it was literally just me turning on a camera and vaguely looking in its direction.

Cherwell: You did sort of touch on this, but I suppose you do have quite unique content in all the different things that you talk about: some of the interview questions that you explore, you might not find elsewhere. How is it that you come up with these ideas?

Williams: So I want to centre everything around the concept of vulnerability. That’s my guiding content creation concept. I think that the university can be scary and it needs to, in a sort of almost anamorphic sense, open itself up and be more vulnerable: be more willing to accept that it’s not perfect. And show  that the individuals within it are also, slightly, a collection of broken toys in the sense that we are all occasionally capable of imposter syndrome, self-doubt and low self-esteem. I think before I came to Oxford, I thought that this was a place where everyone had their proverbial together and they were just sort of strutting around where they knew everything. But I think that the content always needs to sort of foreground that idea that it’s okay, we can all be scared. And that it’s hard! Writing a Personal Statement is difficult, and you do have to be personal about it, but if you’re struggling with it, that’s not because there’s anything deficient in you as a person. And it’s been nice to really notice how much more of the university thinks in a similar way to that. It is not full of people who are completely self-assured. There is much more vulnerability out there. In the SCR and amongst the fellowship, it is absolutely the same. I think arrogance is perhaps the word that I’m used to associate with Oxford but it’s just not really there.

Cherwell: And do you get a lot of content requests from individuals as well?

Williams: Yes, a fair amount. And, usually, it’s very niche. Incredibly niche. Sometimes, it’ll be about something that I just wouldn’t really feel qualified to talk about. Nor would I necessarily know the person who could help me talk about it. So it might be about a particular scholarship that’s only for a very small number of people, or about the module in the Music course that you do in third year! I think I’ve got to weigh up how I can respond to those without perhaps alienating the rest of the audience. I think it’s good to do stuff that is not just for everybody and that can be really specific, but there’s a balancing act with all of these things. I suppose it’s worth noting that we’re not just going for clicks and views and likes, so if we have a video that’s only viewed a few times, but it has a massive impact on those people that do view it, then great! I suppose it is nice to get lots of views for videos that we think should have broader publicability just because then it gives us some sense of it being useful. But yeah, we’re not sort of slavishly working the algorithm, if you like.

Cherwell: That’s good to know. And, on a more personal level, how does it feel having people come up to you and thanking you for your work?

Williams: It’s very flattering and I get sort of slightly bashful about it because I don’t think it’s anything to do with me. I might have provided some information and I might have nudged, but that’s it. I’ve not made them the committed, hardworking, intelligent person that they are. So it’s very flattering and very nice. I do really like it, but I also get sort of slightly blushing and not really sure what to say or do.

Cherwell: Since you are at Jesus College, Oxford’s Welsh College, I’m interested to know what are the specific Welsh outreach initiatives you manage?

Williams: So we have responsibility for the whole of Wales in our outreach, but also the London boroughs of Lambeth and Wandsworth – just like all colleges we have different bits of the countries we focus on. We have a big summer school that we run with the Seren Network, which is the Welsh government initiative. We also have an online summer school for anyone in Seren throughout the whole of Wales. More generally, we have school groups coming to us from Wales quite regularly and we go to Wales to visit schools. We host webinars for Welsh schools  but do much of the same stuff for London schools as well. So there’s not just Welsh outreach, although, yes, it is predominantly for Wales. There’s lots of initiatives that people can get involved with which start at primary level and finish with mature students. So it’s not just year 12s and 13s, it’s a bit wider than that. But there’s a lot going on!

Cherwell: I’d like to end by asking you: if you had to give some final words of advice to people applying, what would it be?

Williams: I would say try and have as much fun as possible! There’s enough scary stuff going on in year 13 that, if you try and just enjoy the ride a bit more, you might even do better. I think people see the whole thing as a test of their value and something where failure cannot be tolerated. It just becomes a chore that is deeply unpleasant! I think, if they can try and see it as an opportunity to develop their skills through the process, they’re going to have greater passion for their subjects. If they get more into the details and the weeds, they’ll come out a bit stronger. If they see it that way, then regardless of whether they get in or not they should feel good about it. And also just even having the guts to go for it is worthy of praise. Just basically having fun and being nice to yourself!

Cherwell: And what about for pupils who are already here?

Williams: Well, it’s kind of similar. I think the word that tends to be used most regularly in Oxford is ‘work’. And I mean, I’ve made this point several times, but I find that word problematic because work is typically alienating for the person working, because they’re working for someone else’s benefit. It feels like you’re doing it to stop your tutor from annoying you, or to make sure that you don’t have a principal’s collection: it’s very other-regarding. Whereas if we thought about it as studying, learning, growing, or something maybe a bit more cheesy, it’s more about you and what you could take out of it. And I think a few more students could do with just stepping back and like really reflecting on what it is they’re doing, because I guarantee by the time you’re my age when you’re in your 40s, you will look back at your education as the most incredible time of your life because you developed so many opportunities, skills and experiences that will be transformative.

President-Elect George Abaraonye loses no-confidence vote, results contested

The motion of no confidence in President-Elect George Abaraonye was passed by members of the Oxford Union Society. Of the 1746 ballots, 1288 members expressed no confidence in the President-Elect.

Abaraonye brought the motion of no confidence against himself after the international backlash he faced in September following his comments concerning the shooting of Charlie Kirk. 

The motion required a two-thirds majority to pass, and has sparked international media attention with reporting from Sky News and Turning Point UK, a conservative non-profit organisation founded by Charlie Kirk. Prominent political figures, including former Conservative MP Jacob Rees-Mogg, descended upon Oxford in order to vote.

Abaraonye has contested the results. His spokesperson told Cherwell: “This poll was compromised from the moment Moosa Harraj and his majority on the Standing Committee brought compromised and untested Poll Regulations.” They cited issues in collecting proxy votes and believe that “we do not know if or how many proxy votes have been tampered with”.

Replying to Abaraonye’s reaction, a spokesperson from the Oxford Union told Cherwell: “The claim that the poll was ‘compromised’ is baseless. The ERO [Electoral Returning Officer] and his team followed established verification procedures, ensuring every proxy vote was validated against membership records, and ID checks.

“At no stage were proxy emails or votes left unsupervised, nor was there any opportunity for tampering. The email system used was secure, access was controlled, and every communication and proxy submission is fully documented and archived.”

The results of the vote were delayed. Although they were originally expected to be announced on Sunday morning, the count was suspended early on Monday, with the Extraordinary Returning Officer (ERO) in charge of the process publicly blaming “obstruction, intimidation, and unwarranted hostility”.

In response, Abaraonye’s spokesperson told Cherwell: “We equivocally deny that any representative appointed by George engaged in intimidating or disruptive behaviour.”

Cherwell understands that Abaraonye has submitted a complaint to the Union regarding the results. The spokesperson stated: “George Abaraonye is and remains the President-Elect.”

The Union’s spokesperson commented: “It is ironic at best, and despotic at worst, that Mr Abaraonye only contests democracy when it doesn’t give him his desired result.”

In an Instagram post, Abaraonye earlier explained that calling the vote of no confidence on himself was “about reclaiming true accountability and reaffirming that the Oxford Union must remain a place where students can make mistakes, apologise sincerely, and learn from them”.

The Union’s standing committee ruled that all members were allowed to vote for the no-confidence motion by proxy, meaning Union members unable to attend the vote could nominate another member to vote on their behalf. Cherwell understands that voting by proxy is normally only permitted under the Equality Act, for reasons such as disability or ill health.

A former member of the Union’s standing committee told Cherwell: “The only time proxy or online voting has been used in the 200-year history of the society was during the pandemic. To suddenly introduce such a rule is at best convenient and at worst evidence of a desire to rig the outcome.”

In response, a Union spokesperson told Cherwell: “Many members had expressed strong interest in the vote but were unable to attend in person due to the short notice period, travel, or accessibility constraints. In such circumstances, allowing proxy voting was not only a matter of fairness but also an equality concern, grounded in the principle that all members should have an equal opportunity to participate in Union democracy.”

The Union’s spokesperson added: “The Governing Body was also mindful of security concerns arising from the widespread controversy surrounding the motion, which had led to heightened tensions, misinformation online, and even threats to the society. Allowing members to cast their votes through proxies provided a safe and orderly mechanism for participation, minimising the risk of confrontation or disruption on the day of polling.”

This week’s Union debate saw disruption as members expressed frustration about the use of proxy votes, with members shouting “let her speak” in the chamber as they demanded the Union’s President, Moosa Harraj, make way for Arwa Elrayess, a member of standing committee, to speak on a motion in favour of removing proxy voting.

On the debate disruption, one Union committee member told Cherwell: “It was a coordinated attempt to subvert democracy and save their friend. It was disgraceful and entirely beneath the standards of this society.”

Abaraonye’s comments about Kirk led some to rescind their offer to speak at the Oxford Union, such as StopAntisemitism Executive Director and co-founder of VC firm Lux Capital Josh Wolfe. James Price, former Conservative Party Chief of Staff, resigned as the honorary secretary of the Oxford Literary Debating & Union Trust (OLDUT) in protest following Abaraonye’s comments. OLDUT is a financial trust that owns the Union buildings and licenses the society’s operations on the premises.

Responding to the backlash in September, Abaraonye told Cherwell: “Last night I received the shocking news about a shooting at Charlie Kirk’s event. In that moment of shock, I reacted impulsively and made comments prior to Charlie being pronounced dead that I quickly deleted upon learning of his passing. Those words did not reflect my values.”

The Oxford Union posted a statement against the threats and racial abuse that the President-Elect faced online. Oxford’s African Caribbean Society also posted a statement condemning “anti-black and anti-migrant rhetoric” towards Abaraonye with Oxford Feminist Society reposting in solidarity.

Another vote of no confidence will take place this week, asking whether the Oxford Union has confidence in President Moosa Harraj. The 150 signatures which are required to trigger a confidence vote were achieved over the weekend. Cherwell understands that the confidence vote in Harraj will take place on Thursday.

Did Streaming Murder Movie Theatres?

Once upon a time – cue the old-timey film reel sound – movie theatres were the hallowed halls of weekend plans. You’d get dressed, overpay for corn, and sit next to strangers who didn’t understand the concept of “silent mode.” But now? People would rather rot in sweatpants on their couch than deal with that sensory assault. Why? Because streaming came in, kicked the popcorn bucket over, and said, “You still watching?”

Welcome to Streamlandia

Theatres are emptying faster than your will to live during a Marvel post-credit scene. Remember when movies used to be events? Like, real cultural moments? Now the average film release has all the impact of a fart in a hurricane. Netflix, Prime Video, Disney+, and even artsy things like Mubi and Criterion have weaponised convenience. People would rather fire up a browser and click “play” than engage in combat for a parking space and a seat that doesn’t smell like warm regret.

Many people would rather pick up a Visa gift card on Eneba and subscribe to a streaming service than go to the movies, wait in line, pay for parking, and suffer influencers screaming “CHICKEN JOCKEY” while filming their reactions for their 14 views.

Scorsese Said What We’re All Thinking

Martin Scorsese – yes, the guy who basically invented “cinema” for men who say “cinema” a lot – has had it. He’s tired of spandex-fueled CGI rollercoasters taking up all the oxygen in the room. He wants storytelling, nuance, human emotion… not Thor swinging his hammer while the goat representing the entire Taika Waititi’s personality screams on the screen.

And you know what? Marty’s watching movies at home now. Because even he can’t handle the modern audience scrolling TikTok mid-scene. If the guy who made Goodfellas says the theater experience sucks now, we’re not going to argue.

Theaters vs. Couches: Is There Even A Contest?

Let’s do the math. Couch: soft. Snacks: already paid for. Bathroom: ten feet away. Audience: mostly your cat. Now compare that to going to the movies: £8 ticket, sticky floors, and a bloke named Humphrey talking about his ex during the climax.

Sure, theaters still pull in crowds for big-budget spectacles – Avatar 2Barbenheimer, IMAX, Dolby Atmos, explosions vibrating your soul, that whole thing. But it’s not the default anymore. It’s a special occasion, like your friend’s wedding or remembering to floss.

But really, why rush out? In two weeks, the same film will be on streaming, where you can pause to argue about plot holes, Google the actor’s entire dating history, and eat an entire cheesecake in sweatpants without judgment. Delay gratification? In this economy? Please.

So, Are Theaters Dead?

No, they’re just… undead. Kind of like a zombie: technically still here, but mostly dragging themselves forward out of stubbornness and nostalgia. Streaming hasn’t killed theaters – it’s just made them wildly inconvenient by comparison. Think of it as a breakup where one partner moved on to someone hotter, cheaper, and more emotionally available. (Hi, HBO Max.)

Streaming didn’t commit murder – it committed social manslaughter. Theaters are still breathing, but barely. Maybe someday they’ll reinvent themselves. Maybe not. Until then, we’ll be on the couch, watching a Romanian indie film while eating peanut butter out of the jar. Alone. Like a civilised person.

Grappling with ‘grief that’s half formed’: Your Funeral

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“Meeting up with a partner so soon after a breakup is an awkward time – and she’s dying.”

Your Funeral is the debut play of new company Pharaoh Productions. It takes inspiration solely from the song ‘In the Aeroplane Over the Sea’ by Neutral Milk Hotel. The play is a one-act-long duologue between ex-partners Anna (Rebecca Harper) and Jeff (Matt Sheldon), in which the audience watches the last moments that the two will ever spend together. The cast’s chemistry was palpable, and their way of rehearsing seemed light-hearted. It was also clear that the actors were given license to take ownership of their characters.

The unconventional song-to-stage writing process began when Nick was working on the Critical Listening paper of his first-year Music exam. The task was to use music to create something else creative, and Nick took it as an opportunity to fulfil his long-term dream of writing a play. The end result was, in his words, “really emotionally raw, and really character-driven”.

It was easy to tell that the script took many hours of careful thinking: “initially, I knew I wanted to [turn the song into a script] and I wasn’t quite sure how I’d get there. I spent a lot of time listening to the song and considering different angles on how I’d do it… and then, out of somewhere, from the depths of that track, this story came out.”

This perhaps does not do justice to the emotional complexity that Your Funeral aims for. The script in its final form is about painful conversations and the things that we can’t say to people we once loved – it will appeal profoundly to anyone who has experienced a breakup that was “no one’s fault”. The frustration of the scenario is intensified by the context that it is Anna’s final goodbye to Jeff after a terminal leukaemia diagnosis. It captures the despair that each half of the former relationship reckons with as their lives change “irreversibly, completely, and very dramatically”, Nick explains. Upon completion of the play, Nick saw Jeff’s character as a “good guy”, but now finds that portraying him as calculated is “much more interesting”.

Prior to the events of the play, Anna embarks on a “pity tour”, as Nick calls it, of all of the people she would like to say goodbye to. The play focuses on  one of these goodbyes, as she attempts to regain the control that the diagnosis removed from her. Moments between Anna and Jeff become extremely awkward, as Jeff is still bringing up the sudden way in which Anna broke up with him, but understands that he must put this aside in their final moments together. This desire to “be a good friend” creates a painful tension onstage, Nick tells me. 

It undoubtedly takes work to connect to the characters, given the emotional depth of the material. Matt reflects on Jeff’s emotional journey: “after a breakup… it’s a whole package of emotions, they’re all horribly intertwined. In the play, we pluck at these threads one by one and get a whole range of responses.”.

Meanwhile, Rebecca connects to the character using what she called Anna’s “levels of façade” – presumably, how honest with her emotions Anna is being in each moment. Despite the script’s challenges, Nick stresses the ease with which they adapted to the material. I was intrigued to know why the actors were so keen to be involved in the project. Rebecca mentioned her past acting experience in comedic roles: “I’ve played, among other people, Napoleon,” she joked. This project represented a new challenge which she was excited to throw herself into. She was so enthusiastic about Nick’s writing that she auditioned for both characters. 

Her comedic experience turned out to lend itself well to playing Anna: the audience can expect moments of humour amongst the sombre dialogue.  Anna is determined, Rebecca says, to make everything funny, in contrast to the earnestness with which Jeff approaches her death.

Given the complexity of the relationship Nick has created, perhaps songs should be used more often as creative starting points. Nick mentioned that he was glad that the track was there to help him as he developed the narrative, a kind of creative backbone to come back to when making decisions about the play’s tone or pace. For Matt, music has also been a way of connecting to characters: he explained that he has created a playlist for every single character he’s ever played – but ironically, ‘In an Aeroplane Over the Sea’ alone was enough to place him in the mindset of Jeff.

While its premise is emotionally bleak, Your Funeral carries elements that a student audience will relate to. Matt mentions that Jeff is the character most like him that he’s ever played, “a uni finalist, living a relatively normal, non-fantastical life”. It is heavily naturalistic, and Nick stresses that “the characters react how you’d expect them to react” – there are awkward pauses so long that the audience will feel discomfited. 

Their interactions are unplanned, imperfect, and reflective of the frustration that accompanies any relationship ending. Rehearsals are drawing to a close and all they need now, Nick says, is the sofa.

Your Funeral is on at the Burton Taylor Studio, 21st-25th October.

Dear summer school snobs, please pipe down

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As someone who has just begun her studies at Oxford, I naturally spent the liminal pre-Michaelmas weeks scrolling through r/OxfordUni, trying to piece together what this city is actually like to inhabit. Somewhere amongst the many photos of shoes asking “Can these be worn with a subfusc?”, a comment appeared, claiming that private summer schools wearing branded college lanyards is a “worrying trend”.


“Are some colleges actually allowing themselves to be officially partnered with these parasites?”, the author writes. “[It’s] utterly unacceptable that the University is turning a blind eye to [it], all in the aim of a short-term boost in finances”

Nasty, yes, yet the sentiment reads sincerely enough to warrant a rebuttal. Some of these programmes charge upwards of £7,000 for just two weeks – not for real academic credit, but for ambiance, atmosphere, and the ability to say “I once studied here (sort of)”. You might not like it, but in an era of rising financial pressures for the university sector, summer schools are not just harmless – they are essential.

A quick refresher. During the long vacation, a number of colleges rent out their buildings to private summer schools selling the Oxford fantasy to those willing to pay, though none are academically affiliated with the University. A few danced a little too close to implying otherwise, prompting a 2023 lawsuit that now seems to require everyone to slap on a disclaimer: “not Oxford University, just Oxford grounds”.

Sure, these companies do name-drop liberally in their marketing (for instance “Summer Courses – Christ Church”) and, yes, their branding trades on the dream of brushing up against the institution’s legacy, but so does most of the city. There’s no real “partnering” here – just a rental agreement. In truth, it’s hardly a mystery what struck such a nerve: “it’s the lanyards, which will cause huge problems”, the author of that comment claims. This phrasing echoes the familiar rhetoric of panic around ‘intrusions’ into elite academic spaces, even when the access is merely symbolic, temporary, or simply bought. Those who turn their noses up at summer schools seem unsettled that the gates of the University’s perceived prestige appear a little too ajar. To them, it feels like a betrayal of the unspoken promise they grew up with (or absorbed in some other unfortunate way): that mere presence at Oxford would grant them a certain air of superiority and more social capital. Such an attitude comes across like a desperate attempt to restore the illusion that Oxford’s symbols of belonging – the lanyard, the subfusc, the hall dinners – should remain the privilege of a select few. 

You might be surprised to learn that one of the University’s most prestigious colleges, the aforementioned Christ Church, is also amongst the most enthusiastically rented out. Few others commercialise their identity as eagerly. Add to that its reputation as a hub for future politicians – and you start to see a telling microcosm of elitism, a place where exclusivity is simultaneously protected, rented out by the week, and then met with a wince when someone actually shows up on the grounds with a lanyard. From a foreigner’s perspective, there’s something deliciously British about it. 

Contrary to what the complaint on r/OxfordUni claims, the University isn’t turning a blind eye to any of this. The institution knows full well that those visible signifiers of quasi-belonging are lucrative and increasingly necessary, especially to bolster finances, as universities in England are seeing their incomes fall for the third consecutive year, largely due to steep declines in international student enrolment. Add to that a proposed 6% levy on international tuition fees, and increasingly hostile media messaging towards foreign students, and universities could face losses exceeding £600 million annually.

At Oxford, where international students make up 43% of the total student body, the estimated loss is around £17 million per year. Against this backdrop, summer schools, often dismissed as being a superficial academic cosplay, are beginning to look like critical ballast. They provide consistent, reliable cash flow, remaining one of the few scalable revenue streams left relatively untouched amid the government’s purge of anything resembling shared progress. The cash brought in by summer schools helps sustain not only the wider institutional functions but also the ceremonial traditions the University’s colleges are so revered for – ironically, the very signifiers of prestige students here are often so protective of.

So, to the students who scoff at summer schools, the next time you’re having your cake at a formal and trying to eat it too, do remember: it might just be the parents of a 16-year-old summer school student who paid for it.

Channel 4 makes waves, snatching Boat Race from BBC

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Channel 4 has announced they have secured the television broadcasting rights to the annual Boat Race, upending a 98-year-old relationship with the BBC.

The new five-year deal, reached for an undisclosed sum, will give Channel 4 the rights to broadcast the 100th anniversary of the Women’s Boat Race in 2027 and the 200th Men’s Boat Race in 2029. The BBC will retain the radio broadcasting rights.

Although rowing as a sport does not usually draw large television audiences, The Boat Race drew a peak audience of 2.82 million viewers this year, making it the most watched sporting event in the UK across free-to-air and pay-TV channels on the weekend in question.

Speaking to BBC R4’s The Media Show, the Boat Race Committee Chair, Siobhan Cassidy said: “We looked at the offers on the table and we’ve gone with the one that’s best for us…based on the commercial terms and also a bit more broadly on what Channel 4’s enthusiasm was going to bring to The Boat Race.”

Sources close to the talks have told The Daily Telegraph that Alex Kay-Jelski, the BBC Director of Sport, “showed very little enthusiasm, believing that a showcase for London, the UK and two of our top universities is elitist”.

Channel 4 has developed a reputation for landing unexpected sports broadcasting deals, securing Emma Raducanu’s 2021 US Open victory and England’s ICC Men’s T20 World Cup Final win in 2022, at a time when the BBC is working under tight budget constraints.

Pete Andrews, Head of Sport at Channel 4, rebuffed any charges of elitism, telling the Broadcast Sport website: “The viewing figures show that it’s for everyone…We don’t look at it as elitist. Lots of people feel involved, and they’ve grown up with it.”

The BBC have publicly responded by stating that they have been proud to broadcast the Boat Race over many years, and that this decision reflects the difficult choices they have to make under current budget limitations. Cassidy said: “The BBC have done a fantastic job over nearly 100 years… but it was just time for change.”

6 Wildlife Destinations Perfect for Students to Rejuvenate and Recharge

Planning to take a break from your studies and make the most of the limited holiday time at hand? Wildlife holidays offer the right escape for students seeking adventure, fresh air, and a break from lecture halls and library walls. 

From the thundering hooves of rhinos in India’s national parks to the roaring lions of African savannahs, each wildlife location promises a hands-on encounter with nature that feels like a story waiting to be lived.

To make it even better, you can add in budget-friendly safaris, student accommodation, guided tours, and immersive workshops with local conservationists, and you’ve got a holiday that’s thrilling, educational, and unforgettable. 

Choosing Naturetrek allows you to make the most of wildlife holidays, whether you are taking pictures of exotic birds, hiking through lush wetlands, or spotting elusive big cats. With the right wildlife destinations, you can make the most of your wildlife adventures and mix it with excitement, knowledge and adventure. 

Here are 6 wildlife destinations where students can go to rejuvenate and recharge across the globe.

Cairngorms National Park, Scotland

If you are in the UK, Scotland’s Cairngorms National Park is perfect for students looking to escape lecture halls and stretch their legs in wild, untamed landscapes. From misty valleys where red deer roam to craggy peaks watched over by golden eagles, every trail feels like an adventure waiting to be discovered. 

With endless forests to explore and scenic paths that wind past sparkling lochs, the Cairngorms mix rugged beauty with peaceful moments of reflection. Students can hike to viewpoints that reward them with panoramic vistas, explore quaint villages dotted with cosy cafés and pubs, or try wildlife spotting with a camera in hand. 

Whether you’re climbing mountains, wandering through pine forests, or simply soaking up the crisp Highland air, Cairngorms National Park offers a refreshing break from the city, a chance to reconnect with nature, and memories that last long after term ends.

Kruger National Park, South Africa

There is no doubt that South Africa remains one of the top destinations for wildlife and nature enthusiasts. Kruger National Park is the ultimate playground for those craving adventure and unforgettable wildlife encounters. This is where you can enjoy wildlife without compromising on safety, comfort and convenience. Kruger is one of the popular national parks in South Africa, where you can spot Africa’s Big Five along with other animals and birds. 

The park’s vast landscapes, acacia-dotted plains, winding rivers, and golden sunsets make every moment a memory waiting to be captured. Students can join guided safaris or self-drive routes, spotting the Big Five while learning about conservation efforts from passionate rangers.

Evenings can be spent in affordable campsites or lodges, sharing stories around a campfire under a starlit African sky. Whether photographing exotic birds, tracking wildlife footprints, or simply soaking in the vastness of the savannah, Kruger delivers adventure, awe, and stories students will be talking about long after the trip ends.

Jim Corbett National Park, India

If you are exploring Asia, India is one of the top destinations for nature and wildlife enthusiasts. India has plenty of national parks and tiger reserves, making it a great choice for those interested in big cats. Jim Corbett National Park is famous for its Bengal tigers, leopards, and vibrant birdlife. 

While you are here, you can make the most of jeep safaris that offer a chance to spot creatures and birds. The park’s dense forests, winding rivers, and open grasslands make every trek and safari drive a thrilling experience. Students can join morning safaris to catch animals at their most active, wander through nature trails, or visit watchtowers to scan the horizon for elusive tigers. 

To make it better, there are budget-friendly forest lodges and guesthouses that make it easy to stay close to the action, while nearby villages offer a taste of local culture and cuisine. Whether tracking footprints in the mud or photographing colourful birds, Jim Corbett provides adventure, discovery, and memories students will treasure long after their holiday ends.

Yellowstone National Park, USA

Those who want a combination of education and adventure can opt for the Yellowstone National Park. This is a must-visit for students seeking a mix of wildlife, adventure, and jaw-dropping landscapes. From bison grazing in vast meadows to bears roaming forested valleys, every corner of the park is alive with nature’s spectacle. 

The nature here is equally interesting, as you can enjoy bubbling geysers, steaming hot springs, and cascading waterfalls, and it feels like stepping into a living postcard. If you are looking for adventure, you can head out for hiking trails that allow you to learn more about the park’s unique ecosystems. With plenty of epic things to do in Yellowstone National Park, you can always have a busy itinerary to keep you engaged. 

If you are interested in landscape photography, you can simply pause at a scenic viewpoint to watch the sun cast golden light across the mountains or capture it on your camera. With multiple affordable hostels and campsites, students can stay close to the action, while nearby towns offer cafés and diners to refuel after a day of exploration. 

Okavango Delta, Botswana

Botswana has remained among the top African countries where you can head for wildlife holidays. For various students wanting to explore and learn about nature and wildlife, the Okavango Delta is a dream destination. With meandering waterways, lush wetlands, and hidden lagoons, this is a playground for hippos, crocodiles, elephants, and a dazzling array of birds. 

If you are looking for adventure and excitement, you can take a mokoro ride or boat safari, which feels like stepping into an untouched world where nature sets the pace. There are plenty of things to do in the Okavango Delta that can keep you busy and entertained throughout your holidays. 

Students can glide silently through narrow channels in traditional dugout canoes, watch elephants drink at the riverbanks, or photograph vibrant birdlife as the sun casts a golden glow over the delta. Budget-friendly lodges and camps provide a base for early-morning safaris and late-evening stargazing sessions. 

Corcovado National Park, Costa Rica

If you are looking for stunning wildlife holiday destinations, Costa Rica is one of them. With plenty of national parks and green spaces, you can make the most of the limited time you have. Corcovado National Park is ideal for students looking to dive into one of the most biodiverse rainforests on the planet. 

While you are here, you can witness howler monkeys swinging overhead and scarlet macaws streaking across the canopy, offering you an immersive jungle experience. As you hike through the national park, you come across hidden waterfalls, winding trails, and misty rivers, making exploration both thrilling and serene. 

You can stay in affordable eco-lodges and campsites, let students stay immersed in nature, while group activities encourage learning, photography, and hands-on conservation experiences. This ensures that you can make the most of your wildlife expedition in Corcovado National Park. 

‘A dangerous moment of repression’: How is the US higher education crisis affecting the UK?

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Over the last year, universities have become flashpoints of protest and backlash. Student protest is nothing new, but the heavy-handed government response is notable. In the US, President Donald Trump’s administration has utilised the federal government’s power against higher education institutions, particularly those in the Ivy League. Spending cuts, attempts to deport international students, and allegations of civil rights violations have all been leveraged to influence the way universities work. Much of this has been in reaction to pro-Palestine protests, as well as a broader right-wing suspicion of university ‘indoctrination’.

Far-right figures in the country echo a Trumpian attitude to ‘woke’ universities, and high-profile protests have taken place in the UK. So, is the state of higher education in the US a sign of things to come for the UK, and for Oxford? Will similar tensions translate to similar government action, and similar university response?

Existing tensions

Universities have long been a target of the far right, with familiar claims made on both sides of the pond: that they are places of indoctrination, that they are inhibiting free speech, and that they are being ruined by diversity initiatives. Allegations of anti-semitism on campus, in relation to pro-Palestine protests, have also been raised.  

In a climate of rising anti-intellectualism, British institutions have not been exempt from these accusations. Nigel Farage, the leader of Reform UK, has suggested that anyone who is an EDI officer should “look for another job”. Zia Yusuf, Reform’s head of policy, similarly stressed that universities had become “indoctrination camps”. This echoes Trump’s attack on higher education diversity initiatives, and marks deepening ties between the British far-right and the MAGA movement. 

One of the most prominent voices in this special relationship is James Orr, the associate professor of philosophy of religion at the University of Cambridge, who has been considered the “intellectual mentor” of US Vice President JD Vance. Orr is an outspoken critic of the “dogmas of EDI” that, in his words, “distort decision-making at every level of the modern university”.

The 19-year-old Warwickshire County Council leader George Finch recently accused universities of being “conveyor belt[s] of communism” where students are taught a “coercive curriculum”. Finch, who chose not to pursue any education beyond sixth form, argued that “you’re being told what to think, you’re being told what to say”.

I spoke to Annelise Orleck, a history professor at Dartmouth College, about the current crisis facing universities. She rejected the accusation that she is indoctrinating her students: “We teach our students how to think, [we] give them critical tools to think and ask questions in ways that make the current powers that be uncomfortable.” Orleck, who has taught at Dartmouth for over three decades, reflected that there were problems facing higher education, but they were not the ones being identified by the far right: “It has been said of universities, even before Trump took over, that they are… hedge funds and weapons portfolios with a sideline in education, so they can write all that off in their taxes.”

The crisis

Widespread student protests in both the UK and the US have set these tensions alight. On International Workers’ Day, 1st May 2024, faculty members joined Dartmouth students at a pro-Palestine protest. In the rural New Hampshire town of Hanover, state police were called to break up the demonstration. As Orleck, the former chair of the Jewish Studies department, took out her phone to record the protest, an officer slammed her to the ground. Her arrest, caught on video, went viral

Recalling the night of her arrest, Orleck said that the protesters “had no idea what was beginning”. In Orleck’s words, she was arrested for “trying to fulfil [her] responsibilities as a teacher and protect [her] students”. She considered that the experience “marked the beginning of this assault on peaceful protest and freedom of expression on our campus and on many campuses across the country”. 

Trump’s pledge to “fire the radical-left accreditors that have allowed our colleges to become dominated by Marxist maniacs and lunatics” culminated in a battle between the administration and the United States’ oldest university, Harvard. In April 2025, $2.2 billion in funding was frozen by the government as the President demanded that Harvard be audited to assess the “programs and departments that most fuel antisemitic harassment or reflect ideological capture”. In response, Harvard sued the administration. 

The State Department revoked the visas of around 300 international students (as of April 2025), and attempted to block Harvard from enrolling more. The administration has also used its financial power over universities, cutting diversity-related research grants while offering a preferential funding plan to all universities and colleges that adopt certain policies. They involve requiring ‘single-sex spaces’, capping undergraduate visas at 15% or less, and abolishing units that “punish” or “belittle” conservative ideas.

In the same month as the Dartmouth protests, Oxford Action for Palestine (OA4P) set up encampments at the Natural History Museum and the Radcliffe Camera. The University threatened legal action if they didn’t leave, a move that Cambridge had already pursued. A few weeks after the arrest of 89 students and staff at Dartmouth, 17 student protesters were arrested in a pro-Palestine sit-in at Wellington Square. Thames Valley Police have since dropped the charges, and the University recently stopped disciplinary measures against the students. 

While far-right rhetoric against universities is intensifying, government action has not yet followed, and certainly not to the extent seen in the US. The Labour government has not publicly criticised any universities, nor used its powers to intervene into university matters. No matter what Reform says, the party is not in power. No matter how strongly it states its stances, it cannot match the firepower of the Trump administration because it does not have access to its tactics. Even if it did, they may prove less effective against Oxbridge. Oxford’s colleges are financially autonomous of the University, and the University itself has independent sources of income, like research and donations. But with 36% of undergraduates admitted in 2024 being international, Oxford is similarly vulnerable to a crackdown on visas. This presents an ominous picture for what may happen if Reform do as well as they are projected to at the next election (projected to be the largest party, but 25 short of a majority). Much depends on how universities and other institutions choose to respond to governmental pressure.  

Response

In response to increased government crackdown, US colleges quickly sprang to Harvard’s defence. Over 600 institutions signed an open letter from the American Association of Colleges and Universities (AAC&U) as “one voice against the unprecedented government overreach and political interference now endangering American higher education”. Calling for “constructive engagement”, the letter demanded the protection of their shared ideal of the “essential freedom to determine, on academic grounds, whom to admit and what is taught, how, and by whom”. All Ivy League colleges signed the letter, except Dartmouth. 

Sian Beilock, the President of Dartmouth, defended her decision in an email to students and faculty, claiming that open letters are “rarely effective tools to make change”. Two years prior, she signed an open letter as president-elect to support diversifying the semi-conductor industry. Dartmouth, unlike its peers, has continuously stressed their neutral position, staying away from the political limelight. “We can do better by staying focused on what we are: educational institutions, not political organisations”, wrote Beilock. The exact same rhetoric was employed during her address to the matriculating Class of 2029: “We’re not a political organisation.” 

Beilock’s actions gained praise from conservatives and members of the Trump administration. Despite claims of neutrality, the former chief counsel at the Republican National Committee, Mathew Raymer, has been appointed as Dartmouth’s Senior Vice President and General Counsel. In an op-ed titled ‘Trump Is Right About Birthright Citizenship’ in The Federalist, he argues that children “born to aliens” should not have birthright citizenship. As the new head of the college’s Office for Visa and Immigration Services, this calls into question how apolitical Dartmouth truly is. 

Dartmouth has yet to face direct funding cuts, unlike other elite colleges, such as Columbia and Cornell. For supporters of Beilock, her unprovocative strategy towards the Trump administration has paid off. The college’s international students have by and large avoided becoming the next target of the administration – as long as they don’t protest. 

When I asked Orleck about Beilock’s actions, she said it seemed to be a “strategic decision”, however, she added that “collaborating with fascism, in the end, is never a good idea”. Perceived as having perpetrated a betrayal against Dartmouth’s Ivy League peers, close to 3000 alumni condemned Beilock’s refusal to sign the AAC&U letter in a petition. 

“Appeasement can feel safe and easy – if that means giving in to the demands either of student protesters or of vocal donors”, wrote Beilock in The Atlantic in September 2024. It is difficult to overlook the irony at play. Choosing the “safe and easy” option, Dartmouth appears to have appeased the Trump administration.

But the power of the administration was not unlimited. Judge William G Young considered that the Trump administration had acted unlawfully in its deportations. In a September ruling, the Massachusetts federal judge held that non-citizens hold the same free speech rights as citizens under the US constitution, and that the targeted deportations infringed upon this right. Similarly, Judge Allison Burroughs overturned Harvard’s funding freeze. The administration is appealing both cases, and much will hinge on the pro-Trump Supreme Court’s treatment of the issue. These rulings suggest that the bark of government pressure does not always match its bite. Appeasement may be an unnecessary step in the long run.

Oxford impact 

As the far right’s potential assault on higher education in Britain looms large, we must then ask: how has Oxford acted in the face of an increasingly global threat to higher education? Unlike Dartmouth’s decision to stay under Trump’s radar, cowing to the administration’s demands at the cost of academic integrity and the safety of their students and staff, British institutions must not merely protect their reputations but fight to ensure our institutions foster a diverse and inclusive culture. 

In response to the protest that took place in Oxford, eleven Jewish faculty members wrote an open letter to the Vice Chancellor and the Chief Diversity Officer, urging the University to “drop disciplinary proceedings…against the 13 students who occupied Wellington Square”. The signatories pushed back against the idea that pro-Palestine actions in Oxford were related to antisemitism, saying: “antisemitism is a serious and ongoing threat, but there is no credible evidence that the encampment, in which Jewish students were also actively involved, led to a rise in antisemitism or that it was experienced in a uniform way by Oxford’s highly diverse Jewish community.”

In Dartmouth, Orleck echoed the sentiment in the letter, arguing that “the problem is weaponizing antisemitism as an excuse for cracking down on speech and speech rights and the right to peaceful protest”. Orleck said: “We’re in a dangerous moment of repression and as a Jewish woman…and a Jewish Studies scholar and a Jewish historian, I find it really, really frightening that it’s being done in the name of protecting against antisemitism.” 

The University of Oxford’s Chief Diversity Officer, Tim Soutphommasane, has made it clear that “the UK is not the US”. Recognising this distinction, he says, is “a critical starting point for any approach we have. And we should be very mindful of allowing culture war excesses from the US contaminating the public culture here”. He has warned that British universities “can’t be sucked into a vortex of culture war politics”, arguing that “public institutions in the UK, including universities, have an important role in promoting equality of opportunity and social understanding”. 

Last year, Oxford launched the Equality, Diversity and Inclusion Strategic Plan as the institution “strive[s] to be a leader on equality, diversity and inclusion in society”. Addressing the four areas of culture, diversity, work and leadership, the plan seeks to “strengthen a culture of belonging”, “increase staff and student diversity and representation”, “ensure teaching, research and engagement practices are inclusive” and “support academic and professional leadership”. Clear targets were outlined, including increasing the proportion of BME and female professors. Working alongside the LGBTQ+ group, a racial and religious inclusion ‘task and finish’ group was established. More work is clearly necessary to see improvements within Oxford, but the administration’s dedication to EDI initiatives provide a stark contrast with Dartmouth’s appeasement in the face of government pressure. 

Where next? 

“I’m constitutionally optimistic”, Orleck said wryly when I asked her about the future of higher education. Nonetheless, I am unconvinced that she has faith in her optimism. Her attempt to remain positive does not seem successful: “I want to be a purveyor of radical hope. That said, I and everybody else I know… is very worried.” 

The UK often feels shockwaves from political actions in the US, but the difference between Dartmouth and Oxford’s reaction to increasing anti-diversity rhetoric shows that there is still a place for resistance. The outcome of cases brought by universities provide a chance for optimism, and a reason against immediate appeasement. As universities brace for what may be an existential threat, let us only hope that Oxford can one day become a “purveyor of radical hope”.

Image Credit: Kenneth C. Zirkel, CC BY 4.0 via Wikimedia Commons

“NOR GLOM OF NIT?”: ‘Going Postal’ reviewed

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“NEITHER RAIN NOR SNOW NOR GLOM OF NIT CAN STAY THESE MESENGERS ABOT THEIR DUTY.” It is this (somewhat incomplete) motto of the Post Office setting that captures in a sentence the irreverent humour of this charming version of Going Postal, this year’s Oriel Garden Play.

Going Postal is a novel written by Terry Pratchett in his fantasy Discworld universe, with this performance using a pre-existing adaptation for the stage by Stephen Briggs. It follows the story of conman turned postman extraordinaire Moist von Lipwig (Maggie Kerson), whose criminal alter ego, Albert Spangler, is hanged at the beginning of the play, before miraculously surviving. It is Danann Kilburn’s cold, imposing Lord Vetinari who ensures Moist survives in order to offer him a choice: work for him to rebuild the Post Office, or die. He is taken by his parole officer, the robotic but endearing Golem Mr Pump (Lydia Armstrong), to his new job, and events rapidly escalate from there.

Cast performances were a standout aspect of the play. Maggie Kerson’s portrayal of Moist von Lipwig was replete with self-assured, effortless charm. This did morph into a more emotionally genuine portrayal, following Moist’s character arc of becoming more than just a “totally untrustworthy” individual. Kerson was able to project effectively even in the noisier environment of a garden play, sustaining frenzied mannerisms as Moist’s plans to one-up competitors, such as the Great Trunk Company, become ever more hare-brained and desperate. Kilburn’s humourless Vetinari also casts a looming shadow over the play, the “tyrant” who gets things done whatever the cost. Another highlight was Paul Becsi as Reacher Gilt, a Disney-esque villain with the unctuous affect of a suave American executive, equipped with a gem-encrusted cane and eye-patch to boot. He and the board members of the Great Trunk Company proved entertaining antagonists, comic but still carrying an edge of peril, all empty smiles and hinted threat.

The ensemble maintained an equally high standard of quality. From Samuel Forrest’s loveable, pin and stamp-obsessed Stanley, crotchety old “junior post-master” Groat (Chris Morson), and Lara Machado as the bemused and deadpan Dearheart, Pratchett’s colourful cast of characters were brought to life with aplomb. The sprawling nature of Pratchett’s plot required considerable multi-roling, but the costumes and portrayals were varied enough between characters that distinguishing who was who was relatively easy. 

Perhaps the most electrifying moment of the play came in the climax, with nearly the entire cast arranged in factions onstage. Alone, the costumes were impressive. But together as one, it was a slice of Discworld manifest before you. Clothing of especial note included Lipwig’s gold outfit later in the play, with golden trainers (adorned with little wings) and a similarly coloured winged hat that certified his role as a Hermesian messenger. 

The quality of costume also extended to props. The easel placed downstage left produced some amusing physical comedy, with characters replacing it alternately with a black square, a photograph portrait of Reacher Gilt, and the bastardised motto of the Post Office, among others. Every change brought more frustration, thus becoming an effective recurring gag. The newspapers, too, were printed to be readable from a distance, giving the world a touch more materiality.

I was left more ambivalent by the staging, however. At times, I could not help feeling that the set would have benefited from some of the intimacy of a traditional studio. The actors did much to fill the space, as it were, but the stage’s sparseness became most apparent during transitions. The minimal set design (usually one table and chair planted centrally downstage), while creatively used, contributed to this sense. The greatest potential issue came in the sense that the logistics of the garden play setting were slowing down a show reliant on its flow and continuous action to stop its three-hour span (while always eventful) from dragging. 

Some scenes, though, did benefit from the greater scale offered by the garden play. Director Teddy Farrand noted how the production could “use all of [the quad] for the frontage of the post office – we could have Moist crossing the whole quad rather than just a small studio theatre. I was really excited about that just because I think Discworld’s a bit random, it’s antiquated.” Indeed, one of the funniest moments came when Moist did just that, hurling himself offstage and pelting across Oriel Quad to close off the first half of the show.

What was nonetheless most impressive about the staging was its avoidance of that notorious trap of black-box theatre – a feeling of disconnect from the wider world of the play. Going Postal evades this not only by having its characters interact regularly with the college setting outside the stage, but by also feeling like the stage is simply a fragment of a wider world. What Farrand succeeds in is the sense that Discworld is a living, breathing entity, something that would be just waiting for you if you were simply to peek backstage or in the wings.

This play was generally accessible to those without knowledge of Pratchett’s Discworld series. Admittedly, Farrand acknowledged “being a little bit untraditional”, having “taken a few leniencies” with the original source material both in terms of necessary cuts and in staging the beautiful madness that is Pratchett’s world. Bar some ambiguities over just exactly what the “clacks” of the Great Trunk Company are, for the most part an audience member can follow along with no knowledge of Discworld and have as much fun as the most committed fan – for whom I am told there are still knowing jokes to be caught.

What Going Postal manages to tantalisingly capture as it gets into its stride, much like the character of Lipwig himself, is the underlying magic and bizarre, chaotic wonder that fuels Pratchett’s Discworld. Farrand’s passion for the franchise is always evident throughout the show, and such passion and enthusiasm go a long way in theatrical terms. “The mail must be delivered!”, Lipwig cries at one point – and so too does Going Postal, in the end, deliver.