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Blog Page 2004

Crunch time in college football

The second half of the college football season figures to be one of the most exciting in recent memory: that is, if Hilary’s frozen fields relent in their effort to sabotage Oxford sport.

This is the term of championship elation and relegation despair, Cuppers triumphs and painful penalty shoot-out exits: whether trophies or torment, something is at stake for all teams at this time of year.

The JCR Premier Division has been exciting and competitive, where the overall quality of play is consistently high. Christ Church, one of the pre-season favourites, stormed out of the gate and maintained that momentum into the New Year: they now sit three points clear, unbeaten and hugely confident. Alec Ward, the team’s creative heartbeat, directs a high-powered attack that threatens the goal on every possession, and the side’s resilient defensive line are as tough to beat as any in the league.

St Catz are an impressive force, though, and once again they seem to be hitting their stride at the right time: their tactical intelligence is obvious, and supporting striker Alan MacNaughton is able to find space and distribute the ball freely. The destination of the title might well be decided by which of these top two can keep their form over the next few games.

Teddy Hall, Wadham and Magdalen are still in the race, too, especially in a division where many teams are clustered on a similar number of points; a week of surprising results can entirely alter the table’s complexion. Wadham began the season as

pace-setters, but have faded fast against the league’s better sides. At the other end, LMH, Brasenose and New are fighting for survival, while Merton/Mansfield currently occupy the fourth relegation spot – next year’s divisional realignment means that an extra team must drop.

The First Division has been dominated by fallen giants Worcester, who are set to bounce back to the Prem immediately. St John’s and St Hugh’s also look strong in their campaigns for promotion. Cuppers is again fascinating: a winner at this stage is impossible to predict. In the leagues and the cup, then, the next 8 weeks will decide everything, providing plenty of drama and entertainment along the way.

 

Five star athletes

Aristotle once said that “the athletes in the Pentathlon are most beautiful.” Whilst the disciplines have changed somewhat since the 8th century B.C, the Pentathlon’s position as one of the most prestigious Olympic events has not. Its origins are found in the romantic adventures of a liaison officer whose horse was brought down in enemy territory. Having defended himself with his pistol and sword, he swam across a raging river and delivered the message on foot.
Sadly, the efforts of the Oxford University team during their gruelling Christmas training week could hardly be described as beautiful or romantic.

Clinging awkwardly to horses and being outswum by schoolboys would probably not have impressed Aristotle. Then again, the athletes had a lot to live up to.
Oxford University has a long-standing record of success in the Modern Pentathlon. The pride of OUMPA is Steph Cook who won Gold at the Sydney Olympics in 2000 and was crowned World Champion in 2001. In the 2000 Olympics the silver medal was won by another OUMPA old girl, Emily deRiel. In more recent times, current student Richard Hildick-Smith (SEH) has represented Great Britain, and last year saw a newcomer to the sport, Yusuf Randera-Rees, represent South Africa in the African Championships.

The multi-disciplinary nature of the Modern Pentathlon requires a demanding array of mental and physical skills. Power is required for swimming. Manual dexterity and fast reactions are essential for success on the fencing piste. Taking an unfamiliar horse for a spin around a 1.2m show-jumping track tests an athlete’s courage. Finally, not only fitness and skill, but also focus and determination are required for the combined event which intersperses a 3km run with 3 sets of rapid, accurate, target shooting.

With BUCS, Old Blues and, of course, the Varsity match, ahead of them OUMPA’s training week may not have been pretty, but it was absolutely essential. Our athletes defied the snow and ice to take advantage of Whitgift School’s incredible facilities and coaches.

They were quickly thrown in the deep end. The week began with 7am swimming session, though once in the pool, all they really needed to get them moving was a group of schoolboys in the next lane going a little bit faster. Humiliation can be a great motivator.

At Chessington Equestrian Centre the team worked on their show jumping skills. Few of the team had much experience with horses, and there were more than a few shaky moments. Yet by the end of the week everyone was looking at ease on a horse and some had even progressed to doing a few jumps.

Somewhat relieved to be back on their own two feet the team looked for post-lunch training inspiration from the master of the training montage – Rocky Balboa. In Rocky IV they found the perfect training technique. Running across Wandsworth Park quickly turned into a full-on snowball fight followed by the traditional boys versus girls snowman rolling contest. Theirs may have been bigger but ours was most certainly better.

With Mika, the rather formidable Czech master, rolling an expert eye in disdain and belting out the likes of “You shoot like shotgun,” the athletes swiftly got back on target. Incorporating circuits with shooting to simulate the combined event competition pressures they soon learnt that, when in a hurry, the black ring isn’t quite as easy to hit as one might hope. Nevertheless, they made a lot of progress and even got some fencing work in too before the week was out.

Unfortunately, all good training camps must come to end. At least ours did in true OUMPA style back at our President’s ‘unwinding’. Aristotle would have been proud.

Not all downhill for winter Blues

The Blues race bears the distinction of being the world’s oldest team ski event with a tradition which dates back to 1896. There are three men’s teams and two women’s teams – six skiers on each team. All skiers ski both slalom and giant slalom (GS) disciplines. Each racer has two runs on each course and their times from these two runs are combined so that each racer has an overall slalom and an overall GS time. The top four combined times in each team for each discipline are then added up to give the teams overall time, which is then compared against the corresponding Cambridge team’s time.

Normally GS is raced in the morning and slalom in the evening but due to an avalanche across the stade where the course was being set for the races, no races could take place in the morning. So we started with the slalom in the afternoon, by which point the cloud had cleared and the conditions were looking good. The Women’s Blues team went down first, Anouk Dey (Exeter) raced first, setting a phenomenally good time of 40.55 seconds, which was only beaten by Peter Calvert of Cambridge out of all of the mens and womens teams.

Ex-Welsh national skier Aimee Broughton (Jesus) skied next for Oxford, again setting an excellent time. Abby Willward (St Catherine’s) and Alice Kelway-Bamber (LMH) both put down two very good runs and made up the third and fourth fastest slalom times. By this stage the Women’s Blues team was over 17 seconds ahead of Cambridge which is a very large margin – last year the men won the overall varsity match by less than a second.

The next team to race was the Women’s 2nd team who put down fast times, notably Katie Mountain (Queen’s) skied excellently, beating one of Cambridge’s Blues women. The Women’s 2nd team’s combined times for the slalom gave them more than a 20 sec lead over Cambridge which again was an excellent result, probably best ever for Oxford Women’s 2nd team.

The Men’s 1st team, who were looking strong, were next to race. Richard Murphy (Worcester) went down first for the dark blue men setting good safe times in both of his runs. Andre de Haes (BNC) raced next setting a very fast time of 39.85 seconds in his first run and his second run was looking strong until a few gates from the finish when he skied out and was disqualified.

This put more pressure on the remaining Oxford men to complete without disqualification because if only three skiers out of the six in each team complete large time penalties ensue. Billy Henson (LMH) and Ed Grieg-Gran (St Hugh’s) rose to this pressure and set strong times. Unfortunately Ewen Maclean (Hertford) the Men’s captain was disqualified and Tom Dalton had a fall meaning he lost valuable seconds. So despite Oxford fielding a very strong blue’s team their bad luck meant that after the slalom Cambridge was ahead by over 16 seconds.

The luck reversed for the men’s second team and Cambridge had three of their team disqualified giving Oxford a comfortable lead. The Men’s 3rd team skied well but were a long way behind due to poor team selection by Cambridge – their 3rds team was stronger than their 2nds team – some 3rds men even beating Blue’s skiers!

The following day the post-poned GS races were held, again in good weather. The men’s 2nd team managed to increase their lead with good GS performances eventually winning by an impressive margin of over a minute.

The men’s first team skied hard in the GS to try to pull back the lead from Cambridge. They managed to beat them by over 7 seconds but it wasn’t enough to make up the time they had lost in the slalom the day before and the 2009 Varsity Men’s skiing match was won by Cambridge.

After fantastic performances by both teams the day before in the slalom morale was high in the Oxford women’s camp. Anouk Dey and Aimee Broughton again raced excellently showing their wealth of racing experience, recording very fast times. Federica Nocera (Univ) and Amelia Davies (St Hugh’s) the women’s captains, also both put in strong performances meaning that Oxford had all four women in with quicker times than the 2nd quickest Cambridge women, a very impressive feat.

This cemented their lead, giving them a 34 second win overall, one of the best results in the history of women’s Varsity ski racing. The Women’s 2nd team also furthered their lead in the GS, winning by a very comfortable margin. The women’s performance this year was very impressive, and is unparalleled by any win – men or women – in the Varsity ski race.

Editorial: Higher Education funding

University finance, while not the most exciting topic of conversation, has understandably absorbed the attention of both students and the national media this week. ‘Education, education, education’ seemed like good priorities at the time, but with funding cuts that reportedly could lead to the closure of up to thirty institutions, these priorities seem to have been waylaid and ‘educashun educashun educashun’ might be what we settle for as a nation. This isn’t good enough.

“While other countries see education as a means to economic recovery, we choose to compromise it”

Thousands of courses and places are to be axed in the next few years, just when applications have increased by tens of thousands. This obvious shortfall threatens the viability of our higher education system, and the competitiveness of the UK as a whole. For years we have been told that everyone should aspire to higher education, and the places would be there. Just as Blair’s form of aspirational socialism seems to have taken hold, and young students really are aiming for university as a serious route to their futures, this no longer has the commitment and backing from Westminster that it requires.

Other nations are funding university education as means to innovation and economic recovery, and yet we choose to compromise ours. The deficit the country faces needs serious attention, but cutting funding to education sends the wrong message about our priorities. This is about more than money; it is about our national priorities.

“The shortfall in places and courses threatens the viability of higher education”

Of course funding cuts have to be made across the board, but financial support is the way by which the government demonstrates its

commitment to a policy. Small cuts here and there can be dealt with, but they are only the beginning. They ease the pain of large cuts until these are no longer noticed. And the proposed cuts are not small, nor insignificant. Of course efficiency savings should be made, but does this not simply transfer the onus of the funding cuts from the government to individual institutions?

Increasing tuition fees is far from a perfect solution, but there seems to be little realistic alternative, particularly in the current economic climate. Alumni campaigns are all well and good (look to the US for how to do this properly) but relying on donations and endowments as a serious source of funding disadvantages those universities that don’t have Oxford’s calibre of alumni. Higher education for the benefit of anyone and everyone who wants it should be our ideal, but relying on the government for long-term sustainable funding no longer seems to be a viable alternative.

The implications of funding reductions on our years at Oxford are yet to be decided, but it is those arriving in years to come, let alone those not fortunate enough to gain a place at university, that will endure the consequences. These decisions may be easy to sneak out in an announcement on December 23rd, as Mandelson attempted to do, but the damage, once enacted, is far more complicated to undo. We should be constantly raising the bar and our expectations of university, not sinking it.

What you’ve been missing

‘Body music.’ That’s how Adonis, one of the leading poets and critics of the last generation, puts it. Way back in the Jahiliyyeh, the ‘Time of Ignorance’ before Islam, the Arab tribes would turn to their poets for the things they couldn’t quite say, the stories and feelings that lay just on the edge of speech. The poet would sing of loss and pride and passion straight from the heart of his people, a laureate by every campfire, and this was how the Arabs knew who they were and who they should be.

This function – the gift of a tongue to what is felt in the voiceless blood of a nation – never left the Arab poets. In spite of Islam’s strictures, or perhaps because of them, they still cry out with – or often against – their societies. Nizar Qabbani, for instance, whose collected works grace nearly every literate household in Damascus, wrote relentlessly for the sexual emancipation of Arab women. ‘My friends,’ he says of them, ‘birds who perish in caves without a single sound.’

The Arab nations are in turmoil, and in this world of fire, hate and disappointment, poetry is not a luxury but an absolute necessity. It is what keeps men humane, women hopeful, children aware of their identity. Poems are passed around the exiled and the illiterate like contraband belief: I have heard soldiers who could not write their names sing poems. If you want to taste the raw distillation of what the Arabs feel, drink here, for there is no contact between East and West more immediate, more alive, than this. Taste the words of Samih al-Qasim:

‘I would have liked to tell you
The story of a nightingale that died.
I would have liked to tell you
The story –
Had they not slit my lips.’

Blood music. Body music.

TO TRY: On Entering the Sea, by the Syrian Nizar Qabbani (Interlink Books, tr. various), and The Butterfly’s Burden, by Palestine’s Mahmoud Darwish (Bloodaxe Books, tr. Joudah).

 

Earth: Art of a changing world

It seems fitting that I visit this exhibition during a winter vac that began with eyes on the Copenhagen climate change conference and a vac that has seen the longest cold spell in Britain in thirty years. Increasingly, we are fascinated and frustrated by the world around us.

For most of us, climate change is a reality and a defining issue of our time. ‘Earth: Art of a changing world’ brings together contemporary art that reflects on, explores, and engages with our evolving relationship with the nature. Works by established names Cornelia Parker, Anthony Gormley and Tracy Emin are interspersed with specially commissioned work by lesser-known emerging talent. Artists have actively sought out nuances in the climate change debate, as well as allowed it to pervade their working practices.

“It’s a thought-provoking exhibition, seductive and frightening. Fragile and powerful.”

 The exhibition is divided into sections. It begins with an introduction to the key elements of the natural world and the fragile equilibrium we find it in. The exhibition then goes on to question man’s perceived control over his and the planet’s existence. The third section presents work where artists have assumed the role of an explorer, developing the artistic interventions in monitoring and portraying our human, cultural and natural evolution. The penultimate section considers the damage we have inflicted and continue to inflict on the environment, foretelling worrying consequences of this continuing path of destruction. Finally, the exhibition ends with pieces that tell of a stark awareness of a challenging future that we continue to redefine and alter.

A whole range of work in different media is on display. Heather Ackroyd and Dan Harvey have planted young oak tree saplings on the portico of 6 Burlington Gardens, whilst Clare Twomey has created beautifully delicate unfired clay flowers, some of which are placed in a ‘protective’ cabinets, others of which are casually strewn on the floor, exposed to the damaging effects of visitors’ curiosity. A special mention should go to Antti Laitinen. It is amusing, annoying and intriguing to watch mini-films of the Finnish artist struggling yet persevering in building a homemade island in the middle of the cold Baltic Sea. The photographs of the newly constructed land mass alludes to our dream-like conceptions of paradise and are visually stunning.

 “The theme is overplayed, but should not deter you from visiting”

The exhibition is thought-provoking. It seduces as well as frightens. Fragility is presented alongside power. It navigates the discord as well as the beauty in the natural world that we may often take for granted. For those of you sceptical of the value of contemporary and modern art, let this exhibition connect ‘issue’ with ‘art’ and show strongly the relevance of the artist in the climate change debate. Equally, the exhibition’s overplayed theme should not deter you from visiting. The work presented is not an irritating pastiche of activist content and press cuttings. The pieces, though very relevant to our time, are refreshing, inventive portrayals and testaments of a changing world.

four stars

Earth is at the Royal Academy of Arts in London, 6 Burlington Gardens until 31 January. Admission is £7/5.

Photo: Anthony Gormley, Amazonian field (1992), courtesy of the artist and White Cube, London.

Squaring the vicious circle

In 1919 the Emir Faisal, leader of the Arab Revolt and key wartime ally of T.E. Lawrence, went to Paris to claim the great Arab state he believed was due to his family according to British pledges. He came back empty-handed, and explained to his people, ‘I soon realized that the Westerners were profoundly ignorant about the Arabs and that their information was derived entirely from the tales of the Arabian Nights.’ The condescension and prejudice that faced Faisal at the peace conferences persist in the Western world today, and Eugene Rogan’s new book is intended to restore intellectual parity between East and West.

With such aims, it would be easy for a history of the Arabs to go too far in the opposite direction and become a work of grovelling apology. Critics have been quick to level this charge at Rogan, but in fact his account of relations between the Arabs and the heavyweight ‘Powers’ of the last five hundred years is remarkably even-handed for such an emotive subject. He sets forth his thesis clearly in the introduction: the Arab world has gone through four phases of subjection to foreign nations; the Ottoman Empire up to 1918, the colonial powers from the early nineteenth century to the end of WW2, America and Russia in the Cold War, and America alone since 1989. All this time, he believes, the Arabs have manipulated and been manipulated by foreign powers, usually to their disadvantage. This is the chief source of Arab problems and grievances today.

Time in the Arab world seems to have fractured and to be caught in weird loops and distortions, as the same mistakes are made over and over again.”

 The arguments get better as the book progresses, but he is often caught up in webs of intrigue and curious little stories. The great selling-point of his book is that, where possible, Rogan allows the Arabs to speak for themselves, quoting diverse eye-witness accounts and anecdotes. These are often great fun; we read of Fakhr al-Din, the Machiavellian Druze prince who schemed in Medici Florence, of the beautiful Palestinian air pirate Leila Khaled, who joyrode a plane from Fiumicino to Damascus, and of the Mamluk warlord Ali Bey, who ‘was so awe-inspiring that some people died in awe of him’.

This colourful content makes the book readable, even if it does often get in the way of Rogan’s argument. It feels at times as though the historian is struggling to impose an artificial order on a raw, chaotic, writhing mass of narrative. Nevertheless, as we progress through the ages of oil and Islamism the point begins to sink in. It is a cliche that history repeats itself, but in the Middle East these cycles are peculiarly local and vicious. The 2003 invasion of Iraq is a mirror to the British suppression of Iraqi insurgency in 1920; the Arab-Israeli wars of 1948 and 1967 were carbon copies of one another; Israel’s invasion of Lebanon in 2006 presented mocking parallels with their occupation of the country in 1982. Time in the Arab world seems to have fractured and to be caught in weird loops and distortions, as the same mistakes are made over and over again.

 “It would be easy for a history of the Arabs to become a work of grovelling apology, yet Rogan’s effort remains remarkably even-handed”

In the excellent epilogue to this book, Rogan makes it clear that any lasting change must come from the Arab world as much as from abroad. He is too disinterested to draw explicit conclusions, but one clear and consistent failing emerges from the entire book. This is a failure of community. Let me put this bluntly: if you were to trap four Arab leaders in a mine with one shovel, two of them would fight for the shovel while the other two formed an arbitration committee and decreed that the shovel be broken into four to satisfy all parties concerned. Thus far no shared tie – not ethnicity, language, nor even shared religion – has bound the Arab states together for long enough to achieve anything of permanence.

A succinct example from The Arabs will illustrate this. At the start of the Arab-Israeli Six Day War of 1967, a Jordanian early-warning station detected a sortie of Israeli jets heading towards Egypt. Their radio operative frantically relayed a signal to his Egyptian counterpart. The Egyptians, however, had their radio tuned out, and heard nothing; their entire air force was wiped out in a matter of hours. The Arab countries were literally on different frequencies to one another, and a whole string of such basic errors led to a comprehensive defeat against the odds.

If the Arab world is going to get its act together and act effectively, the states must find common ground. Rogan’s history is an excellent place to start looking. To specialist and non-specialist alike, it offers the clarity of vision that has so often been lacking. This book is clear, reasoned and thought-provoking. Dig in.

Squaring the vicious circle HRSP

In 1919 the Emir Faisal, leader of the Arab Revolt and key wartime ally of T.E. Lawrence, went to Paris to claim the great Arab state he believed was due to his family according to British pledges. He came back empty-handed, and explained to his people, ‘I soon realized that the Westerners were profoundly ignorant about the Arabs and that their information was derived entirely from the tales of the Arabian Nights.’ The condescension and prejudice that faced Faisal at the peace conferences persist in the Western world today, and Eugene Rogan’s new book is intended to restore intellectual parity between East and West.

With such aims, it would be easy for a history of the Arabs to go too far in the opposite direction and become a work of grovelling apology. Critics have been quick to level this charge at Rogan, but in fact his account of relations between the Arabs and the heavyweight ‘Powers’ of the last five hundred years is remarkably even-handed for such an emotive subject. He sets forth his thesis clearly in the introduction: the Arab world has gone through four phases of subjection to foreign nations; the Ottoman Empire up to 1918, the colonial powers from the early nineteenth century to the end of WW2, America and Russia in the Cold War, and America alone since 1989. All this time, he believes, the Arabs have manipulated and been manipulated by foreign powers, usually to their disadvantage. This is the chief source of Arab problems and grievances today.

 

“Time in the Arab world seems to have fractured and to be caught in weird loops and distortions, as the same mistakes are made over and over again.”

 

The arguments get better as the book progresses, but he is often caught up in webs of intrigue and curious little stories. The great selling-point of his book is that, where possible, Rogan allows the Arabs to speak for themselves, quoting diverse eye-witness accounts and anecdotes. These are often great fun; we read of Fakhr al-Din, the Machiavellian Druze prince who schemed in Medici Florence, of the beautiful Palestinian air pirate Leila Khaled, who joyrode a plane from Fiumicino to Damascus, and of the Mamluk warlord Ali Bey, who ‘was so awe-inspiring that some people died in awe of him’.

This colourful content makes the book readable, even if it does often get in the way of Rogan’s argument. It feels at times as though the historian is struggling to impose an artificial order on a raw, chaotic, writhing mass of narrative. Nevertheless, as we progress through the ages of oil and Islamism the point begins to sink in. It is a cliche that history repeats itself, but in the Middle East these cycles are peculiarly local and vicious. The 2003 invasion of Iraq is a mirror to the British suppression of Iraqi insurgency in 1920; the Arab-Israeli wars of 1948 and 1967 were carbon copies of one another; Israel’s invasion of Lebanon in 2006 presented mocking parallels with their occupation of the country in 1982. Time in the Arab world seems to have fractured and to be caught in weird loops and distortions, as the same mistakes are made over and over again.

 

“It would be easy for a history of the Arabs to become a work of grovelling apology, yet Rogan’s effort remains remarkably even-handed”

 

In the excellent epilogue to this book, Rogan makes it clear that any lasting change must come from the Arab world as much as from abroad. He is too disinterested to draw explicit conclusions, but one clear and consistent failing emerges from the entire book. This is a failure of community. Let me put this bluntly: if you were to trap four Arab leaders in a mine with one shovel, two of them would fight for the shovel while the other two formed an arbitration committee and decreed that the shovel be broken into four to satisfy all parties concerned. Thus far no shared tie – not ethnicity, language, nor even shared religion – has bound the Arab states together for long enough to achieve anything of permanence.

A succinct example from The Arabs will illustrate this. At the start of the Arab-Israeli Six Day War of 1967, a Jordanian early-warning station detected a sortie of Israeli jets heading towards Egypt. Their radio operative frantically relayed a signal to his Egyptian counterpart. The Egyptians, however, had their radio tuned out, and heard nothing; their entire air force was wiped out in a matter of hours. The Arab countries were literally on different frequencies to one another, and a whole string of such basic errors led to a comprehensive defeat against the odds.

If the Arab world is going to get its act together and act effectively, the states must find common ground. Rogan’s history is an excellent place to start looking. To specialist and non-specialist alike, it offers the clarity of vision that has so often been lacking. This book is clear, reasoned and thought-provoking. Dig in.

Drama Briefing

The sky really is the limit for students’ dramatic ambitions this term. Skimming through the latest OUDS email offers a glimpse of the possibilities. ‘It’s about a man who learns to fly – you could be that man’, reads the tagline for a Film Cuppers entry.

Alternatively, keep your feet on the Edinburgh ground (which will hopefully have thawed by then) as a director or producer at the Fringe Festival, or jet off to (sunny?) Japan, as producer/director for the OUDS Tour 2010, provided you have an artistic concept for a Shakespearean play on the back-burner.

We’re only just back and, bizarrely, their emphasis is very much on getting away. For those thespians flying their student nests this year there’s the Finalists’ Showcase, workshops for aspiring technicians, producers, designers and directors and a masterclass with Barrie Rutter based upon the Northern Broadsides’ production of Medea at the Playhouse (2-6 February).

Fledgling that I am, I don’t feel like abandoning the Oxford stage just yet. There’s the New Writing Festival coming up and, here at Cherwell, we’re gathering performances of original monologues and dialogues for publication online. Even when I do eventually take flight, I’ll soon be coming back, if the Playhouse’s almuni production is anything to go by (Live Canon on 29th January).

Toying with our emotions

Saturday before 0th Week. Radcliffe square is ankle-deep in snow. Straggling winter tourists dominate the term-time student streets. As I head into Brasenose to join The Magic Toyshop in rehearsal, the place seems deserted. But the cast have been there for a week, working on what sounds like my six year old cousin’s fantasy.

They are ready to run something, the director tells me, so I switch my camcorder on. Then the unexpected happens. ‘If there’s one thing I cannot stand, it’s cold porridge,’ says Philip, the play’s patriarch figure – and the room falls dead silent.

It is said in the theatre that you cannot play the King. Only the court can show you are the King by the way they treat you. And when the play’s younger characters were cowed into silence by his seemingly mundane remark, I knew two things. Firstly, that Philip is a king here. And, secondly, that the ‘porridge’ reference couldn’t be further from Goldilocks.

This is no fairy tale. Dialogue and action hide a torrent of violence under the surface. I watched the rest of the ten-minute segment, and realised that Philip was a figure of abject terror. And in the second half, says writer Theo Merz, he gets even worse.

‘It sounds like a kid’s story, but the second act is very disturbing’. Merz adapted the script from Angela Carter’s novel of the same name. It’s an unusual tale, written in 1967 by this popular feminist writer. Melanie steals her mother’s wedding dress and roams the night outside. The next day, her parents are dead, and she must learn to live with her menacing uncle Philip – and her growing sexual awakening. I ask Merz what made him decide to adapt this story for the stage.

He cites the challenge as a motivating factor, and explains ‘I’ve always really liked Angela Carter. Jess and Katie decided, before I’d even read this book, that they wanted to do The Magic Toyshop, some way, somehow. Jess asked me if I’d be interested in adapting it, so I said okay.’

Jess Edwards and Katie Carpenter, the play’s two directors, are refreshingly realistic about their play’s prospects. ‘The Playhouse have taken this semi-financial gamble on us’, says Edwards, when I ask her about how ambitious her project is.

‘It’s a new script, an original score and we’ve added three characters’, summarises Carpenter. It’s been a long while since the Playhouse hosted a show written by a student. Add to this the unconventional juxtaposition of childish themes with adult ideas and one marvels at the courage of everyone involved in this venture.

Yet as I leave the world of The Magic Toyshop and trudge once more into the January snow, I cannot help but be inspired by their optimism. Despite the play’s surreal elements, writer Merz is confident it will send the audience home happy. ‘It’s still a romance’, he says. ‘It’s a cracking tale.’