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Humans to hear shapes and taste words

Humans can hear shapes and sizes and taste words, Oxford University researchers have found.

The blending of sensory perceptions, known as synaesthesia, was previously thought to affect less than 1% of the population. Synaesthesia usually involves the stimulus of one sense leading to an involuntary sensory experience in another.

However, after finding that people associate certain foods and shapes with particular words, Professor Charles Spence has argued that we are all “synaesthetes” up to a point.

Spence has been working with a high-profile French chef to create new recipes that combine an auditory experience with eating.

 

Five Minute Tute: Courting Controversy

Why are Supreme Court nominations important?

Just look at the Bush vs Gore (2000) decision or the murder of Dr George Tiller last weekend. The Supreme Court has carved out a very significant role (not given to it explicitly in the constitution of 1787), and decides many (but by no means all) political questions in the US – the constitutionality of abortion restrictions, the death penalty, affirmative action and presidential privilege to name just a few. Nominating a middle aged judge to the Court (with no retirement age) therefore provides presidents the potential to indirectly shape policy beyond their term in the White House and even beyond the grave. Nominations must also however be seen as a hurdle over which a president must stride. Part of the importance of this nomination stems from the delicate point of his presidency that Barack Obama finds himself at. A failed nomination would affect his personal prestige and therefore his chances of passing healthcare reforms and bank regulatory changes.

What does the nomination of Sotomayor mean for diversity?

This is the tricky issue of whether this is the first nomination of a Latino to the Supreme Court. Republican talking-heads have been trying to put a dampener on the nomination by pointing out that Benjamin Cardozo (a clue is in the name) has a good claim to being the first Latino Supreme Court Justice. Appointed in 1932 by Herbert Hoover, Cardozo had Portuguese grandparents. In any case if Sotomayor is nominated it will mean that the Court has no less than six Catholic Justices.

This nomination appears to be a handy way to consolidate Latino votes for the Democrats, in states like Florida, Colorado and New Mexico which swung to the Democrats in the 2008 Presidential Election, or Nevada where Senate Majority Leader Harry Reid looks to be in trouble for 2010. However It is worth remembering that Stateside Puerto Ricans (Puerto Rico is part of the US), of which Sotomayor is one, are concentrated on the east coast.

What has been Sonia Sotomayor’s track record as a judge?

Her most famous case to date involved issuing the preliminary injunction to break the 1994 Major League Baseball Strike. In doing so Sotomayor came down on the side of players (and fans) over owners winning instant, if short lived, public recognition. More recently she decided in Ricci vs DeStefano (2008) on the very sensitive issue of affirmative action. The ruling in DeStefano went against a white fire-fighter who claimed that he had been passed up for promotion on grounds of race. The Second Circuit Court of Appeals (which, if successfully confirmed, Sotomayor is leaving) ruled that the fire department was in fact fulfilling its obligations under the 1964 Civil Rights Act. The Supreme Court has now issued a writ of certiorari, meaning that it will hear Ricci, although Sotomayor would have to recuse herself if her nomination is successful.

On the all important issue of state abortion restrictions (deemed unconstitutional in Roe vs Wade (1973), a decision which has been slowly rolled back) It looks as if Sotomayor has little form. Her decision in Center for Reproductive Law and Policy v. Bush (2002) concerns a different constitutional principle.

Will she be confirmed by the Senate?

Recent nomination hearings have gone smoothly once it has been established that the candidate is at least qualified for the position of Supreme Court Justice (see Bush 43’s failure to get Harriet Miers confirmed). Sotomayor’s biggest remaining danger is a filibuster from the Republican minority in the Senate (still 59-40 to the Democrats until the Minnesota senatorial election is settled). Jeff Sessions, Sen. (AL), the ranking Republican on the Senate Judiciary committee, has indicated that there will not be this kind of filibuster. If one were to take place it would only publicise further Obama’s support for a Latino nominee.

How much would Justice Sotomayor affect the Court’s decisions?

The first question to ask in this situation is who is she nominated to replace? She is replacing David Souter who has been a reliable liberal vote. In this light Bush 43’s last nomination — Samuel Alito to Replace Sandra Day O’Connor — seems much more important. Supreme Court justices also have a habit of going native once appointed. Not least the retiring Souter, who conservatives consider to be Bush 41’s worst mistake, after he turned out to be a liberal stalwart. Most famous is the case of Earl Warren who was a Republican governor of California appointed to the court by Dwight Eisenhower, and who went on to orchestrate, as Chief Justice, the most liberal period of decision making in the court’s history. Only Sonia Sotomayor knows how she will play things.

 

Action At Last

The U.S. has finally done something. After decades of dereliction, the U.S. federal government is working on a bill to address climate change. And while we all may breathe a sigh of relief that government officials are no longer taking black pens to climate reports, silencing scientists, and standing by Senators who declare, as James Inhofe of Oklahoma did in 2003, that global warming is “the greatest hoax ever perpetrated on the American people,” it remains to be seen whether the American Clean Energy and Security Act can make up for lost time. Proponents of the bill, which has yet to be approved by Congress, argue that the environmental community should not let the perfect become the enemy of the good. But at this stage in the fight against global warming, is “good” good enough? 

The American Clean Energy and Security Act, which was approved by the House Energy and Commerce Committee last month, certainly has a lot of good in it. The centerpiece of the legislation is a cap-and-trade program, similar to the one already in action in Europe, designed to curb the emission of greenhouse gases. The bill also boosts efficiency standards and mandates increases in the use of renewable energy. Most significantly, it aims for an 83 percent reduction in the emission of heat-trapping gasses by 2050 below 2005 levels.  

Yet the Act has also come under heavy critique from environmental groups such as Greenpeace, who say it represents “the triumph of industry influence over public interest.” Environmentalists complain that the pollution permits central to the cap-and-trade program will be mostly given away, rather than auctioned off to polluting industry. They also point out that emissions cuts under the Act fail to meet the level of reduction identified by the International Panel on Climate Change as necessary to avert the most damaging effects of climate change. 

On the campaign trail, President Obama said that permits should be auctioned and that emissions reductions should be guided by science. Yet even Obama has been forced to adopt pragmatism in the face of political realities – despite incessant flirtation, idealism and American politics have never made a very good couple. This was made abundantly clear in the struggle to push the Clean Energy and Security Act through the House Energy and Commerce Committee. Predictably, all Republicans on the Committee opposed the bill, but its sponsors also had to fight to get Democrats on board. When Waxman and Markey first proposed the legislation, a third of the “Brown Dog” Democrats on the Committee (who represent coal-manufacturing states) dug in their heels. In the end, even substantial compromise could not bring all the Democrats around: Representatives from Louisiana, Arkansas, Utah, and Georgia still said “No.”  

The compromises hammered out by the Commerce Committee are just the beginning. Now the Act must survive vetting by as many as eleven other Committees before moving to a vote on the House floor. This legislative gauntlet includes the Agriculture Committee, which will seek concessions for the environmentally dubious ethanol industry, and the Natural Resource Committee, whose Democratic chairman intends to secure expanded domestic oil production.  

The challenges faced by the Clean Energy and Security Act, even in an age of Democratic ascendance, beg the question: Is the problem of climate change simply too much for the American political system? How can the U.S. become an effective international player when its legislators must think locally while acting globally?  

It cannot help that, in the midst of economic turmoil, climate change isn’t exactly on the minds of Americans. A poll conducted earlier this year found that global warming ranked dead last in a list of twenty voter priorities. (Ironically, the list included stemming moral decline and curtailing the influence of lobbyists.) As one strategist pointed out, “When you say ‘global warming,’ a certain group of Americans think that’s a code word for progressive liberals, gay marriage and other such issues.” 

Obama’s international climate team is painfully aware of the degree to which U.S. leadership abroad is constrained by political considerations at home. Despite his declaration at climate talks last week that “America is now once again strongly committed to developing a global response to climate change,” Special Envoy for Climate Change Todd Stern also noted that securing effective domestic legislation would be a “very difficult exercise.” 

President Obama has not taken a leading role in pushing the Clean Energy and Security Act, preferring instead to work quietly through back channels. Ever a savvy political operator, Obama probably has in mind the political misfortunes of other politicians who have adopted climate change as a signal issue.  

Yet however stark the realities of the American political landscape, there are other realities to consider. Many scientists have stated that the upcoming climate negotiations in Copenhagen in December, where countries will craft a follow-up treaty to the Kyoto Protocol, is the last best chance to curtail the most serious impacts of climate change. The situation is urgent: a recent report by the International Organization for Migration estimated that over the next fifty years, as many as 200 million people could become climate refugees.  

Humans (and Americans in particular) seem hard-wired to fail when it comes to global warming. Yet recent research has shown that feelings of community can have a profound effect on human decision-making: When we think collectively, we are more likely to come to conclusions that benefit everyone. In the United States, this would mean retiring the individualist ethic that has sat at the core of our national identity for so long. President Obama’s task, then, is to help Americans realize that, in light of their commitment to morality, “me” must be “we.” Perhaps global warming, more than any other issue, will test whether Barack Obama is the transformative leader we’ve all been hoping for.

The great British game

It’s hard being at the top of the game in the sporting world. We all know that, and sacrifices do have to be made. The sacrifices these days, however, all seem to have a bit of a theme to them; typically preserving the chances of the solo career at the expense of national sport. Can anyone remember the last time a sports star put their solo career even vaguely on the line in order to help out the home side in their time of need? Of course being the World Number One counts more than anything else, but being part of a team counts for something as well. Yet this fear of ‘letting the side down’ seems to figure less highly in the minds of today’s top athletes, caught up in the swirling, glittering, lucrative haze of life at the top. The question is: when can we rightfully say that our sporting stars are getting a bit selfish?

Andy Murray is still the hero of British tennis despite his recent loss to Fernando Gonzalez in the quarter-final at the French Open. Admittedly it was a disappointing result, but as a nation we’ll undoubtedly still back him and say amongst ourselves encouragingly that he’s got it in him to go all the way. It may sound corny but we’ll be there for him. But what about when we need him to pull one out for us?

Two years on the trot now, British sports fans have had their hopes dashed with the announcement that Murray would not be appearing in the Davis Cup team. In January of last year, the news report was that it was a recurring knee strain preventing him from being able to play. This time around it was a nasty virus that kept him from saving his country from total humiliation at the hands of Ukraine. Now I know Murray is still a young sportsman and as such some might class his health as being a bit on the vulnerable side. I’m sure this is true to a degree; however the return of his longstanding knee injury at such short and inconvenient notice before Argentina was thought by many to be more down to the fear of injury than the actuality.

Federer and Nadal may have skipped their first-round ties this year, but is Murray really in the position now where he is entitled to behave in the same way? Does he no longer have to put the time in for the British team? Even the star’s older brother, Jamie, who did play in Argentina last year, had critical words for his brother’s decision, saying ‘it kind of affects how I feel about him’.

This March not even the fact that the tie was held in Glasgow could lure him out to watch, let alone play. There were posters of him emblazoned all over the Braehead Arena, but sadly the real Andy Murray was nowhere to be seen. His absence left captain John Lloyd to field the most inexperienced British team in the competition’s history. The question on everyone’s minds is whether he will somehow muster the strength to take part in the final play-off tie against Poland later on in the year. Falling less than a fortnight after the conclusion of the US Open, fans probably shouldn’t get their hopes up.

But Murray’s not the only one looking after the one-man-band in British sport at the moment. News hit the press last week that favourite Freddie Flintoff will not be fit for the World Twenty20 series this month. Now I love Freddie as much as the average female cricket fan, but this news comes at the end of a bad spell for the ex-England captain’s national record. At first glance, the cheeky joker from Lancashire has a more than impressive record of 75 Tests and 141 one-day internationals for the England side to his name. Looking at it from the other angle, however, he has missed 61 of the 134 Tests since his debut in 1998 due to injuries. That is a large number of times to be making a gap in the squad.

The crunch for the 31-year-old this time around came when he hurt his knee playing in the Indian Premier League. It wouldn’t take a genius to work out that this league does not refer to an England commitment. Playing in the IPL is only a recent addition to his sporting activities. It happens, incidentally, to also be a highly profitable affair. Flintoff was signed by Chennai Super Kings for a record fee of £1.1m at the pre-season auction. And we wonder why he wanted to be involved.

The popular cricketer returned to play the IPL in South Africa only a short while after having to pull out of the remainder of the England tour in the West Indies in order to get treatment on a hip injury. As England went down at the end of the series to lose 1-0, it is hard to believe that Flintoff wouldn’t have tipped the scale in England’s favour. Instead of giving himself a good rest however, he was soon on the plane to South Africa along with fellow players Chris Gayle, Kevin Pietersen, Paul Collingwood and Ravi Bopara, despite admitting that he was still in a bit of pain. Surprise surprise, it was only a few days of rather average cricket later, before he was back on the plane home with a fresh injury. Predictable just doesn’t even really cover it.

The main worry for most of us is that he won’t be fully fit in time for the Ashes this summer – the cricketing highlight of this season for both players and spectators. If he’s going to survive more than a few days, in contrast to his recent record, and come through as the major asset to England that he should be, he will need to have bowling as well as aerobic fitness. Whilst the doctors try to sound optimistic, Pietersen commented frankly as Freddie was flying home from South Africa that it is a ‘huge, huge blow come the summer for England.’ Australia captain Ricky Ponting is also only too aware of how significant an effect Flintoff’s absence would mean for the team at the Ashes this summer and no doubt he will be watching Freddie’s recovery progress with as much interest as any England supporter.

In the meantime, Paul Collingwood’s England team is entering the first global tournament to be staged since the 2004 Champions Trophy missing some of its key stars, Kevin Pietersen also having withdrawn from the recent NatWest Series against the West Indies complaining of a sore Achilles tendon.
Of course precaution is always welcome if a sportsman is generally injured. The removal of Flintoff from the side for the Wolrd Twenty20 can be seen as saving him for the more daunting task of the ashes. But surely it would have been more logical for him to miss the IPL if there was a serious doubt over his injury, so that he didn’t miss valuable time to gel with his England collegues.
We can’t blame a sportsman for loving the game. We can blame them, however, when they start to make rash decisions that will put both themselves and the success of their team on the line. Last November before the England players had been cleared to go and play in the IPL, Flintoff stressed how the publicity surrounding the IPL was completely irrelevant to why England should get involved in the league: ‘From a player’s point of view, we’ve come here to beat India – we’ve not come here to put ourselves in shop windows or for any financial gain of ourselves…’ Six months down the line with a contract fee of £1.1m, I wonder if that will still be the case.

 

Review: Fairy Queen

If you are not sure what to expect from Fairy Queen then you are not alone – an Internet search for the play elicits no response and its writer Olivier Cadiot does not even possess his own Wikipedia page. But do not let this put you off. Fairy Queen represents a highly ambitious dramatic project and should not be missed.

Fairy Queen began as a French novel, published in 2002, but when the talented Dominic Glynn met Cadiot, they began to collaborate on the text.  Glynn has already performed a reading version of his own translation in London. His rendering in Oxford next week offers something closer to a conventional play, although many elements from the original novel still remain – Glynn is the only actor, performing a monologue that encompasses numerous different speakers and intrusions from an omniscient narrator.

The story features a fairy in 1920s Paris, who goes to the house of the American writer Gertrude Stein to give a performance of her poetry. But the events that follow do not match the fairy’s expectations as Stein turns out not to be quite as she had originally anticipated.

All these events are narrated by Glynn, who is seated in centre stage and barely moves throughout the performance. As the plot unravels around the fairy, we are given direct access to her mental processes – thoughts ranging from comic satire of Stein to the fabulous workings of her overactive imagination, from intense sensory delight to emotional insecurity. But the narrative moves quickly between different speakers, between reality and imagination, leaving the audience in a dream world, unsure what to believe.

As the sole actor, Glynn faces the tough task of providing a stimulating dramatic performance that will keep the audience involved throughout but he proves himself highly capable of handling such a challenge. At times he stares thoughtfully into middle distance, at times he stares the audience straight in the face, urging them to enter his fantasy. Similarly, his variations of tone and different facial expressions ensure that the narrative never becomes flat or monotonous. Instead, as he explores the intricacies of this strange world, the audience explores them too, seeing everything that he sees and feeling everything that he feels.

Attempting to navigate myself in the strange world that Fairy Queen evokes was not an easy experience so if you are looking for some light relief from the pressures of revision then this is probably not for you. But if you are prepared to be challenged by an extremely thoughtful and unique performance then I cannot imagine time better spent than admiring the results of Glynn’s immense effort and flair.

four stars out of five

Burton Taylor Studio, 9-13 June

 

 

First Night Review: tick…tick…Boom!

I have to be honest, when I first heard of this show – a musical plucked from the study of Jonathon Larson, composer of RENT; collated, edited and produced posthumously; telling the story (his own life story) of the life of a struggling Broadway composer – I was sceptical. After all, it sounds un-relatable: raise your hand if you’re a struggling Broadway composer… exactly. But from the start of this production it is clear that here is a story that is human and real. Jon is a normal guy, trying to live his dream against all odds, in spite of his fears. The problem is that you’re only young for so long, and Jon can feel the time ticking.

Powerfully taking the lead in this show is Hansel Tan. Larson has provided a demanding rock score, and Tan is more than up to the challenge vocally. His talent as an actor also means that the single monologue concept which the show employs makes the audience feel like a trusted confident; truly part of the lives of the characters.

The other cast members of this three header are equally brilliant, and it is rare to be treated to such talent (this is a professional cast). Edward Blagrove gives a fantastic performance as John’s best friend Michael. His characterisation struck me with realism and he had me crying with laughter during ‘No More’, a song demonstrating Michael’s new found pleasure with the finer things in life. Tan and Bonnie Hurst (Susan) provided additional comedy in the accurately observed ‘Therapy’ , a tense phone conversation portraying their strained relationship. Hurst deserves special mention in her own right for a beautiful performance, again bringing both sincerity and comedy to the show and skilfully handling all her character changes.

In summary this is a show with something for everyone to enjoy. If you love musical theatre, you will not be disappointed. If I had to make a criticism I would say that some of the songs are a little weak on the compositional side, but the strength of the cast and production meant I hardly noticed. The rock musical score makes it feel relevant to real life, and there are some beautifully subtle Sondheim references (and some not so subtle). I can safely say that this is the best show I’ve seen in Oxford- which means that if Musical Theatre isn’t necessarily your thing, the onstage talent, professional band, catchy tunes, and sensitive direction will make this a thoroughly enjoyable night out.
I shall be going to see tick, tick… BOOM! again. I’ll see you there.

five stars out of five

OFS STUDIO, 2-6 June, 7.30pm

Interview: Philip Pullman

A prolific writer of young adult fiction, and author of His Dark Materials, Philip Pullman has become one of Britain’s best-known novelists, as well as being an essential part of the Oxford literary landscape. We drifted from P.G. Wodehouse to gambling and drinking – hardly what I expected from the unassuming man sat before me – when I caught up with him the other day.

You’ve talked about how writers are motivated less by issues and more by fascination with a particular technical problem. What would you say are the technical problems which have motivated your writing?

The main one is what is has always been: the one expressed by David Mamet’s question that he says every film director has to decide, namely “Where do I put the camera?” it’s a very difficult one to solve, because there are a hundred different answers, and half a dozen good ones, and one perfect one, probably. One thing I’ve learned is that (to continue with the film analogy) if the audience notices what the camera is doing, it shouldn’t be doing that.

Past articles often note influences like Milton (HDM) or Victorian melodrama (Sally Lockhart). But since your work is generally classified under Young Adult fiction, have you been influenced by any other Young Adult authors such as Diana Wynne Jones, Susan Cooper, etc.?

Not much. Leon Garfield at an early stage, but I don’t think he was really a Young Adult author anyway. My influences are … Well, probably not easy for me to see, but certainly the great fairy tales, and latterly the Scottish ballads. Not that you’d notice.

You’ve criticised ‘adult’ literature for not tackling the larger questions like life, love, death, morality, and so on. Do you think literature needs to tackle these questions to have any worth?

No: look at Wodehouse, who said that there were two ways of writing fiction (and I paraphrase): one way was to go right down deep into the great questions of life, love, death, and so on, and the other was to do what he did, which was to write a sort of musical comedy without the music. And if anyone can do that as well as Wodehouse, wonderful. The sort of fiction I was criticising was the sort that did neither.

Why do you think Young Adult fiction tends to tackle early adolescence rather than the late teens?

Perhaps because it’s a more interesting stage: you’re encountering hormones and existentialism for the first time.

Do you think you’ll try branch out further into identifiably ‘adult’ literature, or realistic fiction, or even work more as an illustrator?

I hope so. It would be nice to spend time drawing pictures and getting paid for it; I can imagine few things more pleasant. As for the writing, yes: I’d like to do that. In fact I’m already working on something that seems to expect most of its readers to be grown up.

What advice would you give to us Oxford undergrads to get the best out of life here, and especially to any budding writers?

To get the best out of life here …Good grief. There’s plenty of it about, so indulge. Give yourself some thing to remember. Fall in love. Fall out of love. Gamble. Get drunk. See how long you can stay awake. Go for long walks at night. Discover what you’re afraid of doing, and then do it.

And finally, anything you can tell us about the Book of Dust? Will we be seeing it soon?

Not soon. The appropriate adverb would be ‘eventually’. It’s growing, but I’m encountering complexities that seem to be making it longer than I thought it would be.

Review: An Uncivil Partnership

Tapping into the Zeitgeist is always a very dangerous route to take: it can result in cliché or a sickly over-trendiness, and certainly a play about a gay wedding ceremony, with reference to reality TV and David Cameron, walks a thin tightrope of freshness over a gaping gulf of banality. However, thankfully these risks are neatly sidestepped in this excellent new piece of drama.

Undoubtedly one of the stage highlights of Trinity, Uncivil Partnership is the première of a new work by Caroline Bird, acclaimed playwright, published poet and St. Catz student, depicting one afternoon in the organisational saga of the civil partnership of lax liberal Kate (Constance Barnwell) and wonderfully odious Marion (Madeleine Dodd): lesbian lovers, yet political and social opposites.

The writing does not disappoint in its perceptive humour which teeters between snort-out-loud funny and a few glitteringly dark observations. The criss-crossing of conversation, inner monologue, and fourth-wall transcendence starts out confusing but quickly settles into a highly original routine. Bird’s self conscious authorial presence is refreshing; it is deliciously ironic to have your preconceived ideas and expectations of what will happen played upon by an omniscient playwright.

A visiting string quartet provide brilliant and diverse supporting roles, popping out a lovely bit of Haydn every now and then and adeptly managing to concentrate on their acting performance without hindering musicality. If this isn’t enough, there will be a harpist as well.

As the stage full of females becomes more and more intense, and the play’s lone possessor of a Y chromosome does well to stamp his mark. Ralph is a first-class swine, and injects the drama with much needed energy after it begins to lag slightly in the run up to the end of act one.

The scope of the play is impressively wide, commenting on love and sex, social norms, class, art, feminism and politics, yet leads me to worry about whether the play is focussed enough. References to Blondie and Goldie Hawn combine with allusions to Wagner opera; the decaying marriage ceremony is counteracted by the relationship problems of each member of the quartet. Bird squeezes so much into the short two hours that, whilst one does get a lot out of it, it is very hard to know exactly what she wants audience members to go away with.

Thankfully, however, this does not hamper the enjoyment of a wonderfully inventive and well acted play confirming Bird’s credentials as something a bit special.

 

Four Stars

Nuns and nipple-sucking

Genital sweets, tit-sucking, cross-dressing, and nun orgies – I’d expect no less from Oriel’s 24 hour play. Writing and performing a play in 24 hours is not any easy task for a group of fourteen actors, especially when you are basing your play on the day’s newspaper titles.

Because this year was the 5th anniversary, the headlines were replaced by whatever material was contained in papers delivered that day at the international psychology conference in San Francisco. For those of you who mistakenly think the play lasts 24 hours, it is the creative process which actually takes 24 hours. Beginning from scratch, we write and perform The Annals of Tathituth.

Research papers with titles such as Beyond Orgasm: Males’ Exposure to Pornography provided the basis and the inspiration. We start working on the script at 5 pm the evening before, splitting off into small groups and then sharing our findings. The suggestion of an Alice in Wonderland-style reworking of the Madeleine McCann story (complete with Portuguese tapas saying ‘Eat Me’ and ‘Drink Me’) is suitably abandoned in the name of decency. Instead, within the next couple of hours, a play starts to take shape set in an alternative universe governed by Sir Alana, in which touching is forbidden, and hands must be removed if touching occurs, by a series of orgiastically-inclined nuns.

The actors and writers work alternately on writing and rehearsing the different parts of the plot. This process finishes at midnight on Friday. A 7am start fuelled by inordinate amounts of coffee, and Sainsbury’s Basics biscuits prompt the next day’s work, where rehearsals take place until the 5pm performance, which takes place on the lawns.

The end performance of The Annals of Tathituth is a surreal storyline revolving around an Apprentice-style dictatorship governed by Sir Alana. Sir Alana has forbidden touching, and the opening scene involves a nun chopping the hand off of a prisoner, Tathituth. An alternative plot involving a crazed menopausal mother and her son, who is trying to advertise his new brand of genital sweets ‘Fruity Fruity Cunty Chebs’, provides an even more surreal sub-plot. The menopausal mother spends most of the play suckling a sheep’s head to her (his) breast and swathed in bloody rags and cheap lipstick, while performing a series of inexplicable monologues about Italian prostitutes or her homosexual son.

Along the way, a threesome involving three nuns provides another highlight. Music, a gin-drinking, Sex and the City-obsessed jailor called Betty Swallow (she swallows!), and several minor dance sequences add to the evening’s entertainment. Having to suckle John-Mark Philo’s blood-coated titty was my personal highlight, as I played the Lolita-esque lover of Tathituth. The play ends to a rather grim sing-along of Mamma Mia (I say grim because most of the cast is covered in red soap or bananas). Putting on a play in 24 hours really is challenging, but the process and the end performance is such fun.

 

Review: Last Chance Harvey

Joel Hopkins’s Last Chance Harvey is a modern romantic comedy which caters for an adult audience sadly ignored in modern cinema. Dustin Hoffman plays Harvey Shine, a disenchanted jingle writer who finds love with the equally lonely Katie Walker (Emma Thompson).

Notwithstanding the predictable plot directions expected from such a film, it is saved by the acting skill of its two Golden Globe-nominated protagonists.

Unlike the recent rom-coms gracing our screens of late, Last Chance Harvey deals sensitively with the genuine trials of living and growing old – the loneliness, the disenchantment, and those bad, bad dance-moves. It seems to me just a little bit radical to have a woman in her late forties playing a romantic lead, something Emma Thompson acknowledges in a blog post about her role in the film: ‘I was not required to be stunningly attractive or in despair or in need of rescue, but simply an ordinary woman in her forties living a rather stale-looking life as best she can’. What seems like a popular topic in contemporary cinema -that is, the danger of living a stale, emotionless life- is portrayed in a sensitive, though not necessarily radical way.

Unlike, say Revolutionary Road, Last Chance Harvey never sags, and confidently rides on the dialogue between the characters.

This is not to say that the movie is free from cringe-worthy or hackneyed moments. Dustin Hoffman’s dance moves at the wedding (‘I’m gonna dance your socks off’) fills me with as much embarrassment as watching my own Dad pulling shapes at social occasions. The romantic clichés in the film, and there are many – the mad final dash from the airport to find said lover included – fail to add any depth to the film. By going in for the cliché, the film misses the opportunity to delve into a deeper, more interesting angle to the character’s motives for getting together, including the possibility, dare I say it, of desperation. The emotional effect of Kate’s past abortion, for example, is a subject only touched upon.

Last Chance Harvey is, more than anything, a love poem to London. The city, like the characters, slowly unveils before our eyes as we follow their conversations along the river Thames. One particularly scene involving a live performance on the South Bank by the contemporary rockabilly band Kitty, Daisy and Lewis, is truly charming. So too is the gentle humour that pervades the film, such as the minor sub-plot concerning Kate’s lonely mother and her next door neighbour, whom she fears is ‘Poland’s answer to Jack The Ripper’.

If the genre of ‘middle-aged-rom-com’ exists, then Last Chance Harvey surely fits into this category. However, to do this would be to pigeon-hole the film, and this is precisely the problem with the rom-com label. The rom-com suffers from a lot of prejudice, which, to be fair, is mostly justified. Last Chance Harvey is a genuinely entertaining film, with lively dialogue and believable characters. To be honest, I’d rather watch movies like this than the sheer quantity of unrealistic, often downright degrading ‘rom-coms’ like He’s Just Not That Into You. Last Chance Harvey deserves to be given a chance, if not just for entertainment, but for the type of film-making it represents. You don’t have to be menopausal to enjoy this, but it helps.

 

Three Stars