Thursday, May 22, 2025
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Interview: Rick Edwards

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Rick Edwards, along with Alexa Chung, Miquita Oliver and Steve Jones, has become something of a delicious staple in the Channel 4 weekend fix that is ‘T4’. However, far from being just one of four pretty faces that aids one’s digestion of hangover-TV, Rick is fast becoming one of televisions own entrepreneurs, and is a ‘filthy tab’ at that.

A North Londoner at heart, ‘and very happy to be living back there again’, Edwards grew up far from the glaring lights of a Channel 4 studio. ‘My dad got a job down in Portsmouth when I was quite young so, after a period of resistance, me and my mum had to move down there with him. So that’s where I went to school.’

Edwards ruefully admits however, that he has ‘never been much of a fan of curriculums’, only ever really enjoying the subjects that he ‘was interested in’. ‘I was quite easily distracted at school. But then, to juxtapose that, I did a maths project on my own to try and calculate an exact value of pi. I had my moments.’ These moments clearly paid off, as Edwards attended the other Pembroke College reading Natural Sciences. Not the classic path for a ‘pop’ presenter and general pin-up. ‘I had a great time, but wasn’t really focused on academia. I wasn’t especially popular with the Senior Tutor. In fact, he hated me.’ Possibly a reassuring thought for those of us in a similar position.

It was Edwards’ time in the lesser-hallowed-halls that led to his involvement with the performing arts and in particular stand-up, even though entertaining seems like something he was destined to do. ‘My mum and dad say they always knew I’d end up doing something like this. I always loved making people laugh – I was the archetypal disruptive class clown. So when I arrived at university and there was a legitimate opportunity to stand up and make people laugh (Footlights), I took it. I was also lucky enough to do a bit of TV stuff on the god-awful local cable channel.’

By all accounts Edwards’ path to ‘T4’ stardom has been incredibly smooth, with few bumps in the road. ‘I really wanted to do T4. It was my dream job – it still is. I actually auditioned for it when I was 21 and in my last year at uni. I did quite well and got down to the last two – it was me and Colin Murray. In the end they gave the job to Vernon Kay. I did a screentest some years later for E4 Music and from there have graduated onto T4.’

Rather charmingly Rick makes no bones about how much he enjoys his work and how easy it is, although I am not sure that can be completely true as this very interview has been postponed several times due to his other commitments.

‘If anyone ever tells you that TV presenting is hard work they’re
lying. It’s not a proper job, it can’t be, it’s too much fun. I just hang out with people I really get on with and laugh a lot. Alexa’s one of my closest friends. Don’t tell her that though – I want to keep her on her toes.’ Ooops. We will have to assume that she is too busy to pick up this particular student paper!
‘With T4 I’ve been very lucky and done some extraordinary things and travelled to some incredible places. The most amazing experience was when I was doing a global warming special and we filmed in Mali in West Africa. It was a fantastic place, like nowhere I’ve ever been before. And I flew in a tiny plane with a scientist and we went up into the clouds and ‘seeded’ them – we made rain fall. It was breathtaking. Having said that, at the other end of the spectrum, I have very fond memories of filming on a farm in the Cotswolds. I was supposed to be celebrating beating a goat in a pentathlon and shouting at it, “take that, you horny bastard”, all up in its tufty face. But we all got the giggles so badly – me, Alexa, the crew, not the goat actually, she was very professional – that we ended up having to do 31 takes.’

Rick is however a Jack-of-many-trades, and not just an animal-comedian. ‘I used to write comedy stuff with my friend Tom Basden, now a very successful writer/performer. I was commissioned to write a feature-length screenplay once – it was based on a real-life fraud, and was subsequently investigated by the police. Which was exciting, as you can imagine.’ Edwards admits that being good at so many things doesn’t always make it easy to find your direction in life. ‘I’m very competitive, probably too competitive, so I want to be the best at anything and everything I try. I hope I’ve found what I’m best at now. It’s certainly what I enjoy most.’

Despite his status as ‘T4’ hottie and presenter extraordinaire, Edwards seems to bare no ill will to the publicity-juggernaugt that he is a part of. ‘The media glare doesn’t really focus on me, so I’m largely unaffected by it. I don’t really go out to flashy bars or celebrity parties much. That’s not really me. I hang out with my friends in the same places we’ve been hanging out for years. Occasionally someone might recognise me, but all they’re gonna ask is ‘where’s Alexa?’ or ‘how come you’re so tall?’ He really is quite tall, but Alexa wasn’t with him.

Indeed, the flash of the paparazzi’s lightbulb seems to be the last thing that interests Edwards. ‘I’m a film geek. It’s directors mainly that inspire me: The Coen Brothers, Robert Rodriguez, Almodovar, Michael Haneke, Shane Meadows,’ and other equally heavy-hitters are mentioned as he discusses an obvious passion (and perhaps a future career path?). ‘I’m not hugely careerist, so I don’t have any grand plans. I love what I do and hope it continues for a long time – but I’m also realistic enough to accept that, if it ends tomorrow, I’ve still been very privileged to have done it at all. However, I’d really like to host Film 2017, or whatever the year is when it comes up for grabs. I guess Jonathon Ross isn’t going to do that show forever. And maybe the BBC should bring back Tomorrow’s World. Then I could put my degree to good use, finally.’

As much as he revels in his experiences and times on ‘T4′, there is no doubt that they keep him extremely busy. A list of his current projects includes ‘T4’ and his weekend show on XFM. Rick is also hosting the ‘Guardian Student Media Awards’ this weekend as well as having ‘a new show for ‘T4’ called ‘Relentless.’ I’ll tell you about it. There’s one contestant who has to answer 10 questions in a 48 hour period.’ He then boggles me with an explanation of the show, there are crocodiles or something. ‘Honestly, I’d be a rubbish contestant. I wouldn’t run around The Den, Millwall’s ground, at half-time wearing women’s underwear. I wouldn’t fancy rap battling an angry, potty-mouthed MC. But our contestant’s all had cojones – especially the girls.’

By this stage I am slightly mesmerised by Rick’s description of his new show, but am certain that it is something we will all ultimately end up addicted to. There is no denying that this charming, multi-talented presenter has a long career ahead of him – and with Jonathan Ross largely out of any pictures it seems likely we will soon see him hosting ‘Film 2008′. Let’s just hope any Greenroom friendship he might have had with Russell Brand during his Channel 4 affiliation ended at Passport Control.

Green Box

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In the Nineties, green issues were certainly apparent and in the minds of the general population; logging in the Amazon was a major concern, and who can forget Captain Planet and the Planeteers? Even educational videos designed to teach good spelling were themed around pollution on planet Earth (I can’t have been the only one to watch Earth Warp, surely?).

In the mid-Naughties, however, green campaigning really took off. ‘Global Warming’ became ‘Climate Change,’ pollution and wastefulness became your ‘Carbon Footprint’ and the dangers of Carbon Dioxide were no longer limited to an overflowing soft drink. But are people now, towards the end of the decade, getting a little tired? Jack Wellby argued in the last Greenbox that now is the time to stop trying to convince the sceptics, and I began this year’s OUSU Environment Handbook by saying anyone who didn’t believe in the existence of Climate Change is either misinformed or stubborn.

Whilst this is wholly true, I worry about the effect this will have on green campaigning as a whole. I think by relaxing our efforts, people have begun to forget the message of Reduce, Reuse and Recycle, and especially the order in which those words should come.

I was appalled when I heard of an advert condoning leaving a light on all night because it was fitted with an energy efficient bulb; such a notion is wholly misleading. By reducing the amount of energy we use in our day-to-day lives, we should not therefore start engaging in more energy wasting activities.

The government has now finally agreed to a target for reducing the country’s carbon footprint by 80% by 2050, but there’s only one way to do this. We have to throw out the strategy of showing people little changes they can make to reduce their carbon footprint, and start impressing the importance of the big changes.

Line drying your clothes instead of using a tumble dryer will save much more energy than switching lights off when you leave the room, and I think everyone knows what to do when it comes to air travel. A renewal within the green campaign is necessary to provide the same effervescent campaign of earlier in the decade if we are to convince those that have installed the right lightbulbs that the next step is to unplug their tumble dryer.

7th Week

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Yes indeed; Christmas singles are starting to appear, or at least the first tentative attempts, like spreading damp or the nibbled leaves that warn gardeners of an imminent infestation of slugs. Ugh. I’m going to avoid treading on those slugs and concentrate on less yule-based offerings.

DodosWinter *****

San Francisco’s Dodos have had the brighter idea of releasing ‘Winter’ from their megalithically good last album, Visiter. Either a very tinny guitar or a ukulele and rattling drums power on this hypnotic, depressive, brilliant paeon to all things wintry, with a horn break that recalls Beirut. Nothing remotely festive here, just a great tune. It’s a little bit like Noah And The Whale‘s ‘Five Years’, except very very good instead of utter drivel.

Estelle – Come Over **

Now she’s had a Mercury nomination, it’s no longer interesting to be indie and love Estelle. Ah well. Her second album was still superb; this offering features Sean Paul and is subsequently not as intelligent as ‘American Boy’, ‘Substitute’ and their ilk, being more of a straight-up sexytune with the usual overtones of female subservience to macho hiphop males. Musically it’s also devoid of excitement and a big chorus. She has great tunes. This is mediocre.

The Streets – Heaven For The Weather ****

This, I suspect, is what Britpop really wanted to sound like. Perky, uplifting, laddish and witty. Jolly background string samples, an insistent and childish piano riff, propulsive beat, various references to the devil, American evangelism and the definition of sin. Shame the original quotation was also heavily referenced by Lostprophets.

The Brighton Port AuthoritySeattle ****

This song doesn’t so much ‘feature’ Emmy the Great, as pin itself entirely upon her. A nice idea, mind, to take her fey folk voice and back it with unobtrusive electronica. The verse is hypnotic and drowsy, whilst the chorus is extremely big indeed. All quite metronomic and boppy. A very nice and simple song, like Kraftwerk dummed down and tarted up.

Take ThatGreatest Day *

This is mildly amusing in a very childish way if you listen to the vocal and imagine some small animal occasionally biting Gary Barlow’s balls at apparently random intervals, thus causing the absurd variations in pitch. Apart from that, this is toxic.

ClinicTomorrow ***

Clinic have been around for a very, very long time. This had made them respected, almost legendary indie cult veterans. It hasn’t, however, made them much money. This won’t change things, but it is at least better than most of their highly credible but frankly crap releases to date. It conjures up an intensely lofi Velvet Underground dirge vibe in a nice, slightly oriental opium-day sort of way. The song itself is a bit difficult, but top marks for persistence in bashing it along as persistently as they do.

Top Of The Ox – Local Tune Of The Week

Youthmovies’ song ‘Magic Diamond’ features repetition of the word ‘lachrymose’ and employs a simile about a Mobius strip. It is also a beautiful, waltzing piece of music that will lull and lap and generally make you a happier person – until two minutes in, when it starts howling and serrating and making savage mechanical noises. It then goes off in self-indulgent prog tangents, but it’s proved its point. Other, more accessible songs accompany it on their new Polyp EP. It will expand your mind and inner ear. That’s not a metaphysical or spiritual ‘inner ear’, like an inner eye, just the bit slightly inside your skull. It’s some kind of hyperbole or something.

Next week: things!

Oxbridge to accept engineering diploma

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Lacking traditional academic qualifications will no longer be a bar to study at Oxford, as the University will now accept applications from students with new government Diplomas as well as A-levels.

Oxford will now consider students with an Advanced Engineering Diploma for a place on an Engineering course. However Diplomas such as Hospitality, IT or Health and Beauty are still ruled out by the Admissions Office.

Mike Nicholson, Director of Undergraduate Admissions, said that the University recognised some people may be qualified for entry onto Oxford degrees despite lacking A-levels.

He said, “this provides a route for those who opt to study the Advanced Diploma in Engineering to apply to study Engineering at Oxford.” 

He added, “Oxford has always looked at more than just qualifications – academic ability and potential is assessed through a range of measures.”

Nicholson emphasised that Oxford encouraged all appropriately qualified students to apply regardless of their school or college background.

The Advanced Engineering Diploma, which is to be launched in 2010, is worth the equivalent of three and a half A Levels. Oxford applicants must also have a Physics A-level to apply for an Engineering degree.

The new Diplomas designed by the government are largely vocational and include ten days work experience as part of the qualification.

Some students think those with Diplomas will face some academic difficulties. One commented, “no one at Oxford has done anything vocational really. I don’t know if a Diploma would prepare you for the type of work here.” 

However, many students feel this move will not make much difference to the applications system. One student said, “If the Diploma is worth more than 3 A Levels, you’ve still got to be pretty academic.”

Jim Knight, Minister for Schools and Learners, claims the benefit of the Diploma system is that students have, “a genuine choice about where their qualifications take them, be it university or straight towards employment.”

Almost all the Russell Group Universities have responded positively to the new Diploma system. Mike Nicholson maintains that the new qualifications “have the greatest relevance for our courses.”

He said Oxford academics involved in the project are keen to “ensure that the Diplomas can deliver the highly rigorous academic content and study skills that candidates to highly competitive universities need.”

 

Oriel grad replaces Countdown’s Vorderman

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An Oxford graduate has been selected as Carol Vorderman’s replacement on the popular daytime TV show Countdown.

22 year old Rachel Riley has been selected as the new co-presenter alongside TV sports presenter Jeff Stelling.

Riley, a graduate from Oriel with a Masters Degree in Mathematics, was selected for the Channel 4 programme from over 1,000 applicants.

For the auditions, she and other applicants had to complete an interview and were examined on their maths expertise.

Riley was shortlisted together with 5 other candidates to attend a screen test in Leeds where candidates had to put up several letters selections and tackle various maths games at the numbers board.

Riley announced that she was ecstatic to have been chosen for the job. She said, “this is the best graduate job in the world. There’s only one cool maths job around and I was lucky enough to get it so I’m absolutely thrilled.”

Channel 4 said, “Rachel’s on-screen presence, easy going nature, coupled with fantastic maths skills meant she excelled in all rounds of the auditions.”

Helen Warner, Head of Channel 4 Daytime, said “I’m very excited that Jeff and Rachel will be picking up the Countdown baton from 2009.

“They make a great team and I feel certain that our much-loved words and numbers game will go from strength to strength with them at the helm.”

Long-standing Carol Vorderman announced on the 25th July 2008 that she would be quitting the show after failing to agree with Channel 4’s terms for a new contract.

Reports have suggested that she was told to take a 90% pay cut of her estimated salary of between £900,000 and £1m a year.

Vorderman recorded her last Countdown show on the 13th November 2008 which will be broadcast on the 12th December this year.

Stelling, who will be the new host for Countdown, is best known for presenting Soccer Saturday on Sky Sports and was awarded Sports Broadcaster of the Year by the Sports Journalists’ Association for the third consecutive time earlier this year.

He declared that, “I am delighted to be hosting Countdown and follow in the footsteps of such great broadcasters as Richard Whitely, Des Lynam and Des O’Connor.”

Stelling and Riley are set to present the 60th series of Countdown, which will commence in January 2009.

 

Protests over Israeli president’s peace speech

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Armed police flanked the Bodleian on Tuesday night as Shimon Peres arrived in Oxford to present a lecture to staff and students at the Sheldonian.

But the heavy security could do little to prevent a verbal assault on Peres as students interrupted his speech with a series of attacks on Israel’s policy on Palestine.

Throughout the course of the talk, entitled ‘the globalisation of peace’, a string of eight students stood up and shouted over the president in what they described as a gesture on behalf of the Palestinian people.

Najla Dowson-Zeidan, a fourth-year from Wadham, shouted, “I represent the thousands of farmers who’ve had their land stolen illegally to build Israeli settlements.”

Abdel Razzaq Takriti, a History graduate student from Wadham, began walking towards Peres and calling him “a war criminal” before being escorted out of the building by security guards.

After the event Takriti said, “By saying ‘I represent…’ we were bringing the absent voices of the Palestinian people oppressed by Peres’ government to the lecture. Instead of honouring the occupiers and rewarding them for their human rights infringements, we urgently need to listen to those who are forcefully occupied.”

The 85 year-old president was noticeably unsettled by the students, who interrupted him roughly every five minutes throughout his lecture. While he chose to ignore some of the interventions, to Dowson-Zeidan he responded, “It’s not too bad to open the ears and the eyes but keep the mouths for a later occasion.”

Around 40 students also gathered in front of the Sheldonian to protest at Peres’ visit and carried placards bearing the slogan ‘Balliol honours Peres while Gaza burns.’ At one point their chants of ‘Free Palestine’ threatened to drown out the lecture entirely, with students at the back of the theatre struggling to hear.

The response of other students to the protests was mixed, with some booing and some clapping in response to those who interrupted.

One third year Brasenose student, who asked to remain anonymous, said, “I have every sympathy with the complaints of the protestors and their right to protest, but given that it was announced that there was to be a question and answer session at the end the interruptions were misguided and severed only to frustrate and irritate the vast majority of the audience.

“Free speech means giving those who disagree with you a chance.”

In response, Omar Shweiki, one of the hecklers, said, “When such a grand event takes place, with all the prominence granted a head of state, there is no room afforded for alternative voices but I am proud to say through collective effort we made it clear that many in the University refused to be complicit in legitimising an apartheid regime, one that only days before the lecture was bombing a besieged and defenceless people in Gaza.”

At the end of the talk, some students chose to remain seated while those around them got to their feet to enthusiastically applaud

Peres, who was awarded the Nobel Peace Prize in 1994, was in Oxford as part of a three day visit to Britain, where he met with Gordon Brown and was awarded an honorary doctorate at King’s College, London. He invited to Oxford by Andrew Graham, Master of Balliol College, in order to inaugurate the first of a series of five lectures on the subject of world peace.

The visit to the UK was bound to be difficult for the Israeli president. In 2007, members of Britain’s University and College Union voted to boycott Israeli universities, despite worldwide condemnation of the move. Mr Graham said that he was “well aware of the opposition that has been expressed about this invitation,” but that “the fundamental purpose of a University which is to hear and discuss and examine all points of view.”

Peres’ sets out world view

Shimon Peres came to Oxford this week at the invitation of the Master of Balliol to inaugurate a series of five peace lectures. He used his speech to praise the outcome of the US elections and express his optimism about the prospect of a more peaceful world.

Peres hailed Barack Obama’s recent victory as a turning point in modern history.

He said, “Zionism started because of racism and anti-Semitism. In a way, the election of Obama is the end of racism. The fact that a black person got the top job in our time is a clear demonstration that we live in different world.”

Describing the problems of achieving Middle Eastern peace he said, “We have had to defend ourselves militarily but have hoped, philosophically and otherwise, to make peace.

Both sides paid heavily – thousands of youngsters on both sides. It was a mistake. All wars are a mistake whether you win or lose.”

On the subject of Palestine he said, “We are still negotiating with the Palestinians. It is difficult to make peace – you have to negotiate with your opponents and with your own people; I don’t know which is more difficult.” He added, “The problem for the Palestinian people is Hamas. Were it not for Hamas they would already have a state of their own.”

He said that with his age and experience had come a sense of optimism, saying, “I feel that maybe we are nearer to peace now than any time in the last 100 years.”

Despite the frequent interruptions Peres persevered to the end of his talk, stopping only a few times to express his frustration with the protestors. In his closing speech, Sir Adam Roberts, Emeritus Fellow of Balliol, praised the Israeli president for “demonstrating grace under fire.”

 

Interview: Peter Tatchell

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The day before the long-standing human rights campaigner Peter Tatchell is due at Wadham for our interview – as well as a talk on the unfinished battle for LGBT rights after 11 years of Labour – he writes to say that he will be attending the demonstration against former Israeli President Shimon Peres’s talk at the Sheldonian.

It seems pertinent, therefore, to begin my questions by asking what Tatchell’s views on the invitation are.
“Peres is welcome to come to Oxford to support a peace settlement based on Israeli withdrawal from the Occupied Territories,” he says, before asserting: “recent history, though, shows he is keen to support Israeli domination of the Palestinians.”

So speakers are only welcome at Oxford if they share the same political opinions? I ask him if for his thoughts on an email from the organisers of the demonstration, which described the Israeli policy towards Palestinians as “ethnic cleansing.”

“I’m not sure I would go as far as that, but it’s certainly ethnic suppression,” he replies. “The state of Israel was founded on the dispossession of Palestinian land.”

When I offer the hawkish view that many Israelis and Palestinians are in fact descended from similar Semitic tribes around the Middle East,  all of whom share some claim to land in the area, he nods: “a similar ethnic group, yes, but the Palestinians are dispossessed – because they are Palestinians.”

Tatchell emphasises the importance of those in the “Occupied Territories” having the opportunity to assert their democratic right, and choose the government that rules them.

I ask him how he would feel about the democratic election of a hard-line Islamic government in a newly independent Palestine – something that seems ever more likely as Hamas continues to dominate the formerly pre-eminent Fatah. Surely this would only serve to cement the oppression felt by women, those from the LGBT community and other marginalised groups?

“It’s up to the Palestinians to elect a government of their choice. If they elect an administration that violates human rights, there should be an international solidarity campaign to support the many Palestinians who defend the human rights of woman, gays, non-believers and others,” says Tatchell.

“The era when the West dictates to the rest of the world is over; our job is to simply support Palestinian civil society groups.”

When pressed about the effect of returning Israel to its pre-1967 borders, however, Tatchell admits that “as part of the settlement, [he] would favour a human rights charter that would protect those threatened under a fundamentalist government.”

“Surely that’s a form of Western dictation about the way others should conduct themselves, albeit slightly more restricted in its scope,” I suggest.

But Tatchell’s argument is that human rights cross borders. Speaking passionately about the need for West to shift its focus in the Middle East, he argues that our “priority [should be] to support the new Palestinian state by funding a massive programme of new housing, schools, hospitals, sports facilities and roads.”

His faith in human rights is no more evident than in the words that follow this. “Economic development will undercut support for the men of violence and enable the Palestinian people to secure their national aspirations without resorting to conflict.”

And how about engendering a culture of respect for the human rights that Tatchell regards as universal? His belief is, that given the right support, the pressure groups within Palestinian society that are fighting for the rights of the groups we discussed will win the day.

Ultimately, I can’t help but think that this presumption is just another form of the long Western tradition of exporting our cultural values abroad, and believing that all those who seek development in economic terms will seek to emulate our own behaviour when they achieve their financial goals.

As a person with a degree of pessimism about domestic Palestinian politics, however, it a pleasure to talk to someone with so much faith in the universality of human ideals. I hope Tatchell is right. But I remain to be convinced.

 

Got it Covered: The Green Grocer

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Got it Covered will continue this term and into Hilary.

Chain Reaction: Spinal Tap

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With one simple phrase, Rob Reiner’s Spinal Tap changed the face of rock music forever. The words “These go to eleven” resound in every guitarist’s head as they reach for the volume control to turn it up that extra step. The introduction of the 11th setting on the Marshall JCM 900 amplifier allowed guitarists to play louder, harder and… wait.

Sorry… because… I thought… was it…didn’t they… No, it wasn’t and they didn’t. Just like the 11th setting on a marshal amp, Spinal Tap has its long, lady lapping, Gene Simmons tongue placed firmly in its cheek. It wasn’t real but it did change the face of rock music forever.

The fact that some people thought that “The Tap” were a real band goes to show the film’s power. There were popular bands who actually acted like that, prancing around a prop-cluttered stage singing songs about pagan rituals, all the time maintaining a straight face and with their tongues, far from in their cheeks, flapping wildly about their faces. What the film did was to make this sort of posturing embarrassing, and rightly so.

Unfortunately, not all of the lessons so well taught in Spinal Tap are universally adhered to. Theatrical sets, egoism and auto-erotic fret marching do still occur.
In 1997 U2 became stuck in their giant lemon during a shocking piece of rock shamelessness strangely similar to Spinal Tap’s on stage womb episode. More fool U2 in general, but more fool them especially for not taking heed of Spinal Tap’s razor sharp critique.

 

The World’s A Stage: Japan

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Japan is often depicted in the Western cultural imagination as the epitome of hyper-modernity: a land of robots, anime, bullet trains and overpopulated metropolises. However, for all its obsession with the new, many elements of traditional Japanese culture still remain, not least the theatrical arts of Noh and Kabuki, protected by the government as national treasures.

I first encountered the other-worldly, aristocratic art of Noh as an exchange student in Tokyo. In a quiet auditorium square, a stage of Japanese cypress sheltered under the eaves of a shrine roof.

The scene was entirely bare, save for a pine tree painted upon the back wall. The musicians, clad in formal black kimono, entered and began to play; the piercing voice of a flute, discordant and melancholy, faded into the snaps of hand drums and the lingering, ethereal cries of the players.

Most Noh plays concern a tormented spirit unable to renounce its ties to the world seeking salvation from a Buddhist monk, and often these are the only two actors on stage. Clad in an elaborately carved mask, the principal actor traverses the stage, sometimes dancing, sometimes singing, in a slow but intense performance profoundly removed from the naturalistic conventions of Western theatre. With one step he traverses a thousand miles whilst landscapes may be suggested by no more than a wave of a fan.

A vital part of aristocratic culture, Noh is an experience at once religious and dramatic: an entry point into a spiritual world of breathtaking depth and subtlety.

In contrast with Noh, where much of the (elderly) audience appear to be there to sleep, Kabuki is a fireworks display of flash costumes, elaborate make-up, intricate staging and dramatic set-pieces.

Peopled with larger than life heroes and villains, often jousting for the love of famous courtesans (played, in Shakespearean style, by men), the stories are akin with 18th century soap-opera, filled with tragic love, suicide, revenge and duty.

Noh and Kabuki were both born out of the milieu of pre-modern Japanese culture, but ultimately show off the diversity of dramatic techniques within it. From the aristocratic, serious and stately, to the populist, gaudy and glamorous, they represent differing ends of the spectrum of traditional,Japanese arts.

In their heavy stylization they have influenced many foreign, writers and directors looking to break away from conventional naturalism in Western theatre, whilst travellers to Japan may still find much in them to inspire new ways of performing.