Sunday 17th August 2025
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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.

 

Oxford Shakespeare reaches new heights…

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By the time you finish reading this article, Asia Osborne’s Romeo and Juliet will be sold out. So go and book now, and I’ll spend the rest of this review telling you why.

At present, I’m sounding out ways to say “this is amazing, this is utterly amazing, mug old ladies and small children for tickets if you have to” without forsaking all claims to cool judgment. Unfortunately, most of my reaction to this show is just jealousy (of Osborne – I so wish I’d directed this) and inarticulate, flapping-hand gestures of love.

Osborne’s adaptation of the text savages the play, tumbling it into a dark world of Carrollian dream-fantasy, American Gothic and the sublime. Heavily inspired by Punchdrunk, makers of site-specific theatre, to my mind this promenade production actually improves on their ethos: whereas Punchdrunk theatre often only allows small audiences into small spaces, Osborne’s production redresses this elitism by re-radicalising an existing large space, democratising theatre in a way that’s incredibly relevant to contemporary explorations of the ensemble.

Into the transformed O’Reilly come a masked audience, guided by a weaving, black-suited cast. Together, they explore a space filled with white silk, red flowers, black umbrellas, built on an aesthetic equally indebted to Sondheim’s West Side Story and the Mexican Day of the Dead.

With contrasting scenes running simultaneously, and audiences free to move around the space, the performers have nowhere to hide; a bored audience can easily turn their backs and head across the hall. And yet my interest never waned.

Osborne is as clever as she is creative: student acting often suffers from being too big for its space, with gestures too grandiose, voices too loud. In the big, bleak box that is the re-made O’Reilly, an Oxford ensemble finally has the space to run, to jump, to leap and climb and even to scream; above all to create theatre that’s intense without being pointlessly in-your-face.

She has accomplished a miracle of dramatic development: frankly, there are several in this cast whom, in previous productions, I have seen be as bad as an Oxford stage will allow anyone to be. All were vastly improved, and fully deserved their place especially strong ensemble.

This is the theatre of audacity. Osborne kept doing things that shouldn’t work, should absolutely stink – people stab each other with umbrellas, wrap each other in white silk, and (repeatedly) chase each other through the back doors of the O’Reilly, necessitating a delay before their appearance on the balcony.

This happens last, and most notably, at the moment before Will Spray’s Tybalt is murdered by Etiene Ekpo-Utip as Romeo. The delay – unmasked, for once, by action elsewhere in the room – has the potential to be slow, to be awful, to be embarrassing. Nevertheless, Will Spray’s waiting game, as the ‘prince of cats’ realises he’s cornered, becomes the second most exciting moment of the piece.

It’s surpassed only by the brutal, satisfyingly scrappy tussle that follows. Seriously, go and watch Spray and Ekpo-Utip beat each other up. There were audible whimpers and yelps from my section of the crowd. I even liked the shouting.

Of the women, Juliet Dukes as Juliet, and Eleanor Rushton as the Nurse, excel. Dukes perhaps overplays Juliet’s sweetness, delivering an occasionally prettified performance, but the scene where she learns of Tybalt’s death and Romeo’s banishment is monumental.

When the delayed agony of the Nurse’s revelations finally breaks over Juliet’s head, we see in Jukes a baroque grief made intimate not grandiose, horrific and not hysterical. She also does a fabulous line, incidentally, in believable sobbing. Brian McMahon, as a spider-like Mercutio, exemplifies the spirit of the piece with his creepy, cocksure characterisation and sustained energy.

When you see Romeo and Juliet, share the company’s boldness, passion and playfulness. Don your mask and doff your inhibitions. There are rough edges, but there are moments, minutes, scenes and sequences of sublimity; places where criticism has to stop and I have to clutch your sleeve and say, book. Book now.

Not because it’s been co-opted by a clique, or because the lead is famous or because anyone takes their top off. But because it’s intoxicating and ambitious and different, and – unfortunately – it’ll be over by Sunday.

Romeo and Juliet is on at the O’Reilly Theatre at Keble until Saturday.

 

Oxford dons on BNP list

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Three members of Oxford University have been discovered on a copy of the British National Party membership list, following the posting of the document on the internet this week.

A member of the University Maths Faculty, a member of the Environmental Change Institute and a member of St John’s College have all been named on the list, which includes anyone who has ever shown an interest in the party as well as its members.

The list includes names and addresses of people, as well as mobile numbers and email addresses of members.

Yet some are unaware that they are on the list, having never voted for, or been a member of, the BNP.

A member of the Environmental Change Institute who appeared on the list was unaware that he has been listed as a member of the BNP.

“I am not a member”

He said, “I have no idea why I am on there, I have never voted for the BNP and I am not a member. Four years ago I asked on the website for some information, that might be why.” A member of St John’s College who is also a former tutor was named in the list, but stated that he no longer has any contact with the party.

He said, “I was once a member, but am no longer a member and have not been so for a very long time. I have no interest in the party and am not involved with them at all.
“If you get involved with the BNP then they pressgang you, they’re a lot of damned fools if this is how they react when they have some kind of argument.”

Student concern

Yet several students have voiced their concern at the revelations. One second year, who wished to remain anonymous, said, “This worries me a lot, I never know when I might have contact with these people.

“The idea that I might be coming into contact with members of the BNP, particularly when I am not from an English background, is really upsetting.”

She continued, “I wonder whether it is appropriate for those who have been revealed as BNP supporters to remain as faculty members.”

Her concerns were echoed by another second year who said, “I’m not associated with these faculties but I think it is unacceptable for the University not to take action against these people. The BNP preach hate, and this is not what our University is about.”

However there are students who have condemned the leaking of the document.

OUSU President Lewis Iwu, declined to comment, saying, “We’re not in a position to comment, several members of the OUSU council don’t agree with the leak.”

BNP response

Andy Mcbride, the BNP regional officer for the South East explained the leaking of the membership list.

He said, “We know who published the list, but we can’t disclose this, we have obtained a court order from the high courts regarding this because publishing this kind of list is forbidden by the Data Protection Act.

“This has been published by people trying to damage us, but it absolutely should not affect the jobs of those working in Oxford University.

“What you’ll find is that there will be some unions who will say that it should affect their jobs, but Solidarity, the only union who will allow BNP members to join will help them.

“It will not affect their relationships with students or other staff, why should it? I’ve got students living in my house.”

He concluded that it the long run, the release of the membership list would be a positive thing for the party and added that any ideas that members of Oxford University would be vilified for their support of the party was “ridiculous.”

The University press office declined to comment on whether or not they were aware that there were faculty members who supported the BNP.

A spokesperson for the University said, “we will not comment on individuals. Political affiliation, provided it is legal, is a private matter.”

 

Get into… Theatre

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Oxford Imps
Email [email protected] to be added to the audition list

Performance value: 7
Friendliness: 4
Next big thing? 6

An improvised comedy troupe and one of the most famous of the Oxford theatre groups. But many would doubt their reputation as the most talented bunch of frustrated thesps in Oxford and argue that the imps’ egos are far larger than the laughs they get. If you are unfortunate enough to go to a less than amusing show, make sure you don’t talk to a performer about it, they’re sure to blame the audience rather than their own lack of talent…

Tabs Are For Flying
Email [email protected] with your year of graduation

Performance value: 4
Friendliness: 8
Next big thing? 1

Most of you have probably never heard of them, and judging bu the rather sub-standard “jokes” on their website, you might want to keep it that way. Taff is the organisation for all those wh are interested in getting involved behind the scenes in theatre-lighting, set design etc. There are bound to be some who are keen, but it seems to be all the work with none of the glory…

Onassis
To join our mailing list, email [email protected]

Performance value: 6
Friendliness: 7
Next big thing? 4

Committed to the performance of Greek drama, Onassis is a graduate programme which researches, funds, performs and preserves classical drama. An incredibly professional group who are regulars at the Edinburgh festival, but some may find them a little too serious for their liking…

Magdalen College Players
Email [email protected]

Performance value: 5
Friendliness: 7
Next big thing? 5

Probably the most active, and best known of the numerous college dramatic societies. Don’t think that just because it’s theatre on a college level it’s inferior to the likes of OUDS. Magdalen College Players are an active bunch who are keen to develop talent rather than just use their friends in each production (like some of the groups on this page). Opportunities to direct as well.

OU Light Entertainment Society
Email the president – [email protected]

Performance value: 9
Friendliness: 9
Next big thing? 1

A non-profit making drama society who are committed to providing entertainment for those who cannot travel to it. As the name suggests, there are no three hour long Greek tragedies here, but this recommends it to most. A light hearted dramatic society with more than their CVs on their minds. Join, indulge your inner thesp, and feel smug that you’re doing something worthwhile.

OU Classical Drama Society
Send your ideas to [email protected]

Performance value: 5
Friendliness: 7
Next big thing? 4

OUCDS is lesser known than its counterpart, OUDS, but this is not indication of the quality of its theatre. Originally established to promote the performance of classical plays in the original language and translation, it now supports several productions a year. If you’re a budding classicist thesp make sure you get involved; if not, don’t bother.

Oxford University Drama Society
Watch Romeo and Juliet, O’Reilly Theatre at Keble, Saturday 22nd November 8.30pm

Performance value: 7
Friendliness: 6
Next big thing? 8

Claiming to be the most vibrant student drama scene in England, OUDS is the umbrella organisation for Oxford drama and puts on over forty productions a term. Accolade aside, OUDS is terribly luvvie and more than just a little bit rah (if only in an ‘I left my Geordie vowels behind at 18, darling’ way). If you’re serious about acting, stay away from their committee and go for a lesser known production which doesn’t have their grubby paws all over it.

The Oxford Revue
Check out FEAR at OFS 20th-24th November

Performance value: 9
Friendliness: 9
Next big thing? 7

Almost the same idea as the Imps, but infinitely funnier and without the ego, the revue are a comedy group with more ambitious ideas than just improv. But don’t expect cutting edge experimental comedy; the imps know what they’re good at and they stick to it. The impressive list of alumni more or less speaks for itself…

Oxford Imps
Email [email protected] to be added to the audition list

Performance value 7
Friendliness4
Next big thing? 6

 

Welfare fears over Union ball penguins

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Animal welfare charities have expressed disgust at the taunting of live penguins at the Oxford Union’s Fire and Ice Ball last Saturday.

Inebriated revellers at the Union’s Ball were seen by a number of guests to be hassling the birds, which had been brought in to provide entertainment and a photo opportunity.

However, Sharon Howe, representative of VERO, Voice for Ethical Research at Oxford, has criticised the actions of the drunk students, saying, “That sounds like a joke…I am very shocked. We are sickened by it as individuals, and as a group we would just like to say that the incident should be referred to the RSPCA.”

The RSPCA responded saying, “It certainly doesn’t sound ideal. Why do you need penguins at a ball? It seems completely unnecessary.”

The ball, which took place last Saturday, had a number of other attractions including live music, fire eaters and shisha.

A second-year from St Anne’s said “They kept live penguins in small cages. A lot of students were quite near the animals and they looked pretty terrified. Occasionally, they were hassled by drunk people.”

The Oxford Union has denied any maltreatment of the animals, saying, “At no time were the penguins allowed to be hassled and this was made clear to all those who wished to have their photograph taken with the penguins. The secretary regularly checked on the handlers and the penguins to see if they needed a break at any point and was informed each time by the handlers that the penguins were fine.

“The penguins were only present during the initial stages of the ball, leaving after a few hours. They were not kept in a cage but rather in their own pen which complied with ACTA guidelines and included a water pool for them to swim in as required.”