Monday 9th June 2025
Blog Page 2255

Interview: Martin Keown

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What did you think, in general, of the game?


I thought it was excellent game of football, and a great occasion. Obviously we were desperately disappointed not to win, as the result of the Varsity Match will slightly overshadow the success that we have had during the course of the season.

On the day, things just didn’t go our way. We conceded bad goals at inopportune times that meant we were chasing the game for the majority of the match, but having got ourselves back into the match for the 3rd time at 3-3 we looked by far the stronger team and had the chances to win the match. It was just unfortunate that our captain miss-hit a backpass at such a crucial moment, which allowed their striker to score the decisive goal.

Did you ever think we couldn’t get back into it?


The only point at which I didn’t believe we would get a result was when they got the 5th goal to give themselves a 2-goal cushion when we were already into injury time. The team have shown incredible strength of character throughout the season, having got results from losing positions on at least 5 occasions, most notably when coming from 2-0 to draw with Oxford City just 2 weeks before the VM. We had put in an incredible amount fitness work in advance to ensure that the players had the platform to perform for the full 90 minutes, but I was actually surprised at just how much fitter than them we were going into the last 20 minutes, as we had spent the majority of the match chasing the game, which inevitably takes more out of the players.  During this period their keeper made a couple of very good saves and we perhaps lacked that ruthless streak to push home our advantage, but our real problems were at the back.

 

 Every time we seemed set to forge ahead a defensive error cost us a goal. For example, having equalized so soon after half time, to concede again straight afterwards was extremely naïve. I felt that we caused our own problems at the back as much as they created them, and were caught out by a straight ball over the top too easily. Their striker had a terrific game to score 4 goals and finished them all superbly, but I would still choose Alex Toogood, who has had an excellent season, ahead of him.

Were the players thinking about penalties at 3-3?


We had practised them beforehand, and would have been confident of victory if it had gone that far, but the team’s focus was on taking advantage of our superior fitness to win the game in normal time. On the sideline we had been making a contingency plan, and there was the possibility of bringing on our substitute goalkeeper [Nicola Ielpo, St. Edmund Hall], who has had great success in shootouts for his college this year.

What did you say at half time to elicit that goal one minute after the re-start?


I tried to emphasise that they would be sitting in the other dressing room knowing that the first half had gone as well as it possibly could for them, whereas we had not really started playing yet. The quality that we possess all over the pitch had not been reflected in the play, but I had every confidence that when we got the ball down and passed it through the team, the goals would come. Obviously, I was not expecting to score so early in the half, but it could have proved a decisive moment had we preserved the lead for a longer period. To concede so soon afterwards meant that the momentum swung right back their way, so to get another equalizer 25 minutes later showed great character.

Are there any players that you would mark out for special praise?


I am normally reluctant to single out a player’s performance as there has been such a strong team ethic within the squad, but Homer Sullivan gave such an exceptional performance that he deserves the extra recognition. Every time he got the ball he caused them problems, and for a period just after we conceded the first goal he was the only player who really took the attack to Cambridge and got his reward with a very good goal. He has been in the squad for three years, but has been injured for the last two Varsity Matches, so it was great to see him finally grasp the opportunity to fulfil his potential on the big stage.

Did Sam Hall and Tom Howell change the game when they came on?


Niko had hardly trained due to injury for 4 weeks prior to the match, but had been so effective during the season that he merited selection despite this. It was a very hard match to go into short of match fitness, so I took the decision to replace him after 55 minutes. Tom came on and held the ball up much better, and gave us more of a cutting edge up front which took the attention off Toogood, allowing him more space.
Sam Hall had been very unlucky not to start the match, and it was always in the plan to bring him on for Leon at about the hour mark – though obviously the injury to Leon forced us to make the change that bit earlier. We were fortunate to have three such talented central midfielders to call upon, and all three performed admirably despite the hectic nature of the midfield battle.

I think the performance of all the substitutes represents the strength in depth that the squad possesses.

How would you reflect on the season?


Understandably a great deal of attention will be paid to the result of the Varsity Match as it is our highest profile game, but inside the club we can take great pride in a very successful and enjoyable season’s campaign.
I have thoroughly enjoyed my year with the squad. It has been excellent to work with a group of players for whom football is not their main priority, but nevertheless bring a very professional attitude to every training session and match. It has been an excellent learning experience for me, and I hope for the players as well.

With thanks to Nik Baker

Oxford team christen Prague stadium

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For the past eight years Slavia have played in the Sparta Krc’s Stadion Evzena Rosickeho, in the Strahov sports complex, having been forced out of their original stadium by a statue of Josef Stalin.

The Blues have a long-standing connection with the Czech side; they were the first English club to play Slavia, in 1899; a record 4,000 crowd witnessed a 3-0 win for Oxford. Thirty-seven years later Prague won a re-match 8-2. In the spirit of this tradition, Martin Keown’s side have been invited to compete in the first-ever game at the 21,000 seater Stadion Eden on May 7. Slavia will be familiar to English fans, having played both Arsenal in the UEFA Champions League and Tottenham Hotspur in the UEFA Cup this season. Slavia Prague are currently second in Gambrinus Liga, so are in line to qualify for next season’s Champions League second qualifying round. They have won fourteen Czech league titles, the last in 1995/96. Premiership stars of the 1990s Karel Poborsky and Patrick Berger both started their careers at Slavia.

Blues players will get to compete against Liverpool legend and Champions League winner Vladimir Smicer, amongst others. Weeks after playing at Craven Cottage, they are said to be thrilled at the opportunity to play at another top class stadium. They will be hoping to repeat their nineteenth-century triumph. 

Cricket: Pembroke vs Anne’s

Last year’s Cuppers winners St Anne’s started the new season with a win in a high-quality contest. Pembroke were first in to bat and began slowly, with openers Mike Hills and Geoff Baines amassing just eight off the first five overs.

 

However, a slow, wicketless start usually favours the batting team in college cricket, and Pembroke soon picked up the pace, reaching their half-century within the next ten overs.

This wasn’t before the first wicket of the game, though, with Mike Hills adjudged LBW to a Hollingdale delivery, although the ball may have pitched outside leg stump.

Just two overs later, Shephard had his stumps knocked out after a wild attempt at a hook, with Owen taking the plaudits.

 

Pembroke steadied their ship for a while, offering Baines the chance to reach an assured half-century off some slacker St Anne’s bowling.

But just as it seemed the batters might start scoring freely, the flow of wickets began again, with Dahwan doing the damage.

First Finch went to a good catch, before Baines’ innings came to an abrupt end at 69, perhaps sloppily forcing the ball all the way to deep mid wicket.

The remainder of the innings consisted of an alternation between bursts of runs and the odd wicket. Puxley picked up what could have been a useful 12 before being run out, and ‘Jig’ Patel hit a measured ten before being bowled by the effective Hollingdale, who picked up figures of 3 for 24, almost as good as Dahwan’s 5 for 27.

Pembroke ended on 165 for 9 after batting out the 40 overs, and whilse the St Anne’s team were fairly confident of matching that score, Pembroke had certainly become favourites temporarily.

Finch opened the bowling for Pembroke in the second innings with a maiden over, and the sense that they might keep St Anne’s at bay was growing. However, Hollingdale and Alexander soon broke into their stride, despite the odd occasional scare for both.

As St Anne’s settled into the innings the batting became more promising, and although they rarely broke through the Pembroke field, an imminent rise in the run-rate was on the cards.

Gradually Anne’s began to grab hold of the contest, and the score started to accelerate. With the help of some new-found shoddy fielding, St Anne’s suddenly found themselves on 62 for none off just 15 overs.

Hollingdale and Alexander were looking on awesome form as they pushed their side heavily into the ascendant, before the former was eventually caught for 36 after a decent Finch delivery.

The ‘tourists’ still looked on course however, reaching their hundred within 24 overs, and increasingly there seemed only one possible outcome for the match.

Harindra looked less than pleased when he was given LBW on just 6, Oakes claiming one of his side’s two wickets, but Alexander and Sykes proceeded to bat their team past Pembroke’s total with ease. Alexander, who had looked calm and assured throughout his innings, finished on 94 not-out, and would have been well deserving of a century.

Ultimately the better team did win, but the same performance from Pembroke would probably have seen them beat many other teams in the league.

Putting the Oomph in Barbados Rally

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Oxford University students who rebuild vintage rally cars will race an historic Riley 1.5 through the winding roads of Barbados next month as they compete in the Caribbean’s largest annual motorsport event, the Barbados Rally Carnival.

Members of the Oxford Universities Motorsport Foundation (OUMF) will travel over 4,000 miles to battle some of the world’s top rally car drivers, including 2006 British Rally Championship runner-up Ryan Champion.

OUMF (pronounced ‘Oomph’) was founded in July 2005 by Oxford students with the aim of providing opportunities for young student engineers and trainee craftsmen to obtain life-like, practical experience of engineering. My task within the foundation is to gain publicity and sponsorship.  OUMF decided motorsport should be at the core of this initiative as it represents the most exciting area of the engineering industry; especially historic motorsport, which is growing rapidly. 

It also has a severe age and skills shortage. As such, it is the area of motorsport through which the interest and enthusiasm of male and female students can be both gained and sustained most easily.

The mixture between engineering and motorsport has allowed OUMF to gain a growing fan-base; sometimes, however, this is not enough. In order to race in Barbados, a staggering £10,000 has to be raised, a sum which may seem impossible, until the six-figure budgets of top European teams are taken into account. OUMF’s tight budgeting is an indication of their stalwart efforts.

On the track, the foundation is enjoying considerable success. Currently winning a local championship driving a TOYO Golf GTi, the motorsport enthusiasts have also sped along the tracks of Silverstone and Goodwood using an Alfa GTAm, as well as using the Barbados-bound Riley 1.5 in historic rallies such as the Tour Britannia, the Tour Rusticana, the Gremlin and Le Jog.  They hope to be racing the nearly-completed 1750 Alfa Bertone in the Historic Sports Car Club championship and at other races this season, and to compete in the Spa Six-Hour race too.

Yet unquestionably, their biggest success is gaining a position on the starting line across the Atlantic. A few months ago, their Riley 1.5 was exhibited at Race Retro, the biggest historic motorsport show in the UK. With the support of the organiser, Ian Williamson, the team were generously given a huge stand on which to promote OUMF over the three days of the event. 

Here, they came to the attention of Martin Sharp, now a well-known journalist, who started in industry and recognises the chronic shortage of practical, hands-on training available to university students.  He recommended OUMF to the Caribbean organisers, who have taken the unprecedented step of inviting OUMF to compete in the festival.

So in a story almost reminiscent of the musical ‘Chitty Chitty Bang Bang’, will these few fairytale months end well? I believe so. We at OUMF feel our attempt at the Barbados Rally will appeal to a much wider audience than simply motorsport fans. It will capture anybody’s imagination, particularly those who love to support the underdog, as students sail the Atlantic to take on the rally giants and former world champions.

Review: God’s Own Country

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Raisin’s impressive debut novel, God’s Own Country provides a compelling and unsettling insight into the intense inner workings of the mind of a disturbed and delusional young farmer in rural isolation in the North Yorkshire Moors. In a highly evocative dialect Raisin charters Sam Marsdyke’s disintegration from an ostracised oddity to a full-blown madman.

Expelled from school for allegedly attempting to rape a fellow pupil, Sam Marsdyke remains excluded from his family and gossiping community. He is confined to working the farm with his gruff, monosyllabic father and trudging across the moors, dwelling on the frustrations and injustices of his life.

 

 

 Despite Sam’s distinct hostility towards the townies his interests are aroused when a London family, with an adolescent daughter, move into the neighbouring farm. The daughter’s unruly nature, coupled with her boredom, leads to an uncanny friendship between the two, and she unwittingly further encourages Sam’s fevered imaginings, setting the stage for impending tragedy.

It is not the somewhat predictable storyline which makes this novel so remarkable, but the fantastically vivid, unique interior monologue of the narrator. Sam, whose love for the ‘real’, sheer Moors is depicted with vitality and dexterity, passes acutely witty observations about the kitsch, goggle-eyed world of the tourist and second homers who view famers with awe as, ‘real, living, farting Nature’. Sam’s whirling mind, filled with blasersykthes and nimrods, gommerils and nazzarts, has an engaging ability to animate everything he encounters; he can imagine the thoughts of stuffed fox head in the pub and conjure up the empty chit-chat of exasperating ramblers trundling along the moors. Its Sam’s voice, both funny and disconcerting, which renders him a pitiable yet repellent character and makes for an absorbing read. 

More chipmunk than Chimera

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On the face of it, an exhibition entitled ‘Chimera’ sounds intensely exciting, and I approached the Museum of the History of Science thrilling at the prospect of huge sculptures of impossible hybrids woven around the museum’s more conventional exhibits. However, I was to be disappointed – Angela Cockayne’s contemporary response to the 17th century Tradescant collection is small and dismal, and even worse, very easily overlooked.{nomultithumb}

The Tradescant collection itself is very impressive, consisting of a sample of the artefacts the adventurer and botanist donated to the Ashmolean after his extensive travels. It consists of a number of oriental statues, contorted skulls, jade beads and other curiosities, that, while momentarily diverting, are not sufficiently fascinating to incite a special trip to the museum.

 

Interspersed with these objects are Cockayne’s offerings, which consist of wax sculptures a few inches high with naturally-occurring items attached, such as duckbills or lobster claws. Often the wax is moulded into a birdlike shape, and they are supported on small wire legs. They have titles like ‘squidbills’ and ‘negotiators’, but in general are too small to be of any real interest or significance.

Her larger efforts are much more pleasing; in particular a set of moulded whale teeth dressed in white lace entitled Ahab’s Brides that are laid out on the bare boards of the gallery. My personal favourite, Gnawpecker, a beaver-chewed log with a green woodpecker’s wings attached, enlivens a case full of small pocket sundials.

 In essence, Cockayne’s ideas are fresh and original, but her work is not of sufficient size to make an impact on the mundane setting of a gallery dominated by brass instruments and rulers, and the exhibition as a whole is not large or varied enough to warrant any particular excitement.

Review: The Rose Labyrinth

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4 stars out of 5

When multi-million selling author Titania Hardie’s latest project The Rose Labyrinth landed on my desk I was to say the least surprised. Gone were the beautifully packaged ‘lifestyle books’ that helped to put Titania on the map back in the ’90s. Instead I found that those suede-covered gems that made Hardie into an overnight guru, sought after by the rich and the famous, had been replaced by elegantly written intellectual literary fiction. In one equally well-packaged leap it seemed that Hardie had gone from ‘lifestyle writer’ to bona fide novelist.

The novel itself is a hybrid of sorts, combining a mystery story and the physical puzzle cards that go with it. At a time in publishing where the likes of Dan Brown and Kate Mosse seem to churn out their latest novels in accordance with contractual obligations and deadlines it is refreshing to find an author so concerned with the integrity of her work.

 

 

Testimony to this authorial dedication is the labyrinthine journey that the novel has taken from a mere idea to the book it is today. Hardie tells of the project’s four-year development as it was batted between publishers due in part to her stoic refusal to change the message of the book, before resting in hands of Headline Review.

Hardie certainly does not underestimate her reader: the plot is an intricate combination of mystery, intrigue and love. The architecture of the novel is attractively ambitious with the reader in the hands of an author of considerable imagination, perpetually journeying between past and present both literally and metaphorically. The novel’s range and quality of research is equally impressive, as Hardie oscillates from the scientific to the mystic with poise.

The Rose Labyrinth is certainly not just another beach-read, far from it. It is a novel with a conscience, a novel whose overriding message is one of tolerance and understanding in a world fraught with division and pain. Hardie is clear that in the arguable cultural quagmire that is our world her novel was to be different. It stands out as ‘a beacon of hope’ in a time disillusioned by angry belief, requiring more from us as reader than mere acceptance whilst electing not to harrow us with tales of abuse and suffering. A novel for iconographers and romantics alike.    

Theatrical Thrills

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There’s nothing like a play on a cold, wet, Hilary night.  Granted, the saunter up George Street to the OFS is not the best way of getting into a cultural frame of mind, but beggars can’t be choosers. On George Street they just get in the way. And after leaving my Bod card at home and being forced to cough up an extra two pounds by a miserly cashier, I was prepared to accept nothing less than a premium cut of theatrical steak. 
Following the usual pre-performance rites of sitting down, complaining about the leg room, making a quick dash for the loos just before the curtain rises, the Edward II which was served up was more akin to cold mince. Credit must be given where it is due, I thought Omkar was fabulous, and Ben Galpin’s Edward was most convincing. A nice bit of tongue-on-tongue action is always fun too.

But the play’s staging was misguided. The power vacuum created by the death of Edward II was replaced with the death of the Krays, placing Marlowe’s political piece in a quasi-gangland Mods v. Rockers situation, simply vulgarising and attenuating the consequences of power struggles at court.

Particulary bad in light of the tension caused by Edward and Gaveston’s homoerotic relationship in the face of the Church’s importance in medieval England. On top of this, the clash between early modern English and the late 1960s setting was awkward to say the least, as brutish leather clad bikers spoke with improbable Renaissance turns of phrase. The historian in me was itching. Why was Edward II smoking?

The setting served only to distract from the main action, and whilst I do love theatrical experimentation, and accept that new interpretations allow audiences to view plays from a different perspective and interpret them in new and exciting ways, student audiences are critical and perceptive, so when directors take it upon themselves to experiment with pieces they must be prepared to do it properly.

This production of Edward II was not as strong as it should have been because its delivery was incomplete; the new setting was not adequately matched to the content of the play. For such innovations to work, the tensions of the original must be preserved when transposing a play into a different setting, and likewise this new setting must be complete in its delivery.

In defence of the musical

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Musicals are easy to look down upon, but immensely difficult to hate. Even the most ardently high-brow theatre-goer can find himself wrenched between tears and laughter during a musical, experiencing dizzy highs and lows of emotion that stage-plays simply cannot ignite. But many cannot help but think that, when all is said and done, they are just candy-floss for the brain. Or is that just rampant pretension unleashed?

We asked Lauren Bensted (pictured), an Oxford student who has just written a new musical, SWING! According to Bensted, musical theatre is ‘more ridiculous, but great fun,’ and while it is considered less highbrow to put on a musical in Oxford, they can be intensely rewarding. Showing at the O’Reilly in 4th Week, Swing! is a witty and skewed take on a North London tennis club and the issues involved with upsetting the status quo of suburban life. With its mockery of middle-class antics, this Oxford musical is certainly not candyfloss. What’s more, Bensted says she was concerned to ensure the piece didn’t become ‘all shock and no heart.’ Who said musicals are simply melodrama?

In fact, musical theatre is not very far removed from opera, that bastion of ‘establishment’ art. Powerful use of song and melodramatic storylines link the two genres closely. Who, after all, would claim that the plot of La Traviata is superior to that great musical Les Misérables, or that Cosí fan Tutte is more poignant than The Phantom of the Opera? Both these musicals are based on the plots of high literary novels; indeed Phantom is set in an opera-house. So perhaps opera and musical are not so far apart after all.

It’s tempting to suggest that musicals have taken the place of the increasingly marginalised operatic form. Opera was originally invented to recreate the aura of the highly stylized, yet approachable, ancient Greek plays in a way that the stature and language of ancient texts themselves forbade. Now the extreme emotion and high drama of the classical age reaches far more people through musicals than through opera.

Although they are linked, we can definitely spot differences. Opera singers are just that, singers first and foremost, while stars of musical theatre are often simply actors who can carry a tune. Opera also emphasises fully sung dialogue, something musicals by and large avoid (although some do not – Les Miserables for example.) But these, surely, are stylistic differences only. We would expect less of a division in taste between the two camps. And the use of professional actors should bridge the divide between musical and traditional stage plays, which, as anyone who has ever been to the Globe Theatre will affirm, often have strong links to music and dance.

The Beggar’s Opera, written by John Gay in 1728, holds the key to understanding the divide. Gay satirised the operatic traditions of the day, removing the action from courts and palaces and placing it on the streets and in the taverns. A highly educated and influential figure, he nevertheless felt that the elaborate offerings of the then maestro of the London scene, Handel, lacked a certain basic humanity. The Italian arias were replaced with risqué pub songs, and opera was effectively popularised. Can this be the source of enmity? Can it be that opera, and theatre, have never really forgiven Musicals for poking fun at their pretensions to high art, poking fun at them and then, adding insult to injury, pulling in thousands more viewers, and thousands more pounds?

In fact, Bensted’s musical Swing! will carry on the tradition of poking fun at upper-class pretensions. However, mocking though it might be, Bensted did not set out to be vicious: according to her, Swing! is ‘It’s a celebration at the end of the day’ In the end, perhaps what distinguishes musicals from other theatre is that, while operas and plays can be all head, musicals are always all heart.

Review: Spring Quartets

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A lyrical quality pervades this new piece, written by Sophie Lewis, a series of four short scenes linked by love. They are intensely beautifully choreographed, excellent use being made of a long stretch of muslin which now entraps a character, now releases her, manipulated with grace and precision by the ensemble. This ensemble, a group of actors making up the shifting cast, moves with great fluidity and it is their hypnotic and suggestive motion which is the principle delight of theses pieces.

 

Click for larger

 

This constant half- dance, at times supports the action, and at times is the sole focus; at the start of one piece, What Time Is Dinner?, the ensemble are crushed together under the muslin (see right), the limbs contorted under the clothe, struggling to be free. The tension is reminiscent of Michelangelo’s unfinished figures for Julius II’s tomb, the flesh struggling valiantly to escape the cloying bonds of the marble. Indeed it is in these moments of dance that are strength of Spring Quartet; the speech appear clumsy, characters spilling out great tirades which froth into insignificance next to the graceful, yet eloquent simplicity of the dance.

In Woman Painting, for example, we are given a greater insight into the relationship between the female painter (Ianthe Roach, pictured bottom left) and her lover (Danielle Paffard) by the simple action of Roach laying her hand against the wall of muslin, than in all the sound and fury of Paffard’s assertions of love. Here Paffard fails to capture anything of the confused bravado of a man in love, which confuses the piece; if you have a female actor playing a male character, it is crucial to ensure they don’t act like a woman.

 

Paffard also leaves much to be desired as the sinister goddess Kali, bent on destroying Snayle and Sasha’s relationship in What Time Is Dinner?, spewing out an incoherent torrent of words.

The only actor who allows himself the time to revel in his words as happily as the other performers revel in the dance is Neil Makhija (pictured top left) as Snayle, his rich voice and sensuous smile suggesting a danger lurking with the doomed relationship itself.

This is a beautiful and challenging piece of work, but if the performers allowed themselves more silence, it would be truly wonderful.