Thursday 19th March 2026
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‘Our Feminism Knows No Borders’ protest on International Women’s Day 

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Around a hundred protesters gathered at the Clarendon building this afternoon in an International Women’s Day protest entitled “Our Feminism Knows No Borders”. The protest was organised by Oxford Student Action for Refugees (STAR) and the Coalition to Close Campsfield (CCC), a local activist group.

Protesters held banners with the slogans: “Our feminism knows no borders” and “close Campsfield and every IRC [Immigration Removal Centre]”. Placards and posters in different languages were placed on the steps of the building. 

Two students sat on the steps held a sign reading “fuck the far right”. They told Cherwell that they believed in “intersectional feminism, anti-TERF [Trans Exclusionary Radical Feminism], anti-Farage, anti all of that.”

A young girl standing in the crowd held a sign reading: “Our society is built on the labour and skills of underpaid migrant women. They deserve respect, equality and human rights.”

One of the protest’s organisers told Cherwell: “It feels that women’s rights are genuinely under attack everywhere in the world… I see that communities are hungry for solidarity… we have people across different coalitions who are here.

“Women’s rights is not an issue which is added on to other issues, it is an issue which galvanises, and in which people find common ground. It’s really beautiful to stand here in solidarity with migrants, with the trans community, with workers, and with women across the world.”

Speaking to the crowd, Jabu Nala-Hartley, an activist from a local group Mothers 4 Justice Ubuntu (M4JU) called on attendees to: “Rise, resist, and stand in global sisterhood.” M4JU describe themselves as “a collective of family members and activists directly supporting people who have come into contact with the criminal justice system.”

She said: “We refuse to be silent in a world that benefits from our silence.” Commenting on the scale of the protest, Nala-Hartley told Cherwell: “The issue is so big that this is just a small crowd.” 

Today’s protest follows feminist demonstrations against right-wing anti-immigrant politics earlier this week in Oxford. Around ten activists from Oxford Women Against the Far Right (WAFR), a campaigning group within the larger anti-racist organisation Stand Up to Racism (SUTR), held a counter-protest against the British nationalist group Oxfordshire Patriots on Friday. The latter group were staging a protest outside Oxford Crown Court on St Aldate’s, as a foreign national appeared for a plea hearing charged with sexual offences.

An Instagram post by Oxford SUTR accused Oxfordshire Patriots of “hijacking the suffering of a victim of a terrible crime to further their campaign of racialising sexual violence against women”.
Responding to claims that their protest was racist, an Oxfordshire Patriots spokesperson told Cherwell: “Oxfordshire Patriots does not organise protests to target any race, religion or background. Our focus is on justice, community safety and supporting victims.”

Reporting by Oskar Doepke, Mercedes Haas, Archie Johnston, Lucy Pollock, Ned Remington, and Hattie Simpson.

Student loan reforms promised following opposition from MPs

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Concerns have been voiced among MPs over the state of the student loans system following the announcement last year of increased tuition fees for English universities and a freeze to the graduate repayment threshold. Speaking in Parliament on the 25th February, Keir Starmer claimed to be looking at ways to make the current student loans system “fairer”

Last October, Education Secretary Bridget Phillipson announced annual increases to tuition fees at English universities in line with inflation, alongside a proportional increase of maintenance loans available to students. University tuition fees were raised this academic year, after being frozen since 2017. At the time of the announcement, the University of Oxford indicated its support for the increases. 

In the November budget last year, Rachel Reeves, Chancellor of the Exchequer, announced that the salary threshold at which graduates start repaying their Plan 2 student loans would be frozen at its April 2026 level of £29,385 until 2030, rather than increasing in line with inflation. Plan 2 student loans were in effect for those who started university between September 2012 and July 2023; whereas the interest rate for those who started university later is 4.3%, for these earlier loans it is the RPI rate (currently 3.8%) plus up to an additional 3%. 

Furthermore, a 6% levy on international student tuition fees in English universities is set to be introduced from 2028, in order to fund new maintenance grants of £1000 for those from low-income households taking certain courses. 

The government is facing pressure to change the current system after other political parties announced their opposition to it when the issue was raised at Prime Minister’s Questions last week. Over 20 Labour MPs spoke out against the student loans system last week. Luke Charters, MP for York Outer, called current graduates’ predicament “a dog’s dinner”, while some politicians called for tuition fees to be scrapped completely. The Green Party and the Conservative Party both pledged to cut interest rates on student loans. 

Layla Moran, the Liberal Democrat MP for Oxford West and Abingdon, told Cherwell: “Freezing the student loan repayment threshold is a stealth tax on graduates. At a time when young people are battling sky-high rents and a brutal job market, the last thing they need is the Government quietly taking more from their pay packets. The whole system needs fixing.”

Annaliese Dodds, current Labour MP for Oxford East, was contacted for comment. A graduate of St Hilda’s College, she led protests during her time at university against the tuition fees introduced by New Labour in 1998.

Seeped in nostalgia: ‘Things I Know To Be True’ reviewed

Lighthouse Productions’ Things I Know To Be True achieved the rare feat of combining stellar acting with artful set design. Things I Know To Be True addresses the cracks that exist below the surface of any family, and the conflict between maternal obligation and independence. It’s set in a suburb of Adelaide, Australia and writer Andrew Bovell’s vision was to draw attention to “the dreams we’re sold”, romantically and economically. Its few Australianisms do not detract from its ability to address universal family tensions. The action revolves around elderly married couple Bob (Sam Gosmore) and Fran (Lucía Mayorga)’s attempts, with humorously opposite parenting styles, to prevent their children – now embarking on their adult lives – from losing the ideals they’d been brought up with. As in any family (although this one seems a crazily intense parental challenge) each child presents a different set of concerns: Rosie (Hope Healy) the youngest, gets her heart broken on a gap year; Pip (Gabriella Ofo) leaves her husband; Mark (Alexis Wood) comes out as transgender and to top it all off, Ben (Ediz Ozer) steals £250,000.

This production had lots to live up to. Lighthouse’s marketing (by Magdalena Lacey-Hughes, George Robson and Ben Adams) covered all bases: tickets hidden around Oxford, a partnership with the Magdalen College Instagram, and a preview at a Lincoln College cabaret. Adding to this, physical theatre company Frantic Assembly’s Things I Know To Be True was pushed down my throat near-daily by a school drama teacher, making me even more hopeful that this show would live up to the hype. Luckily, they nailed it, and managed to exceed expectations.  

Lighthouse’s interpretation was seeped in nostalgia and did a fantastic job of showing the unsteadiness of ‘family love’. In Cherwell’s preview, the directors mentioned their intent to make the audience recall a “state of growing up”, and to make theatre which “makes you feel something”. Both were certainly achieved. 

The script itself presents challenges, as dramatic turning points follow quickly after another. Moments of high tension are so frequent that it would be possible for the acting to come across as overly melodramatic. Lighthouse was sensitive to the extreme anger that the production carried, describing Fran on their Instagram as someone who “picks favourites and traumatises her children”. Since the text of the play is so dramatic, opting to portray it in a stripped back naturalistic style would have been exhausting for the audience. Lighthouse Productions do a fantastic job of reminding the audience that while the script touches on real emotions, it is not quite real, and the characters are comedic archetypes of real life phenomena which the audience will recognise.

Monologues were accompanied by musical underscores, and changes of location represented by different coloured lights. One example of the show’s ability to make the audience feel emotion without aiming for total naturalism was the scene in which Mark is driven to the airport to start her new life as Mia in Sydney. A car was created out of wooden chairs, and soft blue lighting created a sense of serene nostalgia as Mark leaves home for the final time. This enabled what could have been a monotonous chunk of speech to carry emotional weight.

Another effective set device was the gauze screens at the back of the stage, used to highlight the person each character is thinking of as they speak to the audience. This accompanied with a stereotypical wooden door frame structure to connote the home allowed the set to deliver both literal and metaphorical representations of family love. The doorway was a well-chosen focal point: when each family member rushed through it, it indicated that something was about to go awry. 

The productions’ success at carrying both humour and tension can be largely credited to Sam Gosmore’s portrayal of Bob. He was ridiculously believable as a tired father who loves his kids, but can’t bring himself to understand their generation’s ‘woke’ attitudes. Highlights were the opening scene where he is defeated by the new-fangled coffee machine, and his later extremely high tension confrontation with Ben: his utter rage that Ben would use his working-class background as a justification for stealing (“how dare you”, he screams) reveals a wounded pride. The actors’ focus in this particular scene was commendable: the audience could not help but fixate on the clenched fists of Ben and his father as they raced through a series of emotions. Ozer as Ben convincingly revealed the fragility of his ‘cool guy’ facáde as his fury turns to desperation and he tries to hug his father, who shakes with rage. 

Also fantastically acted was the relationship between Fran and eldest daughter Pip. Ofo as Pip was captivating as a woman desperate to change the mundanity of her life. In a monologue reflecting on childhood – “this garden is the world” – she conveyed a real sense of childish joy, contrasting with her later monologue embracing a more romantically liberated version of herself. She exuded a level of maturity unusual in student theatre.

Lucía Mayorga’s Fran’s physicality gave a convincing sense of a tired mother in a relentless cycle of stress that is largely self-imposed. The harshness of the way she speaks to her eldest daughter compared to the kindness with which she addresses Ben makes the audience reflect on the fact that parents are themselves people, with flaws. A sheer opposite to her stress is Rosie’s total innocence. I found their relationship the most touching – the idea that Rosie had stubborn dreams of independence, but needs her mother’s guidance to execute them really resonated. 

The only thing I questioned was the choice to die half of Fran and Bob’s hair grey given that the fact they are quite elderly is heavily implied. Otherwise, the acting and set combined to deliver a fantastic show. As the characters collapsed in grief at the play’s end, I had literal tears in my eyes, something student drama can rarely boast.

All (college) creatures great and small

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Growing up, the loving companionship of animals had been a constant for me – a living, breathing reminder that life is worth treasuring and slowing down for. Yet, now separated by hundreds of miles, at university the happiness I had felt amongst my animals began to dissipate. That is, until I saw the cat tree in my college lodge and heard the tip-tapping of four paws across the wooden floor. Amidst the relentlessness of term, the joy of college pets becomes unparalleled. Unexpectedly, in the last weeks of Hilary, this is how I stumbled into the highlight of my term: the opportunity to discover what college pets mean to their community. 

Professor Biscuit and Admiral Flapjack (St Hugh’s College)

Image credit: @hughsiecats on Instagram, with permission

Biscuit (ginger boy) and Flapjack (tabby girl) are the two resident cats of St Hugh’s College. Both cats live with the Junior Dean, Bethan, who takes care of them. Flapjack is described as the more independent of the two; she enjoys wandering around college, believing everything belongs to her, granting her rights to go anywhere. Biscuit, quite differently, prefers to lounge and snooze at home. However, his nighttime patrols often end up with him in people’s kitchens. Bethan told Cherwell: “Biscuit and Flapjack have been a constant throughout my time here. I met them on my very first day at St Hugh’s, and they helped me settle into a completely new place. Even when my DPhil feels stressful, I know I can pick Biscuit up for a little dance or have Flapjack block my laptop and demand attention. They’ve been an absolute highlight of my time here”. 

Walter de Staplecat (Exeter College)

Image credit: Exeter College, with permission

Walter arrived in Exeter College in 2020 during lockdown when a Junior Dean brought him in to accompany her. Walter is described as a relatively grumpy cat, and in typical cat fashion, his affection depends on the person and the day – but is strictly limited to scritches under the chin. In fairer weather, Walter can often be sited in Exeter’s Rector’s Garden or near the Library in the Fellows’ Garden; if it’s cold, Walter (very sensibly) goes inside Palmer’s Tower to keep warm. Helena at Exeter College said: “I love Walter! He’s always outside the library, so whenever I step outside to take a break, he’s there to be cute and friendly and remind me why I love this college. He’s especially friendly in the mornings, so my top tip is to look in the Fellows’ Garden first thing, to find him”. 

Isambard Kitten Brunel and Benedictus Benedicat (Lady Margaret Hall)

Image credit: @lmh.cats on Instagram, with permission

LMH has two cats: Isambard Kitten Brunel (Issy, the fluffy Siberian Forest Cat) and Benedictus Benedicat (Benny D, the tuxedo). Since Michaelmas 2019, Issy has been commuting into college on the bus several times a week, riding on the Librarian’s shoulders. Like most cats, Issy loves to be worshipped, and is very happy receiving lots of fuss. The LMH Librarian told Cherwell: “He loves climbing, as a Forest Cat should, but unfortunately isn’t always great at climbing down. This is particularly a problem in the summer, when he will sometimes escape out of the window into the wisteria – but then gets stuck half way!”. Unlike Issy, Benny D lives on site, but is reportedly less people-focused, so students and staff alike see far less of him.

Truffle (Regent’s Park)

Image credit: Regent’s Park College, with permission

Truffle the tortoise became Regent’s Park College’s pet in 2023, after Emannuelle the tortoise had sadly passed away in 2022, having brought the college much love (and glory in tortoise races) throughout her 120 years. Most of the year, Truffle can be seen (often after much searching) free-roaming in Regent’s Main Quad, with her hutch near the Principal’s Garden. Truffle is well-pampered, having her very own JCR-appointed ‘Tortoise Keeper’, and her diet provided for with fresh fruit and vegetables by Regent’s Catering Team. Fun fact: Truffle loves watermelon and having the lower back of her shell scratched. Members of Regent’s have said about Truffle: “In the Oxford world where everyone is rushing, Truffle reminds us to slow down, be present, and breathe”. 

Basil and Beatrice (Mansfield College)

Image credit: Mansfield College, with permission

Mansfield College is home to Basil and Beatrice, an uncle and niece cat duo. Their family’s grey tabby gene runs strong, so although they look similar, Basil is differentiated by the nick in his left ear. Their favourite treat is Dreamies, frequently provided by students – the vet reportedly believes them to be overweight (surely no correlation!). Ella, a student at Mansfield, said about the cats: “At Mansfield, our college cats are well-loved and a surefire way to bring people together. They can be found snuggled up together on their armchairs, clamouring for Dreamies, ‘helping’ in the academic office (heavy quotes there) or just generally brightening up everyone’s mood. I don’t think Oxford would be Oxford without the animals that call our homes home.”

Teabag (St Hilda’s College)

Image credit: St Hilda’s College, with permission

Teabag the cat made St Hilda’s College her home in 2014, and promptly became guardian of the lodge, overseeing internal affairs. Teabag can often be found going for walks with one of St Hilda’s tutors, Irina Boeru, who said about Teabag: “She was named Teabag as there was a grey cat named Earl Grey wandering about at the time, who was the father of her kittens, which she had in the Lodge (it all happened rather quickly, and she is now spayed!). Carrying herself like an Egyptian God with emerald-green eyes, Teabag likes going out for walks in the gardens, and is particularly keen on exploring the river pathway in college, from where she enjoys watching punters and ducks, chasing butterflies, feathers on sticks and getting into (gentle) fights with the other feline residents!”. 

Reglisse and Ulysse (New College)

Image credit: New College, with permission

Reglisse (all black) and Ulysse (brown and white) are the two resident dogs of New College, both of whom live with the Warden. Both dogs are French (and even have their own passports!), and in France all registered dogs born in a certain year must have names beginning with the letter assigned to that year. So, Reglisse’s official name is Liquorice-Reglisse, being born in the year ‘L’. Their favourite spot in college is the Mound in the gardens. Members of New College have said about the dogs: “Both Reglisse and Ulie are very valued by students – they’ll often be seen bounding around college events, looking for food and attention, which they get in abundance!”. 

Alice and Meadow (Christ Church)

Image credit: Abigail Christie, with permission

Image credit: Isabelli Ferrari, with permission

Christ Church is home to two cats: Alice (calico) and Meadow (tuxedo). The cats came to Christ Church as kittens in Michaelmas of 2023 and have since been equipped with a ‘bod card’ each, though they currently prefer to spend the majority of their time sleeping in the office. Izzy at Christ Church told Cherwell: “In the spring and summer they like to tear up the carefully maintained Tom Quad grass. They also occasionally enjoy ‘pet-baiting’ students by walking in their direction and then running away. Having a college cat means a lot to me. In such a stressful environment, it is so nice to have a lovely little cat crawling about that can take my mind off the stresses of life for a few seconds or minutes”. 

Well-educated, fairly bred, but without money: Gissing’s ‘Collected Short Stories’

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George Gissing won a scholarship to Oxford in the 1870s, but was unable to take up his place, having landed in jail for stealing money to help a prostitute whom he later married. He was released after a month and exiled for several years to the United States. The rest of his life, and his entire career, grew out of the crater of that first disaster. 

The 23 novels which Gissing published between 1880 and 1904 provide a rich panorama of the slum-dwellers, labourers, prostitutes, shopkeepers, businessmen, clergymen, housewives, scholars, journalists, suffragettes, Grand Tourists, politicians, and aristocrats of 19th-century England. His short stories have largely been neglected, but this three-volume edition from Grayswood Press – the first exhaustive collection of the stories – is intended to correct that. It succeeds brilliantly. These three handsomely bound, luxuriantly printed volumes contain a total of 103 stories – over 1,000 pages of George Gissing content – and show him to have been a master of the short story. Volume One contains stories which Gissing wrote for newspapers while in exile in the United States after his time in jail. Volume Two mostly contains stories and sketches which were commissioned to give a picture of London and English social life. Volume Three, which finds him at the peak of his powers, contains the very best short stories and the ones which have previously gained much wider recognition. 

Both Gissing’s finances and his love life were extraordinarily messy. His first marriage to an abusive prostitute ended with her early death; his second wife, with whom he had two sons, went mad and they separated; and as soon as he met the love of his life – Gabrielle Fleury, who had translated his novels into French – he died of tuberculosis aged forty-six. When, in a letter to a friend, he described the focus of his work as being “with a class of young men distinctive of our time – well‐educated, fairly bred but without money”, he was clearly describing himself. The sense of dislocation, of belonging neither to one class nor the other, and its impact on his personal life, is strongest in his novel Born in Exile – a study of ambition, hypocrisy, and class hatred in which an arrogant, upwardly mobile atheist intellectual, ashamed of his humble origins, masquerades as a clergyman in order to marry the daughter of a wealthy religious scholar; eventually he is exposed and dies alone in exile in Europe. Tellingly, Gissing was also obsessed with the ancient world, and his lifelong ambition was to become a classical scholar. 

If this all sounds like it would have made him slightly insufferable, it also charges his fiction with a rich psychological complexity. The isolated, ill-fated young man of his novels appears repeatedly in the short stories. ‘Christopherson’ is about a bibliomaniac who once owned 24,718 books, lost everything in business, and continues to squander his tiny remaining income on obsessively hoarding books. ‘The House of Cobwebs’ concerns a young novelist and the friendship he strikes up with his eccentric new landlord. ‘Topham’s Chance’ is about the crafty escape of a disgraced university graduate from his employer, a semi-fraudulent correspondence tutor.  

In The Odd Women Gissing had written harrowingly about the plight of women in Victorian Britain, and his female characters, more than those of most male writers of his generation, possess real agency, as can be seen in stories such as ‘Fleet-Footed Hester’, about a teenage girl in Hackney who wants to be a runner, and ‘Miss Rodney’s Leisure’, about a young university graduate who emblematises the intelligent, determined New Woman of the 1890s. 

Also in evidence is his rare sense of humour, as in ‘A Freak of Nature’, about a bored middle-aged man who goes to the country and plays several practical jokes by impersonating his employer. More in character is his bleak masterpiece, ‘The Day of Silence’, the story of a wharf worker and his wife and their seven-year-old son who try to enjoy a summer weekend; the father and the son go boating and drown in an accident; the mother collapses and dies due to heat-induced illness. Gissing was not a cheerful writer. 

As well as characters and incidents, he was extremely adept at descriptive writing, especially at evoking the squalid, decaying atmosphere of the London slums in which most of his early novels are set, and which gives his books such value as social documents.

Many of these stories are just sketches of a character or a group or a single incident and, rather than building momentum towards something, they trail off quite inconclusively. Largely absent are the laidback style, colourful observations, and deft construction of his more famous contemporary Kipling. (As it happens, Gissing loathed everything Kipling represented, and his late novel The Crown of Life is notable not only for its scalding attack on imperialism but for its uncharacteristically happy ending). Gissing’s occasionally bland prose, too, becomes more of an obstacle in stories of three or four pages than in novels of three or four hundred pages, where the structural mastery of the whole and the sustained delineation of character amply compensate for the dry surface.  

Gissing as a writer is more than the sum of his parts, and his short stories, with exceptions such as ‘The Day of Silence’ and ‘Christopherson’, are more rewarding as a whole than they are individually. Together they provide a bustling mosaic of Victorian England which is as valuable as any one of his best novels. This three-volume set is indispensable for the library of anyone who cares for 19th-century fiction or for harrowingly realistic accounts of poverty, loneliness, and failure. 

George Gissing’s Collected Short Stories, Vols. 1-3, edited and introduced by Pierre Coustillas, are available now from Grayswood Press

Catherine Xu wins Oxford Union presidency for MT26

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Catherine Xu running for the #TRUST slate has been elected Union President for Michaelmas Term 2026 with 629 first preferences, by a margin of 159 votes over Liza Barkova. 1787 valid ballots were received. 

The other runners-up were Gareth Lim Yefeng with 326 first preferences and Hamza Hussain with 144.

Harry Aldridge was elected Librarian with 880 first preferences. Claire Yun Luo was elected Treasurer with 695 first preferences. Vishnu Vadlamani was elected Secretary with 530 first preferences, with DK Singh as runner-up.

The following candidates were elected to the Standing Committee, from highest to lowest order of votes: Matteo Brunel, Ea Ventura Marty, Toby Bowes Lyon, Henry Nicholls, Saara Lunawat, Shamir Aziz.

Prior to the election, Catherine Xu told Cherwell: “The Union is way bigger than its scandals, but the perceived dysfunction keeps drowning out the good. I want to help fix that.” 

In her manifesto, she proposed a new Access Membership Fund, moving procedural motions away from Thursday debates, and inviting more women speakers.

Due to over 60 Secretary’s Committee candidates, the results for this will be announced at a later stage.

This piece will be updated to include the Secretary’s Committee results when they are announced by the Union.

Sir Ed Davey: ‘Inevitably you make mistakes’

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Multiple times throughout the interview Sir Ed Davey accidentally turned his Zoom camera off. He’d hastily apologise and search to turn it back on. His daughter, and later her cat, entered the room mid-interview, but only the cat was allowed to join us, resting her head on Davey’s shoulder. By the end of our conversation, it’s very clear that Davey is not a polished politician, nor does he wish to be.

Leader of the Liberal Democrats, the third largest Parliamentary party in the UK, Davey markets himself as a “centrist dad” of “middle England”. Spending his undergraduate years at the University of Oxford, studying Politics, Philosophy and Economics at Jesus College, Davey speaks of Oxford with the faint glint in his eye so common amongst Oxford alumni. He admits with a chuckle that he came to Oxford completely unprepared after his gap year, having done no pre-reading: “I had one sleepless night thinking I’d gone to the wrong university.” Having never studied the subject before, he felt “totally at sea” with the economics papers of his course. Despite this, he threw himself headfirst into the myriad of activities Oxford has to offer: serving as JCR president, taking part in amateur dramatics (at which he was “absolutely hopeless”), and getting involved with the Oxford Ecology Movement. But as many of us will likely later reflect, he says “I wish I’d done even more”. 

Oxford was also the site of his “first major political engagement”. As Jesus JCR president during the 1987 General Election, Davey joined the ‘Tactical Voting ‘87’ campaign, which aimed to keep the Tories out of power in Oxford. Yet, despite his early political activism, and his PPE degree, a career in politics was never on the cards for Davey. His initial desire was to work in development in the global South, having had relatives involved with the World Health Organisation, the European Commission, and even Tiger Conservation. Ultimately, he applied for the role of Parliamentary Economics Researcher at what was then the Social and Liberal Democrat Party, driven by his interest in economics. This decision has undeniably shaped his life in a way he might never have imagined. At the time the party was polling at just 4% under leader Paddy Ashdown, and Davey confesses that “they only really employed me because they couldn’t afford anyone else”. 

Within a month, he had joined the party as a member. Davey describes being “totally inspired by Paddy, and his espousal liberalism” and he continued to work with the party through the 1992 General Election. Despite a momentary dalliance in management consultancy (about which his only comment was distaste for his boss), his “bug” for politics dragged him back. Standing in the 1997 General Election as the Lib Dem candidate for Kingston and Surbiton, in South West London, “more as a have-a-go than anything else”, he was elected with a 56 vote majority. Davey reflects on his entrance into politics as a move of coincidence, and seems to believe fate was on his side at that moment: “I sort of fell into politics…it wasn’t a plan, it was a whole set of circumstances, and I ended up happily in a party that I feel is a classic liberal party, and liberalism is who I am.”

Our conversation moves to an emotive issue for Davey, one which has played a significant role throughout his life: care. Davey cared for his terminally ill mother in his early teenage years, then his grandmother, and today his severely disabled son. He admits that it’s a very personal issue and one that has only entered the public sphere of his life recently: “Only when you become leader do you become more open to questions about who you are.” He reflects that he’s “gone on a journey since becoming leader in 2020”, not only speaking about it more publicly, but also engaging with it more deeply on a personal level. His book, Why I Care: And why care matters (published in May 2025) is part manifesto, part introspection – his way of reflecting on his experiences. I ask Davey how care has played a role in who he is today, and he points to the work of Saul Becker, a renowned social scientist. Becker identifies three characteristics common in young carers: resilience, empathy, and time management skills – all of which Davey relates to from his time as a young carer. “You have to really get things done, smartly. You can’t mess about.” 

Being a carer has, unsurprisingly, also informed his politics. He refers to the millions of family carers in the UK, and how “governments, councils, and public policy just don’t factor these people in”. He argues it would be “transformative…if we did care properly”; benefiting the economy, the health service, and general national happiness. 

It’s a frustration he knows well from his years on the backbenches – watching policy fall short whilst being powerless to change it. That changed in 2010, when the Liberal Democrats found themselves with an unexpected opportunity to govern.

The movement from opposition to government was life-altering for a backbench MP like Davey. For the Liberal Democrats, it proved to be a once in a lifetime opportunity. After the 2010 General Election gave no overall parliamentary majority to a single party, an infamous five days of negotiations ensued, culminating with the Lib Dems entering into a formal coalition with the Tories. “I was actually arguing for a coalition with Labour…but we ended up extracting a lot more from the Conservatives in the coalition deal than I had possibly expected.” 

He describes his appointment to the role of Junior Minister at the Department of Business, Innovation, and Skills as “exciting…if very unexpected”, and reflects proudly on his work to deliver shared parental leave that “ensured the labour market was fairer to women”. It was his promotion to Secretary of State for Energy and Climate Change, however, that excited him most, and he visibly lights up as we begin to talk about it. “It was just brilliant…we essentially created the offshore wind industry as a result of what we did.” Holding the role for three and a half years, Davey became the longest serving Energy Minister since the early 1980s. “At the time, I was convinced I wouldn’t be a minister again, and I thought ‘I just have to work as hard as I possibly can, score as many goals as I can’.” He attributes all of his successes to “a fantastic civil service”, and makes clear his outright distaste for the right-wing’s undermining of the organisation’s credibility, a clear reference to Dominic Cummings’ “blob” label for the service. 

When I ask him to reflect on these coalition years over a decade on, he’s remarkably more positive than I, perhaps naively, expected. “We achieved an awful lot – taking the lowest paid out of tax [brackets], getting investment in mental health services, keeping us in the NHS.” He admits, “politically, it didn’t go very well for us”, with the party losing nearly 40 seats, Davey’s included, but “we showed a) what Liberal Democrats can do in power, and b) that coalitions can work, and be stable”. If anything, Davey thinks the coalition acts as “a great argument for electoral reform”. “I know lots of people don’t like it…but for the country, I think it was the most stable government we’ve had in a long time”, pointing to the five Prime Ministers the UK has had in the span of less than ten years. “They’ve had big majorities, and they’ve been completely unstable, divided, frankly hopeless.” 

Despite his distaste for the First Past the Post electoral system, it’s undeniable that Davey has benefited from it. His pride in his party is undeniable, and when I ask what he brings to it, I get a single word answer: “Winning.” He admits he is bragging, but “winning is rather important in politics”. The three elections before 2024 gave the Lib Dems a respective eight, twelve, and eleven seats. With Ed Davey as leader, the 2024 General Election saw them win 72 – their best result since 1923. When I mention the recent polling, that has seen his party at just 12%, he quickly dismisses their value. “People often think about politics like we have proportional representation (PR).” In reality, it’s about vote concentration in a specific geographic area, not about the lateral spread of popularity across the country. “I look at whether we are winning.”

One thing that voters definitely know Davey for is his outrageous stunts, and when I mention them, I see a smile light up his face again: “It’s really challenging for us to get media coverage…partly because we are sensible – we don’t say crazy things, we don’t say extremist things.” It’s true that a lot of the nuanced points Davey tries to make about care and EU relations simply aren’t compatible with the clickbait media culture of today. But the reasoning for the stunts runs deeper than chasing journalists. He sees an emotional deficit at the heart of liberal politics: “People who have our liberal views…tend not to do emotion very well.” The data and analysis, he admits, are well-covered – but “if you don’t have the emotional element to what you are doing, you just don’t connect with people”. He posits this as the reason for the success of the Right, saying “Johnson, Farage, Trump, they are much better at emotions, but these emotions are often nasty emotions”. It’s a gap that’s only widened on social media where, he admits, “we have been too slow in getting our social media team together, making it a priority, and coming across well”.

It’s the question of emotion in politics that leads us, naturally, to Brexit. His time spent negotiating with the EU as a minister convinced him of the value of the supranational organisation. For Davey, “Brexit is just a total disaster…we have lost so much”, but trying to get the public to engage with it again is proving to be difficult. “It divided people, divided the country, friends, families, neighbours, work colleagues, in quite an emotional way.” As such, “even the most strongly ‘remain’ people…often don’t want to talk about it…they just have this memory of it all being a nightmare”. 

Davey is unambiguous about the party’s mission: to stop “Trump’s America coming to Farage’s Britain”. It is here where Davey’s passion is most clear to me. His smile and composure leaves him, and I see the anger beneath at the growing popularity of the Reform Party, a party he fiercely condemns as “a danger, an absolute danger”. Davey draws parallels between Trump’s protectionist tariffs and Farage’s pioneering of Brexit: “Like Trump, Farage doesn’t really believe in free trade. He wants to stop us from trading with our European neighbours.” Davey argues that, under Farage, Britain’s foreign policy would be centred on courting the favour of Trump and Putin, rather than the UK’s national interests. “The authoritarianism, anti-democratic behaviour of America goes against British values”, and, as such, he explains, Farage is “a real threat to our future”. 

It’s clear this is a man who still has plenty to fight for. But I turn our conversation away from the future, and towards the past – and the regrets that inevitably come from such a long career in politics. When I ask Davey how he handles his regrets, he has a simple philosophy, but arguably one that would not stand up to scrutiny from the public. “You learn from it, don’t you?… Inevitably you make mistakes…often it is better to go with your instincts.” Particularly when he first started as a minister, Davey felt there was “so much to learn”, so many processes to comprehend and utilise for his own agenda. 

Any life after politics will likely be defined by his family and “what I like doing – going for walks, good food, travelling”. But, for now, he certainly has ambitions that will drive him for decades to come, and is genuinely reluctant to imagine taking a step back from politics: “It’s too exciting at the moment…. When I talk to colleagues and party members, I often say we have a moral responsibility to stop reform, and an historic opportunity to win many more seats.” For a man who fell into politics by accident, he seems in no hurry to find his way back out.

Let’s go to the movies: Fennec Fox Productions’ ‘The Flick’

After their vibrant staging of Company at the Oxford Playhouse earlier this term, Fennec Fox Productions are set to return next week with a run of The Flick (2013) at the Burton Taylor Studio. Annie Baker’s Pulitzer Prize-winning drama follows three underpaid cinema attendants negotiating quotidian trials and tribulations as they rehearse the tedium of their service jobs. I sat down with Joshua Robey, the director, to discuss what it was about the play that appealed to him so much. 

Robey tells me that The Flick is a play he’s been considering for a long time; he’d previously encountered it in an academic context, but was drawn to it as “the most naturalistic thing I’ve ever done”. For Robey, the play’s affective power lies in its subtlety, featuring compellingly understated dialogue, and focusing in on the minutiae of character interactions. Within the play’s idiolect, there is “so much unspoken subtext”, such that “every moment is rich with what’s not being said.” 

After the expansive and well-equipped stage at the Oxford Playhouse, this production’s venue, the small-scale Burton Taylor Studio, might threaten to raise more than a few logistical restrictions. Yet the production promises to mine the venue for all its potential by means of somewhat unconventional staging. In order to reproduce the cinema setting, the action of the play will take place on the seating racks, with the audience positioned centrally on the stage. This arrangement is just one of the ways in which the production seems to thrive on fostering a close, yet subversive, connection between the audience and the onstage characters. 

The thematic concerns of the play are ultimately well reflected by the venue, harnessing what might have been a disadvantage to enrich the play’s emotional matrix. The intimate space, in combination with the limited cast, facilitates concentrated access to the characters as they lay bare their psyche, generating an atmosphere that Robey calls “claustrophobic in a good way”. Bound as it is by dramatic unity, the play is fundamentally absorbed in characterisation, paying close attention to the nuance of human dynamics. 

The Flick demands a different kind of attention from its audience, asking us to detune from the overstimulation of life to zero in on the compelling moments of quietude. The play’s action is slowed down by the mechanics of reality – silences are deliberately drawn out as the cinema is swept, and trivial conversation immerses you in the stasis of the characters’ everyday, producing what Robey describes as “a heightened form of realism”.

The play’s script, first performed in 2013, bears the inevitable contours of a society still weighed down by the effects of the 2008 financial crisis. The focus on the petty betrayals among the cinema employees is set against a background of widespread disempowerment, a failure of trust in the mechanisms that structure working life. Nor are these concerns frozen within their original context. The continual resonance of such themes is illustrated by their application to, say, the fraught state of graduate employment and the enforced monotony of service jobs in an environment where capitalism systematically de-skills all of its labour. The narrative may, then, resonate with a potent reflection of the artistic cost of this. 

For Robey, the play explores “how difficult it is to care about others when self-preservation is so necessary”. Yet in spite of these tensions, testing the limits of human empathy, he maintains that the narrative is ultimately about “solidarity”. 

Robey seems to approach the play as an exercise, comparing the process to restoring a painting: for him, the emphasis is on lifting out what’s already there, uncovering the play’s essence rather than smothering it with additional brushstrokes. While directing is usually an additive practice, he explains, with The Flick, it became “a process of winnowing”. Robey describes the play as one that sits and rests in the imagination. It resists playing up the emotion, and won’t necessarily devastate its audience in the moment, but lingers and accrues impact through retrospect. 

Towards the end of our conversation, I decide to torture Robey with the question most excruciatingly reductive for a thespian: how would you describe the play in three words? After offering a literal answer – “cleaning up mess” – he settled on “popcorn, betrayal, connection”, the core components of every great narrative. Expect innovation, unorthodoxy, and “a rewarding challenge for both cast and audience”. This is a play that will slowly creep up on you, grip you, and excite you. See you at the movies.

The Flick’ runs at the Burton Taylor Studio from 10th-14th March.

A deeply Singaporean play: In conversation with ‘Late Company’

OUMSSA Theatre makes their debut with Jordan Tannahill’s Late Company. While the text originated in Canada, OUMSSA Theatre’s take on it is nonetheless entrenched in Singaporean culture. This one-act play takes place in a couple’s house, at a dinner with another family which the couple arranged in order to clear the air between themselves and this family. However, the families never truly reach a resolution, and the play descends into a confusion of homophobia, politics, social image, responsibility, and blame. 

Director Garion Sim watched the play when it came to Singapore in 2019, and it was this production by Pangdemonium that inspired its choice for OUMSSA Theatre’s inaugural show. He explains how this production has been “an inspiration for how to interpret the script with a Singaporean lens and has been very helpful in shaping how we personally think of the play.” And it is this Singaporean lens which is at the crux of this particular show. Director Natalie Tan explained how the script encourages the production companies to adapt the script and make it more local. She uses the reference to a “pride parade” as an example; in Singapore, there aren’t Pride Parades as we know them in the UK. Instead, there is “Pink Dot”, an event which celebrates the “freedom to love”, and originated in support of the LGBTQ+ community. However, this particular term raised the issue of balancing the non-Singaporeans in the audience with the company’s Singaporean roots, since Tan was unsure if those outside of OUMSSA would grasp this reference. However, the Singaporean resonances remain evident in all parts of OUMSSA Theatre’s interpretation of this script. Sim believes they even transcend the content to enter into the style of the text, citing “the fast pace, family politics underneath a veil of niceness […] is a style present at every tense Chinese New Year dinner that is immensely relatable that we hope to capture in the play.”  

Social dynamics are a crucial aspect of this play. The cast were tasked with the difficult challenge of both performing their characters, and then also performing the social performances and masks that these characters wear. They successfully conveyed the stilted awkwardness of unspoken social tension in the opening scenes. Nicole Tan as Tamara gave a particularly witty performance, with her ill-placed comment about “breast-milk” heightening this awkwardly tense atmosphere. Tan explains how she “can definitely empathize with the side of [Tamara] that says things which break typical social norms, sometimes out of nervousness.” While this trait is something which “took a long time for [her] to learn to love”, it is nonetheless part of what makes playing Tamara so enjoyable for Tan. 

Additionally, the presence of the audience adds another layer to the sense of social performance. Yet Sim doesn’t believe this audience are just passive observers to the action. He sees the audience as “an unwilling judge for both families” yet in other ways, it is also “voyeuristic in nature, staring through the window into the house […] as they struggle to defend and rationalize their actions.” The domestic setting of this play does feel natural and yet somewhat violated by the presence of the audience, since this presence necessitates that everything must face outwards, in the end-on formation of the Corpus Christi Auditorium. I was able to view the set up close in all its minute detail, which contributed to the “lived in” feel of the space. The set is laden with art, both canvases and sculptures which, assistant director Grace Yu explained, were made during an art session with OUMSSA. This gives the show a bespoke feeling and acts as a reminder of the wider community behind the production, interpolating the Malaysian and Singaporean students into this production in a variety of ways. 

Sim also explains how “in current rehearsals we are very focused on movement […] trying to get the actors to interact with the set more as well, and truly act like this is a home.” This was conveyed during the rehearsal, when Nicole Tan and Meira Lee slipped out of their characters to discuss the specificities of their movements around the dining table. In a way, this also felt like an education in such social cues and showed how deeply ingrained into the play itself social performances and perceptions are. 

The OUMSSA community have thrown themselves behind this play, yet it hasn’t been an easy ride for this first time production company. Nonetheless, Late Company is shaping up to be a deeply layered show. Natalie Tan described it as “a play of discovery”, with a slow release of information that gradually alters our perspective as we learn more about the play and its characters. OUMSSA Theatre’s adaptation provides a cross section into a Singaporean household, and it is this quintessential Singaporean nature that makes Late Company feel refreshing – a taste of home for OUMSSA, and a glance across to another culture for the rest of the student population. 


Late Company runs at the Corpus Christi MBI Auditorium from 6th March – 8th March.

Why I only run to classical music, and you should too

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During my year abroad, precisely the 29th May 2025 according to my Strava, I went on the best run of my life. It was raining, and I didn’t want to go, but I dragged myself outside, and decided on a whim to put on Gershwin instead of my usual playlist. It was life changing. As I ran to the finale of Rhapsody in Blue, I had a spring in my step like I had never experienced before. That was when I realised that I had been doing running music all wrong. 

Previously, I listened to a more standard running playlist. For me this consisted of high-energy 2000s and 2010s pop classics, the sort you would find on the bop playlist of an unimaginative entz rep. Don’t get me wrong, this certainly has its place, and I do sometimes return to this playlist when I’m in the mood, but I think running to this sort of music has a few key issues. Firstly, each song is self-contained and unrelated to the ones preceding or following it. This means on runs when I was lacking motivation, I would find myself counting the songs, and discouraged when it would take me three to complete a kilometre on slow days. Secondly, you’re never going to be in the mood to run to every song on your playlist, and it can be frustrating to find yourself needing to skip and interrupt your flow. Finally, at times it just feels a bit lacklustre, sometimes you just want to feel like you’re in a film, and for this there is nothing better than classical music.

If you think about it, the standard structure of a symphony – one of the most common types of longer orchestral piece, made up of four musical ‘chapters’ called movements – is the perfect companion to a run. They usually start out lively, either matching your motivation and keeping your energy levels high, or giving you a much needed boost on days when you’re not feeling it so much. Then, with a couple of kilometers under your belt and a state of flow reached, you can settle in and enjoy a slower and more lyrical second movement. If you are starting to flag, a dancelike third movement is sure to give you a pick me up, often more light-hearted to keep you energised. You then finish with a flourish as the finale, the most epic of all the movements, leaves you feeling like you have conquered the world as you cross your imaginary finish line –  bonus points if you listen to a live recording so are met with rapturous applause. Your run becomes cohesive, tied together by the narrative arc of one whole piece of music.

But of course, not all symphonies follow this structure, and indeed, not all classical music comes in symphonies. That’s the beauty of it, you can find a piece that suits your mood for the day and the length of your run, and then you just keep running until it’s finished. You are discouraged from stopping early, lest you leave any themes unresolved, or lose out on the satisfying ending that ties it all together. It’s the ultimate motivator.

If you’re not sure where to start, I have a few tried and tested recommendations to help get you outside this dark and rainy February. If you’re only going on a short run, Boléro by Ravel is the ultimate slow burn, perfect for helping you push through to the end (or for those, inspired by the Winter Olympics, who want to feel like Torvill and Dean). For runs around half an hour long, concertos are often a good bet, and you can hardly do better than any Rachmaninov piano concerto, especially the second. Then for runs nearing an hour, you need to look for a symphony. Some personal favourites to run to are Tchaikovsky’s 5th and Sibelius’ 2nd Symphony, but you really have so many options available to you. For runs even longer, Mahler symphonies are a great choice – my first time running to Mahler’s 2nd Symphony was transcendental. Getting into half marathon territory, you could listen to an entire ballet or opera – I can personally recommend Prokofiev’s Romeo and Juliet for your next 21.1km run. Someone brave enough to embark on an ultramarathon could even listen to Wagner’s entire Ring Cycle – there really is a piece for every run!

So next time you don your running shoes, or if you’ve never run before in your life, I encourage you to put on some classical music. You’ll never be able to look back.