Saturday 16th May 2026
Blog Page 325

Oxfordshire authorities set up cycling safety group amid calls for “fundamental change”

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In the wake of three cyclist deaths across the city in six months, Oxfordshire County Council has set up a working group to improve the safety of cyclists and pedestrians. 

With a mandate to “prevent any recurrence of the recent tragic accidents involving cyclists”, the group’s remit is set to focus on “locations of concern” – sites associated with road fatalities and other accidents – and consider both immediate and longer-term measures to guarantee safe road access for cyclists. 

The group brings together elected officials from county, city, district, and parish councils, including Cllr. Jemima Hunt, Oxford City Council’s Cycling Champion, along with representatives of civil society, such as leading members of cycling and active travel groups. 

Three locations in particular have come under scrutiny; The Plain, Oxford Parkway, and the junction of Headley Way and London Road, each associated with a fatal collision. Dr. Ling Felce, a postdoctoral researcher at Nuffield College, was killed in a lorry collision on The Plain on 1 March, while Ellen Moilanen died near Oxford Parkway in February, and Jennifer Wong was killed at the Headley junction in September 2021. 

Specific measures to be implemented as soon as possible include lowering speed limits, vehicle capacity reduction, and additional signage to improve road safety. Longer-term changes currently under discussion might include barriers to effectively segregate cyclists from vehicle traffic, along with wholesale redesigns of particularly dangerous sections to guarantee pedestrian and cyclist safety. 

The working group also intends for a broader review of cyclist provisions at junctions across its jurisdiction. The council’s move follows a petition by the campaign group Cyclox, which advocates for better cycling infrastructure, safer pavements and junctions, traffic-reducing measures, and more effective enforcement. 

“Any death on our city’s roads is one too many”, said Cyclox chair Alison Hill, who delivered the petition, pointing out that a disproportionate number of the recent fatalities have been women. 

A “fundamental change” in road design and planning priorities is needed, the campaign group argues, including an explicit commitment towards zero road deaths and greater consideration for “people who walk and cycle”, while retaining existing targets for a zero-carbon transport network. 

A consultation on the County Council’s Local Transport and Connectivity Plan, which closed on the 16th of May, has led to the adoption of such a commitment by cabinet members, the Vision Zero principle, to praise from the council’s working group. 

Oxford University itself has become involved in this push towards change, lobbying with local authorities for greater investment in roundabout safety following the death of Dr. Felce. And the matter has reached the attention of Oxford’s parliamentary representatives, as well. Layla Moran raised the subject in a meeting with Transport officials, pushing for greater investment in road safety, and Cyclox has met with Shadow Cabinet member Anneliese Dodds to push for greater and immediate action. 

Vigils for the dead cyclists have been held across Oxford throughout the past six months.

Image credit: Waldemar Brandt via Unsplash

In conversation with the creatives behind Top Girls

Caryl Churchill’s 1982 play Top Girls is considered one of the best and most influential British plays of the 20th century, exploring what it took for a woman to succeed in 1980s Britain – and it’s coming to LMH Arts Week in an exciting new staging by Oxford students. Cherwell Stage spoke to co-directors Bella Stanford-Harris and Flora Symington, and producer Mia Hollingsworth-Smith, about their experiences working on Top Girls.

What drew you to Top Girls?

Bella: I am an LMH student, and I wanted to get involved in LMH Arts Week. Caryl Churchill is an alumna, and still has links to the college, so she’s very much present in college life. It is quite a big moment for LMH drama to be able to stage her play. The feminist history of the college is something we always hear about, so it’s nice to be able to pay homage to that.

Flora: I did a bit of research into [Caryl Churchill], and she was very involved in student drama here, so this is very much taking us back to its roots. I think it’s such a good use of theatre as a form, because you have the visuals with which you can present onstage two concurring narratives that are both true. She’s used the form to examine the ways women can and can’t be successful in such a brilliant way. Every play Caryl Churchill writes has revolutionised theatre. I’ve never directed before but I thought if I were to direct something it would be this.

Mia: I love how the play’s socio-political messages are shown in an almost didactic Brechtian way with its episodic structure, historical characters and absurdist scenes, but at the same time it has moments of lovely moments of realism – dramatic family scenes that really expose the destructive effects of Thatcherism. 

This is your directorial debut. How has your experience been directing a play?

Bella: It’s so interesting being on the other side [of theatre production]. I acted quite a lot at school, and I always thought how interesting it would be to direct. Having ideas as an actor, but not really being able to implement them because it’s the director’s role, is now a fantasy come true.

Flora: It is a collaborative process, but sometimes you think ‘I would have done this differently’, or made a different decision. But I find it’s the same on the other side; [as director] I think, ‘I want to be acting in this!’. The cast have been so good to work with. They have their own ideas which they bring to it, and they’ve been very receptive to us.

Top Girls is set in 1980s Britain, with the rise of the right wing and Thatcherism, as well as feminism. How have you tackled the political side of the play?

Bella: I think it speaks for itself. It’s hard to pinpoint the political message of the play. We know Caryl Churchill is quite active in left-wing politics, but if you didn’t know that and watched the play, you probably wouldn’t be able to tell. That’s why it’s so interesting for an audience to take what messages they will from it.

Flora: The way that it’s written elicits sympathy for both sides. I think ultimately the play does come down on the left, but it speaks for itself. It would be very easy to write a left-wing play that just exposes all the problems with Thatcherism but [Churchill] hasn’t done that, she’s done something more complex.

Bella: You can’t draw out a black-and-white feminist message from it either. It portrays so many different versions of women, so many different ideas of a successful woman, and the path to being a successful woman, that it complicates the issue, and you don’t leave with a clear sense of what it means to be a successful woman.

Flora: It’s unusual to see a production where the cast is all women. It gives you space to bring out so many different aspects of the female characters. Removing men from the equation gives a new complexity to it, as women now embody all of these positions.

Bella: All of them are complicated, and it shows famous women from history, who are an interesting comparison with the modern day characters.

Flora: For a 2022 audience, we would probably all sympathise more with Marlene, who is also very socially right wing. It will complicate people’s sympathies, and I hope they will leave it thinking there’s more to this kind of politics than they would first imagine.

Mia: I think the 80s setting really highlights how Marlene on the one hand reflects the feminist aspects of female figures of power like Thatcher but at the same time shows how Thatcher’s power was destructive. Coming from an ex-mining town myself, I definitely relate to the destructive effects of Thatcherism, especially on small communities. The way Marlene chooses her career and essentially abandons her family is reminiscent of Thatcher’s capitalist mentality of “there’s no such thing as society”.

Any memorable moments from rehearsals?

Flora: My most memorable moment was the first time we rehearsed Act 3, and we had the two principal members of the cast in the room together for the first time, and it was chemistry. Magic.

Bella: That was the first time I took a step back from the play and saw it as if I was an audience member.

Tell me something that would only make sense if you’ve seen the play.

Flora: There’s so many things that don’t make any sense! “You can kill someone with a brick.” That’s all I’m going to tell you. [Starts leafing through script] “Bums have faces in hell.” I’m trying to find Joan’s speech because I feel like that’s my favourite bit of the entire production.

Bella: When you give birth during a papal procession.

What makes your production of Top Girls unique?

Mia: I think our production of Top Girls is different because the recent #NotAllMen movement, sparked by the tragic murder of Sarah Everard, means the issues the play raises about feminism are demonstrated in a new light that is especially relevant to a contemporary audience – and our wonderful actors portrays them in a really refreshing way!

Flora: We’ve thought a lot about Act 1, which doesn’t relate to the rest of the script chronologically. It takes place in what we would now class as a semi-real, semi-surrealist space. It could be a dream, but could also fit into the surrealist landscape of the play. We’ve changed the order of that, so that that’s not the first thing you see. We’ve put a different scene at the start. I think nobody can come out of this with a clear view on what they think. It will make people question their own views, hopefully, and make people realise that it’s always more complicated than it appears at first sight.

Top Girls runs as part of Lady Margaret Hall Arts Week on Monday 23rd and Tuesday 24th May. Tickets are available here.

Image credit: Niamh Jones

Bank of America pledges £1.2 million to Oxford for greenhouse gas removal

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Oxford University is due to receive £1.2 million from the Bank of America to fund research into greenhouse gas removal and sustainable finance. This project to tackle climate change and improve sustainability within financial services will be carried out at the Smith School of Enterprise and Environment.

The research will cover two key areas and will be split across two sites. The first will identify methods of taking greenhouse gases out of the air in an environmentally, socially and economically sustainable manner. It will be based at the Greenhouse Gas Removal Hub (CO₂RE). Dr Stephen Smith will direct this project.

The second group will be led by Dr Ben Caldecott and will investigate using environmental data about the climate and nature-related factors in financial decision-making. This will be based at the Oxford Sustainable Finance Group and the UK Centre for Greening Finance and Investment (CGFI).

The funding will support three years of research into these two critical areas, as well as contribute funding to a Director’s Research fund. This will allow the School to undertake other sustainable research opportunities.
This partnership is pivotal, according to Bernard Mensah, president of International at Bank of America. “Successful partnerships between business, academia and governments are critical if we are to accelerate the transition to sustainable, secure and affordable energy and bring forwards the path to net zero,” he said. It is the first partnership of its kind for Bank of America in Europe.

The Climate Change Committee (CCC) and other climate change activists and organizations have also stressed the need for international cooperation and a global response to climate change. Chatham House wrote in its article commenting on the latest Intergovernmental Panel on Climate Change (IPCC) report on 6 April 2022, “To deliver a world that restricts global warming to 1.5°C — an internationally agreed target — systemic change is needed.”

This collaboration between the University and the Bank of America is a move to a more international approach to tackling the climate crisis. Mensah said he feels it “has the potential to transform scalable carbon capture and greenhouse gas removal and also the integration of nature-based metrics into sustainable finance frameworks.”

These projects endeavour to make influential progress combatting climate change. The research is key to moving towards a more sustainable future and achieving the goals outlined by the IPCC and governments by 2030. The Bank of America itself published their commitment to environmental sustainability on their website, with a goal to achieve net zero greenhouse gas emissions by 2050 in support of the Paris Climate Agreement.

The results and data from the research will be used to inform financial services decision making. It seeks to inform more implementable, sustainable business models. Professor Cameron Hepburn, director of the Smith School, commented, “This project has a pressing need considering the current climate crisis. It hopes to make impressive and influential progress combatting climate change, to one of action.”

The Smith School is taking a key role in driving systematic change in combatting climate change. Previously they have worked with 20 separate governments worldwide in finding solutions to green recovery. Its research is influential, directly informing global financial institutions across the globe.

Image credit: Marcin Jozwiak

BREAKING: Oxford Union and Student Union to merge into Union Union 

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Like this has not already happened right before everyone’s eyes, it was announced today that the Oxford Union, known for its hacks and chums, will merge with the Student Union, known for its jazz hands and vegan sausages. The stellar deal is worth £506 million. The merger organisation will be called the Union Union. 

The new Union Union is sure to think they are way more important than they actually are. New political systems will be in place with a 385436845786-page constitution that absolutely no one will read. The new “Secretary” of the Union Union will be in charge of making sure as many scandals happen as often as possible. Anonymous tipsters will be encouraged to approach newspapers all over the country. 

The new Union Union president is keen to hack double the amount of people that they already do. Lichme Bumcheek shamelessly told Cherwell: “Hello! I hope you are well! Are you a member? Basically, I know we have never met before, lol, but basically I’m running in the Super Union election basically. I am going to be on seccies team for #innovate and would super massively enormously absolutely love for you to pre-register for the vote in 2 months. It would mean a lot :)))) I hope you like all the things that we do not do in office. Would make a massive difference to be supported by a stranger like you. Anyway, let’s go for a coffee sometime? I’d love to meet you! Follow me on Twitter as well! @LichmeBumBum. Cool, see you in the Bridge smoking area, lolol.”

Lots of cancellable speakers will be invited to the Union Union chambers, including activists for the repressed art of hate crime and corrupt billionaires. 

While white tie will be mandatory for debates, speakers will be prohibited from making noise of any kind to keep up with the core culture of the former Student Union. The use of alcohol and drugs will be actively encouraged. 

There will be no toilets in the headquarters, as the Union Union believes that this is a necessary change for the sake of environmentalism, in order to offset the damage caused by the amount of hot air the Union produces regularly. 


The Goldman Sachs executive who mediated the merger deal was the Oxford Union Chief of Hacks’s daddy. He told Oh Well!: “I am wonderfully delighted that my esteemed privilege still serves me well today. It’s marvellous to see our young generations build such valiant characters during their time who won’t get offended by everything! Out with sodding woke bigots!” Little did he know that he would get cancelled upon his first visit to the Union Union.

See the Oh Well and the puzzles section on the back page of print.

Prince Charles talks to University College students about access

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During his recent visit to Oxford, Prince Charles spoke with a group of 12 ‘under-represented’ students to hear about their experiences and challenges. The 30-minute conversation took place in the residence of Baroness Amos, master of University College (Univ), after the Prince’s visit to unveil the new Levine building at Trinity college last Thursday. 

Baroness Amos is the first black head of any Oxford college and the co-founder of the Amos Bursary program for talented students of African and Caribbean descent. Recipients of this bursary as well as others who had participated in the Opportunity Oxford program were invited to the meeting. He was eager to hear about their journeys to Oxford and thoughts on access at the university. 

The conversation came at the request of Prince Charles, who is working on some projects to make university more accessible for students from a variety of backgrounds. Chloe Bardou, Univ JCR Access and Equality rep was one of the students who spoke to Prince Charles. She talked highly of the conversation, saying that although she “was a little bit starstruck”, he made everyone feel at ease and “was keen to hear our feedback on what did and didn’t work” in regards to Prince Charles’ ideas. 

The visit comes as the JCR at Univ is pushing for access to be a main priority for the college in the coming years. The college hosts regular visits from schools in Univ’s linked areas in South-East England and engages with direct outreach to these groups from student ambassadors. 

Additionally, the college participates in the Opportunity Oxford academic program, which aims to support students who come from under-represented state school backgrounds to prepare for Oxford teaching and living. This year also saw many new events put on by Univ’s JCR and MCR this year to improve inclusivity including a Diwali bop, Chinese New Year celebrations, candle lighting for Hanukkah and a college-wide Iftar. Bardou is pleased with progress like this. However, she hopes the college will do more to make it easier to put on such events and allow small changes that can make students feel more welcome, like rewriting aspects of their Flag policy. 

The meeting left participants optimistic about Univ’s inclusive future and the Prince’s decision to discuss such matters with students did not go unnoticed by those he met with, and the many others who gathered outside the master’s residence to spot him leaving afterwards.

Image credit: Ed Nix

Government cuts ties with NUS over ‘antisemitic rot’

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CW: Antisemitism

After a series of scandals, the government has cut all ties with the National Union of Students (NUS), accusing it of having “antisemitic rot at its heart”.

The NUS, which is affiliated with 600 student unions and claims to represent seven million students nationwide, will no longer be allowed to send members to sit on government panels in the Department of Education, Office for Students, or the Student Loans Company. In their place, the government will seek alternative representation, including from individual student unions.

The universities minister, Michelle Donelan, told The Times that she was “deeply disappointed” to have to take what she sees as a “necessary step”. “NUS Presidents of the past, present and now future have now faced antisemitism allegations, yet not one has resigned over the matter — this is evidence of an antisemitic rot at the heart of the NUS,” she continued.

In 2016, three former NUS Presidents accused then President Malia Bouattia of “antisemitic rhetoric” after she described Birmingham University as “someting of a Zionist outpost”. The comments were described as “outright racism” by a Commons select committee.

More recently, the invitation of the rapper Lowkey to perform at its centenary event. Jewish students expressed concern that Lowkey has made comments referring to the “Zionist lobby” in the context of global finance, and accused the media of “weaponising the Jewish heritage” of the President Volodymir Zelensky of Ukraine to “stave off genuine enquiries” about the Ukrainian far-right.

The President of the NUS, Larissa Kennedy, allegedly told students who were upset by his presence to “self-segregate” and leave the venue. Lowkey cancelled his performance following the backlash, and the NUS released a statement expressing regret that the rapper had been the victim of “harassment and misinformation”.

More recently, the President-elect of the organisation, Shaima Dallai, was condemned for historic tweets in which she invoked the seventh century massacre of Jews in Khaybar, saying “Mohammad’s army will return #Gaza”. She has since apologised for the tweets, and said that she expected the backlash as a black Muslim woman who had taken a “pro-Palestinian stance”, which she says she has seen before.

Dallai has also referred to a Muslim cleric who said he would “shoot Allah’s enemies, the Jews” as a “moral compass for the Muslim community at large”.

Donelan has written to the Charity Commission to ask for an investigation into the NUS, and the Equality and Human Rights Commission to ask them to help the NUS resolve the situation.

Education Secretary Nadim Zahawi said he was “appalled” to hear of so many reports of alleged antisemitism linked to the NUS. He continued: “Jewish students need to have confidence that this is a body that represents them and, until the NUS have shown they can speak for all students, we cannot have them acting as student representatives on DfE boards.

“From the NUS’s initial response to our concerns, I am confident that they are keen to address these issues and welcome further updates from them. Antisemitism has no place in our society and we will stamp it out, wherever it occurs.”

The Times reported that a spokesperson from the National Union of Students said: “We are disappointed that the universities minister has press released that they will be disengaging with NUS rather than seeking to engage with us directly.

“Following a complaint about antisemitism we launched an independent investigation. We will be appointing a QC, in consultation with UJS [Union of Jewish Students], next week.

“We have sought to undertake the investigation in a serious and proper way, and are working in collaboration with UJS at every step of the way. Once the QC has been appointed we will be able to update on the process and timeline. We look forward to working with the government constructively on this matter.”

Faces of Oxford: a morning with Hertford Porter Nikki Benton

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In those nervy interview days, the first person you met at Oxford was a porter. They handed over the keys to your new abode for the next few nights. We see porters every day, yet few understand or fully appreciate what they get up to.

It was when I locked myself out of my room in freshers that I first met Nikki.i. I had never seen a female porter before, which both surprised and interested me. Whilst Nikki is not the only female porter in the university, nor the first female porter that Hertford has had, she is one of a small minority of women in the profession.

The gender disparity that really jumped out to me. However, Nikki highlighted that being a woman in the role ‘hasn’t affected me at all’. Describing some of her main roles as a fire warden, first aider, email responder and student conversationalist she said that ‘all those jobs a woman can do’. You just need confidence, courtesy and professionalism. 

In recent years there has been much attention dedicated to narrowing the gender equality gap in the workplace. However, there are still many sectors that seem traditionally gendered. Nikki pointed out how strange and nonsensical it is, noting that one of her sons works as the only nurse practitioner in a nursery. It is just a societal norm that certain jobs are considered to be more feminine or masculine, but that doesn’t mean that it is right or impossible to change. Films such as Meet the Fockers emphasise the gendered stereotypes further by constantly promoting that Ben Stiller’s character is a male nurse. But, just as Nikki and her son prove, there is no reason why careers need to be gendered in this way. 

As a student, Nikki dreamed of being a chef, another sector which is heavily male-dominated. After missing out on the course she applied for, she went down the route of baking. However, that was not all she hoped it would be as she said that icing 400 donuts in the morning was not quite the career she had imagined. It was the hotel industry where Nikki felt she grew and developed the skills that she now implements in her day to day tasks as a porter. 

Perhaps one of the most fundamental parts of the job is looking after the college cat, Simpkin, and it turns out that liking cats is part of the job description. Interviewing for the job as a porter at Hertford, Nikki was asked if she was allergic to cats. This just goes to show how central the little black cat is to the college. Simpkin IV is part of the team as he joins the porters on their daily patrols around the grounds. Nikki describes him as a cantankerous character who can be stroked twice but never more. A tip that is good to know as a Hertford student. He is, as a result, a bit of a divisive figure and students, as well as Walter the Exeter cat, have faced the consequences of his third stroke. Although Nikki did note that in the notorious cat feud with Walter that Simpkin ‘always comes off worse’. 

However, Simpkin is not the only source of excitement. As gate-keepers of the college, porters are the first point of call for not only students but also celebrity guests. It was hard to miss the Hollywood buzz around Hertford last term as the set of Wonka landed onto the streets of Oxford. Students camped out in the Hertford marquee, eagerly waiting for a glimpse of Mathew Baynton, Jim Carter or Hugh Grant. However, always maintaining professionalism, the porters were tied to their office, (when they weren’t checking the Bridge of Sighs to ensure students weren’t hanging out the window). Although it must be noted the porters were on the student’s side, often having to remind the filming crew that the college is the student’s home not just a film set. 

Throughout filming, the porters were constantly answering questions about updates on Hugh Grant’s plans to go to his green room in college. But, unlike the rest of us, the porters stayed quite cool and calm in their office. It was, therefore, Hugh Grant himself that approached Nikki, confused that unlike the rest of the student population, she wasn’t falling at his feet. Their conversation was friendly, with Grant curious about her role too. However, what puzzled him the most was the fact that Nikki wasn’t wearing a bowler hat. To his question she answered that it’s because Hertford porters are ‘more relaxed and chilled out’, but quickly added this did not make them any less professional. 

Whilst Nikki didn’t manage to see the much sought after Timothee Chalamet, she could certainly hear the screams and gasps from outside the window. 

Of course, the job of a porter is not all glitz and glamour as the celebrity chats may suggest. There are jobs that no porter wants to do. It’s not hard to guess what comes bottom of the list: cleaning toilets and vomit. All Nikki had to say on the matter is ‘that kettle works hard’ pointing at the little metal appliance in the porter kitchen where we had our discussion.  

The timings of a shift porter allows for flexibility which enables Nikki to pursue other interests. Whilst of course she loves cats, it is her dogs Coco and Prince that happily await her return at home. 

It is clear that Nikki quite clearly loves being a porter. Every day is different, forcing her to think on her feet. Working as a shift porter moving from night to day especially brings a kaleidoscope of experiences. From cake to cats, Nikki proves that it is possible to break through stereotypes and that professionalism means much more than gender barriers.

Performing the unperformable – Preview: Carrie

Founding Fellas Productions have made an interesting choice in staging Carrie: The Musical at the Oxford Playhouse, which I watched in a dress rehearsal earlier this week. With its catastrophic production history (a book of Broadway failures is named after it), the musical is famously one of the biggest flops in theatre history. But given renewed interest in the material (from Riverdale specials to a dedicated podcast series) their choice is unsurprising, especially with the current popularity of dark, teen-angst products like Heathers: The Musical. Based on the Stephen King novel, and with an iconic Brian de Palma film adaptation, the tale of bullied, isolated teen Carrie White is well-known. Considering that Carrie discovers she has telekinetic abilities after her first period, there is also an opportunity to reshape it with feminist interest. If only the writers of the musical were drawn to explore that angle back in 1988. 

The musical, with a score by Fame! songwriters Dean Pitchford and Michael Gore, begins with a typical chorus of angsty, anxiety driven teens, though with a more concrete sense of concern than in the similar openings found in the musical adaptations of Fame! and Heathers. It is fortunate that Vanessa Silva’s often violent, searching choreography saves the opening number from cliché. As Carrie, Harriet Nokes delivers the rock score – with its leaping pitch and pulsating, brightly cluttered rhythms – with ease. It’s a pleasure to hear as her voice rises in power and contracts back to the soft interiority with which it began. The quiet despair she brings to Carrie’s loneliness develops into an equally quiet joyfulness in the second act. It’s a subtle performance and very well done. Nokes’ scenes with Eleanor Dunlop, playing Carrie’s devoutly religious and controlling mother Margaret White, are the highlight of the production. Dunlop, who was a standout in Persephone last year, shines in this role. Her vocal depth is powerful, her voice almost exploding in on itself whilst holding an eerily cold exterior, then falling into tense despair in her second act ballad.

Carrie: The Musical has never fully recovered from the divided creative team back in 1988, and there is a resulting unevenness to the material, which is no fault of the creative team of this production. The high school nostalgia of songs like ‘The World According to Chris’ and the sentimentality of ‘Unsuspecting Hearts’, though perfectly enjoyable, just never match the dark, belting intensity of the mother-daughter duets. In their scenes, Dunlop and Nokes are breathtaking together, so much so that I wished Dunlop could storm into the high school as Margaret White and knock the script’s underwritten characters into shape.

Grace de Souza clearly enjoys every second onstage as Chris, the high school ‘mean girl’, with a sickly smile throughout, whilst Luke Nixon, as the kinder Tommy, gives a sensitivity that contrasts the swagger of Chris’ boyfriend Billy, played by Oxford musical theatre mainstay Peter Todd. To these supporting characters the musical never provides much exploration, but the cast, particularly Nixon, manage to bring an admirable depth. Alongside this, Beth Ranasinghe, as Carrie’s sympathetic PE teacher Ms Gardner, aptly moves from a harsh authority over her students to the softer sympathy of student-teacher friendship.  

The role of kind-hearted Sue, who attempts to reach out to Carrie to the disgust of her peers, is split between two actors, Grace Olusola and Gianna Foster, across the run. They take very different interpretations. Foster’s voice more typically suits the material, with her ecstatic malice gradually replaced by wide-eyed idealism. Olusola is very different; her deeper voice brings a restrained softness that contrasts Sue’s classmates. Whilst Foster’s eyes sparkle, Olusola’s build towards interior despair. It is an interesting choice to split the character this way, given that the two performers have a very different dynamic with Nixon, who plays Sue’s boyfriend. At times, the supporting cast struggled to fully meet the demands of a challenging rock score, though when the band – under the musical direction of Beth Fitz-Patrick – surges into full rock-ballad mode, the cast are aptly supported. I’d particularly love Eleanor Dunlop and the cello player to release an album!

The cast is completed by a strong and confident ensemble. Ellie Tutt and Gillian Konko are noticeable standouts, with expressive and interesting performances. Considering that the true test of any musical is in the quality of the ensemble, there is stable grounding to the production. Tutt and Konko bring a firecracker energy to the choreography; Tutt’s delivery of the hip-thrusting, thigh-bending opening number is particularly memorable. In the second half, Emma Starbuck and Sav Sood bring a necessary humour to the prom sequence.

A test of any interpretation of Carrie is in its staging of Carrie’s telekinetic abilities, particularly in the infamous climax. On the whole, the stage effects successfully conveyed a levitating statuette and self-propelling books. However, I felt these key moments were underplayed and struggled to build a moody, horror-driven atmosphere. More importantly, the production’s finale lacked a true climax. I hope that by opening night de Souza and Todd have learned to pour their bucket-load with more accuracy (or perhaps just get them a bigger bucket), as there was no recreation of the classic climax pose so iconic in Brian de Palma’s film version. Whilst Sweeney Todd managed last term to use lighting alone to create an eerie, genuinely unsettling close, the finale of Carrie, though similarly impressionistic and drenched in red, struggles to salvage a badly structured script. However, the haunting, almost-symbolic movement from the ensemble does have great impact. It would be overly harsh to criticise a student production for the absence of expensive stage effects, and the production’s skilful use of remote-control mechanics is itself worthy of praise.

What eclipses any criticism is that Founding Fellas Productions have managed to prove that Carrie: The Musical is worthy of greater attention. What I have previously considered flawed material, lacking in musical depth and experimentation, I found to be compelling viewing with many standout moments. This is due, in no small part, to the talents of the cast and crew, and it is certainly worth a trip to the Playhouse to experience this unique musical. This team has demonstrated the value of a musical once deemed to be unperformable, and that is worthy of praise!

Carrie continues at the Oxford Playhouse until Saturday 21st May.

Image credit: Simon Vail.

New LGBTQI+ nightclub set to open

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Next week will see the opening of the new LGBTQI+ nightclub, Glamorous, in St. Clements.  The venue is set to open on Friday 20th May, and builds on the success of the chain’s businesses in Birmingham and Coventry.

The venue will be “a blend of a modern cocktail bar and nightclub,” as proclaimed on the website.  Claiming to offer “a unique experience, from our cosy lounge, and cocktail bar on the ground floor, to our chic underground club room for the ultimate party”, the owners have promised that it will be an all-around ‘safe space’ for the LGBTQI+ community in the city.

The owner, Matt Eason, has chosen the site previously occupied by Be At One on St. Clements Road, offering Oxford residents a third LGBTQI+ nightclub in a different part of the city to Plush and the Jolly Farmers.

Eason promises that Glamourous will fit in between the nightclub atmosphere of Plush and the pub-like environment of the Jolly Farmers, the other two main LGBTQI+ venues currently in the city.

He is also keen to stress that he isn’t out to ‘cannibalise’ the business of those other locations, saying, “It is about being part of the community, not coming into Oxford being like the ‘big I am’ because we have a venue in Birmingham.  We are here to compliment what is already in the city.  The more that is going on, the better for the community is how we see it.”

Glamourous will be open every day, 12:00-03:00, with a daily happy hour until 11pm.  The company’s website also promises an exciting array of events alongside the normal opening hours, stating that, “Glamorous offers a range of nightly special offers on a wide variety of drinks as well as award-winning international drag artists, top UK drag artists, resident DJ’s, student nights and much more.”

Image credit: David Howard

Annual Town and Gown run takes place in Oxford

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About 5,000 runners took part in the 40th annual Town and Gown 10k run through the streets of Oxford on the morning of Sunday, 8 May. The Oxford Town and Gown is the oldest run in a series of races hosted by Muscular Dystrophy UK (MDUK), a charity dedicated to curing and finding treatments for muscular dystrophy and other muscle-wasting conditions. 

The Oxford Town and Gown race dates back to 1982, when local runner Mike Cleaver, whose son had congenital muscular dystrophy, began the event as a way to raise funds and awareness for MDUK. It was later expanded into a series, with the Cambridge Town and Gown inaugurated in 2011 and Leicester Town and Gown in 2017. To date, the Town and Gown 10k series has raised over £2 million, according to the MDUK website.

This year’s 10k saw a significant increase in turnout compared to 2021, when just over 2,000 runners participated.

In addition to the 10k race, the organization also hosted a 3k race for juniors at the same time. The 10k runners began on South Parks Rd, looping around a number of historic and scenic locations in Oxford, including the Bridge of Sighs and a stretch along the River Cherwell, before concluding their journey at University Parks. The Town and Gown route is the only closed-road City Centre 10k in Oxford, according to the MDUK website. In 2019, Running Awards deemed the run “Best 10k in South East England.” 

Participants in this year’s 10k included students from the University of Oxford — including 72 runners from St. Hugh’s College alone, comprising the largest college team — as well as former Team GB Olympic rower Victoria Thornley and Lord Mayor of Oxford Mark Lygo.

“St Hugh’s are delighted to be able to support the event, not just because of the funds it raises for charity, but because it is an inclusive event, which brings together people of all abilities and promotes both physical and mental wellbeing,” St. Hugh’s communications manager Tessa Wood told the Oxford Mail.

Robin Ward, this year’s race starter, discussed the importance of funding the search for treatments and cures for muscular dystrophy in an interview with the Oxford Mail. “Taking part in events like this are a crucial part of this,” she said. “By starting the Town and Gown Race, my goal is to fundraise for all manifesting carriers of DMD and find effective treatments and a cure for the condition.”

The next run in MDUK’s series will take place on Sunday, 16 October 2022 in Cambridge.

Image Credit: Miguel A. Amutio via Unsplash