Saturday 9th May 2026
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Cabaret and Spring Awakening: The Art of Reviving Musicals

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I was very lucky to see two amazing revivals of the iconic musicals Spring Awakening and Cabaret on consecutive nights over the Christmas vacation. Both shows absolutely blew me away. Yet I noticed how the styles of direction of Rebecca Frecknell (director of Cabaret) and Rupert Goold (director of Spring Awakening) were radically opposed. Both shows will surely receive multiple Olivier nominations – but which show will come out top? And ultimately, what makes a musical revival successful?

Rebecca Frecknell’s big directing break originally came at the Almeida Theatre (the current home of Spring Awakening). Eddie Redmayne suggested that she put on a production of Cabaret after seeing the West End transfer of her hit Almeida show Summer and Smoke by Tennessee Williams. In that sense, there is something intrinsically Almeida-esque in her directorial approach. Frecknell’s 2019 production of The Duchess of Malfi made particular use of the opaque and transparent glass boxes that Goold uses so effectively to explore ideas of captivity and liberation in his production of Spring Awakening. Yet what connects both directors is a willingness to disrupt the ‘sanctity’ of the original texts. Both versions are ‘darker’ than their originals; in Cabaret, Redmayne as the Emcee progressively adopts the persona of a fascist dictator, dropping his sexually liberated clown outfit in favour of a blonde wig and a brown shirt. Jessie Buckley removes all the showbiz pizazz that Minelli brought to the role of Sally in the film version – her voice is stunning, but she chooses to speak through much of the title song. Frecknell’s choice is bold but it pays off. The effect is devastating – Sally becomes a ghostly shell of a person, introducing an ironic distance between the lyrics and the dramatic context in which they take place.

Spring Awakening also opts for a darker approach; it feels more intimate and personal than the original Lea Michele Broadway version. The entire set becomes an enormous chalkboard which the actors can draw on – the actors feel almost organically in touch with the stage itself. Goold’s introduction of Greta Thunberg’s speech into ‘Totally Fucked’ added a new ecological framing to the show; Goold’s directorial touch revealed how the show is just as relevant to a Gen-Z audience fifteen years after it was originally performed. 

I would argue that the reason that both revivals are so strong is that the source material itself encourages and even requires an expressionistic sense of theatricality. In that sense, they are gifts to directors – the possibilities of invention are endless. Frecknell’s Cabaret is performed in the round, with a revolve effortlessly transporting us between the different Berlin locations. Spring Awakening on the other hand is staged end-on with an ascending staircase that fills the entire stage – I was in awe with the level of fitness required for the cast, who had to run up and down the steps for the entirety of its 2-and-a-half-hour runtime.  So which show was better? It’s a close call, but I would just about say Cabaret. The whole experience was so immersive to an extent that I have never personally seen done before. The Playhouse Theatre in the West End is completely redecorated to become the Kit Kat Club from the moment you enter the building. Similarly for Spring Awakening, the intimacy of the Almeida as a theatre helps to contribute to an immersive feel. Goold also has Hanschen (Nathan Armarkwei-Laryea) break the fourth wall to particularly comic effect which I won’t spoil.

However, I would say that only 90% of Goold’s decisions worked, whereas the surprisingly minimalist staging of Cabaret itself created a consistency that Spring Awakening lacked at times. The decision to cut the song ‘The Guilty Ones’ in favour of the original Act Two opening ‘There Once Was a Pirate’ felt like a mistake. The glass at the back of the stage felt distracting and I wasn’t quite sure what purpose it served; it wasn’t used as effectively as the glass box at the front. Yet I am being especially picky –  and given the price difference between the tickets for Cabaret and Spring Awakening, it is no surprise that Cabaret has a slight edge. Frecknell defended the exorbitant costs of Cabaret, saying in The Times that ‘a quarter of the house is £50 or less, and we’re doing a daily lottery for £25’.

Can we ever justify ticket prices of more than £200 given the theatrical experience involved – or are we just making theatre expensive and inaccessible? The jury is out. What is certain is that the Almeida must be commended for their prioritisation of young talent (the Assistant Director Priya Patel Appleby only graduated from University in 2020!) and affordable ticket prices. As a theatre, they are committed to training the talent of the future, which is more necessary than ever as the industry continues to struggle under the pressures of the pandemic.

Image Credit: Marc Brenner

Blacking Down

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Blackfishing is a word that though more or less unknown little more than five years ago, has now become part of everyday speech. While certain blustering gammons still pretend not to understand – that by applying a black aesthetic to a white body it’s reframed in a way that is more palatable to other white people – most of us know what it is, and more importantly that it’s A Bad Thing To Do. Co-inciding with this growing awareness is the slow decline of blackfishing as a rebranding technique. Once a tried-and-true strategy for those looking to gain clout, typically ex-child stars and the entire Kardashian family, blackfishing is now a very risky business. Case in point ? Jesy Nelson. The ex-X-Factor star was at the centre of the latest explosion of the debate around cultural appropriation, and is likely the first major celebrity (ok, that might be pushing it) for whom the consequences of blackfishing have not only backfired but actively tanked the attempted rebrand. Not only did it do nothing to propel her away from her past as a member of a bubblegum-turned-girlboss group, but it turned people against her so violently that they felt comfortable going after someone whose other major claim to fame is the damage done to her mental health because of online abuse.

The most interesting thing about this whole controversy is how the accusation of blackfishing has become one which is so heavily morally weighted that it seems to halo the person criticising the blackfisher – they’ve done something bad, so they become an open goal for criticism. Despite having been the focus of a 2019 BBC documentary highlighting the damage trolling had done to her mental health, driving Nelson to attempt suicide, ‘Boyz’ – the branding, the Tiktoks, the performances – has been the ship that launched a thousand memes. You can see the impact of being accused of blackfishing in the difference between the responses to two clips –the Tiktoks that started it all, and videos of her Jingle Bell Ball performance. 

Let’s be honest here – the Tiktoks that were released to hype up the new single, were blackfishing by the book. Grills, du-rags, basketball shorts, big curly wigs and a tan so deep that Jesy, who’s white British, appears darker than her mixed-race ex-bandmate Leanne Pinnock. Add in the cohort of black/mixed-race male back-up dancers (which, when the song is all about liking ‘bad bad boys’ plays into some very nasty stereotypes), and there is no defence. It was a wince-makingly tone-deaf rebrand. Part of the issue is that her team seems stylistically to have thrown the book at her – if they had toned it (and her tan) down a little, it might have been easier to overlook. But by theming her comeback so heavily around an aesthetic that is so blatantly lifted from the black community (or basically a white person’s stereotyped idea of it), it’s hard to understand how they didn’t see the screaming backlash on the horizon. Most of the criticism, however, was measured and valid – pointing out the appropriation and breaking down why it was bad for those struggling to keep up at the back. The next round, however, was in response to the Jingle Bell Ball performance. Even though Nelson was way closer to her natural skin tone, and wore an inoffensive costume, she got absolutely shredded online – for the performance itself. Now, of course you should be able to say what you like about celebrities online but bearing in mind her own history with online criticism it was quite surprising to see the speed at which the Jesy Nelson hate train was fully boarded.

 It seems of the consequences of blackfishing is carte blanche to be criticized for absolutely anything else, which is handy to bear in mind when you think about the gradual shift away from the blackfish aesthetic over the last few years. Even those who’ve blackfished so hard it was basically their entire brand are stepping away – think about the Kardashians, whose empire was built on the appropriation of the body-type and lip-shape of black women, have allegedly had BBL reductions (although at the last count they had 5 kids by black men between them, which will be a heck of a lot harder to whitewash). There are a lot of theories as to why this is – first of all that, naturally, as a trend blackfishing was always going to have an expiration date, which is one of the major problems with the practice in the first place – that the non-black people who’ve hopped on the bandwagon for clout can just as easily hop off again, treating it as a phase rather than a real, solid aesthetic. More positively, you could say with more (though still nowhere near enough) proudly black artists at the top of their fields than even 10 years ago people have become more used to seeing the black aesthetic on black bodies, something that the decline of centralised whitewashed media has no doubt contributed to. Cynically, I’d also say that the biggest factor (though they’re all at play) is simply the increased accountability. And not only accountability, but the vulnerability it brings. Though blackfishing was obviously never ok, it’s now a truth universally acknowleged – and that means that it isok to jump on anyone caught doing it, and we all know that internet loves a dog-pile, especially one where you can then permanently justify your criticism as being from the moral high ground.

Bridgerton star named Oxford visiting professor

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Adjoa Andoh has been named as the next Cameron Mackintosh Visiting Professor of Contemporary Theatre. 

The Chair of Contemporary Theatre was founded through a grant from the Mackintosh Foundation at St Catherine’s College. It aims to encourage interest and participation in contemporary theatre throughout the wider university.   

Andoh has directed and acted in a wide range of television productions. She starred in Doctor Who and Casualty, and also appeared as Lady Danbury in the lockdown hit Bridgerton, for which she was nominated NAACP Outstanding Supporting Actress in a TV Drama.  

Her accolades on the stage are equally impressive. Adjoa Andoh is an Associate Artist at the RSC, where she has played Portia in Julius Caesar, Ulysses in Troilus & Cressida, and Helen of Troy in The Odyssey. She has also performed leading roles at the National, such as Serafina Pekkala in His Dark Materials, and at the Globe, where she conceived and co-directed Richard II.  

The Visiting Professorship was inaugurated by Stephen Sondheim in 1990, and has since been held by an impressive array of theatrical figures, including Arthur Miller, Sir Ian McKellen, Diana Rigg, and Patrick Stewart.  

The Professorship seeks to increase students’ exposure to individuals who have had a significant impact on contemporary theatre, and even contemporary culture. Adjoa Andoh certainly ticks this box: Bridgerton was streamed by 63 million households worldwide, and as the second season approaches, the involvement of one of its stars in the University will bring a hint of Hollywood to the Dreaming Spires.  

Discussing her new role, Adjoa said: ‘Sir Cameron has enriched our vision of what is possible in our profession immeasurably. I hope as Visiting Chair in his name to honour his work amongst those Oxford students who wish to make their contributions to the work and the art of storytelling; and to be in dialogue with other theatre makers, ever widening the stories told and the audiences invited in.’ 

Sir Cameron Mackintosh, the founder of the Visiting Professorship, said: ‘‘Since I was lucky enough to have Stephen Sondheim establish the Chair 31 years ago, when he revealed that he was as masterful a teacher as he was a composer and lyricist, I have been honoured that it has attracted so many legendary talents from the world of theatre and film. 

‘This year I am particularly delighted to welcome Adjoa Andoh, who is not only known as a brilliant contemporary actress, including her recent dazzling performance in Bridgerton, but also for her cutting-edge approach to directing and performing Shakespeare in London which has had a powerful impact on modern theatre.’ 

Commenting on the importance of the professorship to student theatre at Oxford, one student said: “having Adjoa Andoh as this year’s visiting professor will allow students to connect in person with the actress and ask their personal questions, allowing them to gain a better understanding of the industry, as well as the issues within it.”  

There is no formal teaching requirement attached to the position, and everyone who holds the professorship can interpret their responsibilities however they like. However, it is expected that Adjoa Andoh will deliver an inaugural lecture at the beginning of her tenure. Previous visiting professors have also interacted with students through workshops and seminars throughout the year. 

Image Credit: Sarbeng781227/CC BY-SA 4.0 via Wikimedia Commons

John Evelyn: 0th Week, Hilary Term 2022

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Much like John Evelyn, the union has decided that, after a long spell of messy and toxic matchups, this term it’s time to branch out and try a three-way.

You might recall that the last time something similar happened, the Union was about to couple up with an Australian gentleman, but some chap called Ron got in the way. As is often the case when one’s first option falls through, the Union ended up in a four-way with some slightly older folks and things got a bit weird. Hopefully, this time, the longer build-up will mean everyone is more comfortable when the moment finally comes.

The Rapid Climber has reConnected with the dynamic duo that is European Girlboss x European Boyboss. The LMH Enforcer, on the other hand, was Inspired by the musical clout of David Guetta and the career prospects of the Campus Ambassador. John Evelyn hears he is planning a 70 person slate social this Saturday at LMH in paralysing fear that he might not get his campaign started soon enough. The Univ Queen has renewed her OUCA Prime subscription and express-shipped two veteran hacks from the university’s other favourite society. John Evelyn hopes she remembered to put the purchase on her personal debit card and presents her with the Garbage Collector of the Week award for reaching deep enough into the bin to pull these two out.

It’s dating season in the union, as each slate desperately tries to fill its final officer position. John Evelyn has heard that the ROs are thinking of putting all the slate leaders and eligible single hacks on an island together to see if they can find The One. They say there are many Fish in the sea, but at present no one seems to be getting any bites. Senior appointed are currently sheltering together in a coffee-proof bunker, however a little birdie told John Evelyn that one member may have been temped over to the electoral dark side…

Meanwhile, all wait with bated breath to see who, if anyone, the Privately-educated Progressive will look down upon favourably from her high throne. We can only wait and see whether this planned three-way does indeed come to climax, or if someone pulls out beforehand with cold feet.

More to come.

John Evelyn x

Words of Wisdom from Rusty Kate: 0th Week, Hilary Term 2022

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This mildly comedic column has been written by a drag queen agony aunt. It is not for the faint hearted and contains sensitive topics which may cause distress to some readers. Be prepared for dirty douche water, relationship issues, adultery, and finding out why your Dad never loved you.

Hate men? Losing the will to live? Wondering how to remove that Alpecin-Caffeine shampoo bottle from your arse? Good old Aunt Rusty is here to help!

Rusty Kate is Oxford’s premier cum-filled crossdresser, known for turning looks, tricks, and straight men seven nights a week. She’s decided to take a short break out of her busy schedule of carrying Plush’s Drag & Disorderly shows to act as Cherwell’s Dragony Aunt, and help sort out your pathetic little lives one horrendously uncensored column at a time.

Remember to submit your questions through the link here – you’re guaranteed complete anonymity. Unless you lose an Alpecin-Caffeine shampoo bottle up your arse (looking at you, Ben Jureidini).

Right, onto the issues that the SU are currently writing some very important petitions to the university about…

Dear Rusty, I think I fell in love with one of my closest friends last term. I thought the separation from her over the vac would help me come to my senses, but I think I’m still in love with her. Is it in my head? Am I confusing close friendship with romance? Do I tell her knowing she probably doesn’t feel the same? Help an emotionally confused gal out Rusty xx

Love is always in the head, dear. Just give her some and I’m sure she’ll give you a yes or no answer.

You do need to tell her how you feel, though. There’s no use bottling all it up just for it to all come squirting out later (that’s how lesbianism works, right?). In the words of the great Macklemore, love is love, and by the sounds of it, you’ve got some loving to give her.

Romance and close friendship can be hard to separate, especially as queer people – we shag our friends, and are borderline celibate with our partners. Why not ask her out with the angle of an open relationship? Those always go well!

How the hell do I find someone who is not completely insane, not a weirdo and just interested in something casual? I want a no strings casual hook up – is that too much for a girl to ask for? I’m dying here, Rusty, help. Where are all the hot men hiding?

Darling, the answer is simple – all hot men who are completely devoid of attachment or any ability to sustain intimacy are gay. You’ll find a plethora of options on Grindr – bisexuals and homoflexibles alike will be perfectly happy to give you everything and more, as long as it’s seen as casual. They don’t want to meet your parents, but they will

pound you close enough to death that you’ll be meeting your maker. Just remember, the diamond emoji doesn’t mean they like jewellery – you’ll need to bring something smokable for those types.

How can I get out there without using dating apps?

Go out there just like your mother used to do, the good old-fashioned way. I’ve heard the hard shoulder on the M40 is a good place to meet people.

The British higher education system: rigid or rigorous?

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‘I first realised I wanted to study History and only History when I was 7 and visited the Tower of London on a school trip. From then on, History was the only lesson I looked forward to and became all I wanted to study all day every day.’

I’ve endured almost three years of study at Oxford and, more recently, spent hours trying to convince employers that the skills from my degree really are ‘transferable’. Reflecting now and comparing myself to others around the world in the same position, I’m forced to ask whether I really was speaking honestly at interview or if a couple of Maths or Economics courses in my third year would have served me better for the world of work ahead.

Choosing one or two subjects to study at university at 18 seems like a very normal, natural progression in the English system. Eleven subjects at GCSE, three or four at A-Level and then, finally, you pick your favourite one. Oxbridge interviews are set up not only to find the most gifted at particular subjects, but those most passionate. ‘Passion’, we’re told, is what will get us through twelve essays a term in the same subject, every term, for three years. The vast majority of university students, however, are not passionate enough to take their love of their subject further. Love for one’s subject mysteriously, and quite suddenly, peters out in the third term of one’s third year as most of us hit the job market and the idea of masters or PhD level studies terrifies us.

An education system which takes this into account, which isn’t gearing us up to fall in love or out of love with the academic profession is surely more desirable. Being forced to or even just having the option to take a wider array of courses ought to make us more attractive on the job market and prepare us for life. Taking this back further, a broader 16-18 curriculum, which doesn’t let us drop Maths, essay subjects or a language ought to leave more doors open when it comes to deciding what to pursue career-wise, giving employers tangible numerical, reasoning and language skills to refer to. However, this isn’t an argument for general studies courses or more practical education post-16. It’s a case against siloing young adults into specific departments and in favour of interdisciplinary studies.

The liberal arts program and high school curriculum in the United States speaks volumes for the advantages of an interdisciplinary education. Many universities lay out compulsory courses in essay-writing, modern foreign languages or science for freshmen and sophomores, while allowing students to pursue their interests by majoring and minoring in subjects in their final two years. It also gives university professors a lot more freedom to curate interesting, popular courses that don’t necessarily fit within a particular department’s framework. ‘Beyoncé Feminism, Rihanna Womanism: Popular Music and Black Feminist Theory’ at Harvard or ‘How to Stage a Revolution’ at MIT are two examples of ‘out-of-the-box’, interdisciplinary courses that we rarely see the likes of in the UK. In an academic climate gripped by movements to diversify the canon, encouraging universities to make their options ‘popular’, to fight it out on the ‘student market’, is surely a good thing.

The English academic’s rebuttal would be that three years of specialised learning in Biochemistry, Classics or Maths takes you to a far higher standard than one could get by taking a few ‘major’ modules a year. The liberal arts education leads to a surface-level understanding of a few subjects, without taking you to the depth of knowledge which you’d need for ‘proper research’, to really add something to the discipline with your final dissertation. There is a case for specialisation in certain subjects in which knowledge is cumulative. This is particularly evident in subjects like Law or Medicine, where the English system somewhat ‘fast-tracks’ 18-year olds and shaves a couple of years off their professional debut. However, the case for a multidisciplinary approach in the humanities and even some science subjects is strong. From personal experience, I would argue that being able to take papers in Philosophy, Economics and English would add significantly to my study of history and might mean I didn’t ignore the parts where politics becomes ‘mathsy.’ Equally, the benefits of interdisciplinary ‘modes of thinking’, applying a ‘scientific brain’ to ‘artsy questions’ have been well researched and argued.

Moreover, few would suggest that top institutions in the United States, Continental Europe, or Asia are hampered in the quality of their graduates, teaching staff or research capabilities by a secondary or tertiary education program which does not encourage specialisation. In fact, exposing students to new subjects, ones which they might not have considered at school level, can give birth to high-quality graduates and researchers whose passion for their subjects started late in their academic careers.  

Multi-disciplinary study at university could also help to address this country’s youth employment or higher education crisis. Ever since increasing numbers of young people started attending university at the start of the century, cries about ‘pointless degrees’ or ‘too many people going to university’, often from the right, have dominated debates about the place of universities in society. If we do want to maintain higher education as a valuable tool for social mobility, perhaps broadening curricula, even at top universities, is the answer. Perhaps it could encourage universities like Oxford to consider our education holistically: what skills do we really want to come away with, which untapped areas do we still want to explore? This would evidently be more beneficial than a drive for first-class degrees at any cost and, in the Oxbridge context, competition between colleges and within departments. While Liberal Arts courses have popped up at a number of institutions in the UK, the norm still remains the specialised degree and the underprepared graduate.

Even the process of choosing A-Levels is a restrictive process for young people. Students are often likely to pick their options based on particular departments’ track record or the ease with which they can achieve top grades. The decision to drop a particular subject simply because of a bad teacher, department or school type is evidently restrictive and problematic. Often the case for taking a particular subject is strengthened by a particular charismatic teacher or which subjects are deemed popular. Many schools, moreover, are pressured by the harsh quantitative scrutiny of league tables to push students into taking ‘easier’ subjects or those taught by the best department. The positive feedback cycle here is damaging: worse departments with fewer students at A-Level end up receiving less funding, and so on. For certain subjects, this can also feed into a worsened state-private school divide once at university, with subjects like Classics often seen as the domain of the economic elite. With the aim of equal opportunity, therefore, a less narrow school-level education may be a solution.

The most obvious argument for specialisation at A-Level arises from the fact that everyone has different strengths. We should allow teenagers to express their individuality, choose their subjects and excel in their strengths. This is rooted in a particular view of education which sees all children as different, with different processing abilities: people think in different ways and everyone has their own strengths. Not letting people drop subjects which they’re bad at could lead to disillusionment, poor mental health, and all-round negative associations with school. Letting every teenager choose their own subjects, it is argued, allows them to engage with their interests and fulfill their potential.

A-Levels, moreover, aren’t mandatory. The standardised English education system ends at 16, with a range of options, from BTECs to the increasingly popular apprenticeship scheme, available after. Those who argue in favour of a more ‘practical’ education often focus on the fact that A-Levels are not and have been increasingly less important for career aspirations. This isn’t unique to England: Germany has ΩBerufsschule (‘vocational schools’), which allow those over 16 to study alongside a three- or four-year apprenticeship, while France has a separate stream for those who want to take the ‘vocational baccalaureate’. Mandating a core curriculum until 18 is, therefore, potentially linked to the United States’ higher high school dropout rate than the UK and more general dissatisfaction with education.

This is compounded by the fact that the A-Level system is very popular. The English Education System is, undeniably, quite highly regarded around the world. Cambridge International A-Levels are taken by the economic elites all over the world, from Hong Kong, to India, to South America. They are seen as a gateway to academic success, to prestigious higher education institutions and a demonstration of true academic mastery.

It’s important, however, to deconstruct this reverence for English schooling. Education has been an area particularly defined by the colonial experience in many countries around the world. The idea of being part of an educated super-class still runs deep and possibly shapes existing feelings of respect towards the A-Level System.

Alternatives are on offer within the UK too. Scottish schoolchildren take more subjects to Highers Level and many private schools have opted to also offer the International Baccalaureate, which forces students to pick a true range of six subjects, taking three to ‘Higher’ Level. The impact of the IB on low-income US students was found to create ‘more rigorous classrooms, students who participate in more extra-curricular subjects and who had greater higher educational aspirations.’ However, the likelihood of us as a nation or schools more generally switching to such a system appears unlikely.

Gavin Williamson, former Secretary of State for Education, recently said that the purpose of education is to ‘give students the skills for a fulfilling working life’. While the answer to this could be vocational training from a young age, I’d argue that the key to a more ‘useful’ education is to treat young people as individuals and parts of the workforce, rather than as potential future academics. A more holistic education, one which accepts a need for depth while maintaining linguistic, literary and numeracy skills developed from a young age, could reinvigorate teachers and students and improve falling university satisfaction rates.

Artwork: Ben Beechener

Beer drills and beer fountains: the potential outcomes of Tracey Crouch’s alcohol plans

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My dad’s biggest pet peeve: half-time binge drinking. After getting up from his seat to let the dizzy drunken man shuffle past just as half time is approaching, he starts cursing loudly and violently, albeit in Portuguese. Missing precious seconds of a football match sends him the wrong way. The English fan’s matchday habits of leaving seats early, or arriving late from the concourse, so that they can grab a pint at half-time has its collateral damage. 

Tracey Crouch, who is leading the “fan-led review” of football governance, revealed that the government could lift the ban on drinking alcohol inside football grounds “in view” of the pitch. This ban has existed for 36 years due to the extent of hooliganism in the country. The new age of beer might be coming our way. 

The sit-down-stand-up choreography, which is English football’s reluctant alternative to the Mexican Wave, is a famous routine, well known and excellently rehearsed by all fans who regularly attend matches. This routine may be happening a whole lot more often if the drinking ban is lifted. Why wait till half time to grab a drink? Very soon, you might be able to get your pint in midway through the first half. Cue the friendly yet frustrated chants of “is this a fire drill?”.

Supporters are allowed to drink at the cricket or the rugby “in view” of the pitch. With all due respect to cricket and rugby, football’s instants of excitement are often rarer, shorter, more dramatic, manic, adrenaline-fuelled, action-packed, moment-of-truth-charged, g’wan-silence-yeaaaah-defined. Football’s crazy. There are no tea breaks. There is no courtesy, or least any sign of respect, shown to an opposition player lining up their penalty kick.

When your team scores, the full pint in your hand might be up in the air, soaking all those around in warm, stale beer. Can you imagine the scenes: a thousand men dancing and singing under golden showers? If they’re selling Darkfruit Strongbow in the concourses, it won’t just be splashes of gold flying about in the stands, but also pink and purple. Old Trafford, the Theatre of Dreams, will surely be known as the Theatre of Drinks. Getting drenched in beer may be enticing for the young football mavericks, but it’s certainly not for all match attendants. There’s Boxpark on an England matchday for that. 

Tracey Crouch makes the point that half-time drinking means “we kettle people into drinking quickly”. There are compromises to be dealt with though when it comes to football and drinking. It would perhaps be too harsh on English football fans to introduce Scottish football drinking rules, which would mean that all alcohol is forbidden in a football ground. On the other hand, it would most likely be far too permissive to let stands across the country once again turn into beery water parks, and let stadiums’ staircases turn into sticky slip n’ slides. 

There is also a strong sentiment among the British public that football fans simply can’t be trusted. As shown on the recent documentary series Fever Pitch: The Rise of the Premier League, The Times wrote that football in the 1980s was a “slum sport played in slum stadiums and increasingly watched by slum people”; many people believe that the culture of these darker times survives today; many perceived the scenes on Wembley Way in July to be the manifestation of this. 

At first, the ban would only be lifted at lower leagues, so that data could be collected. Tracey Crouch’s main reason for lifting current restrictions on drinking was to help the lower league clubs, whose beer sales account for much of their annual income. Though it may be hypothetical to say so, mix beer with a sore defeat, and the pint cup could become an effective weapon for the football fan. You could see pint cups flying like arrows onto the pitch when the opposition scores, much like what the abusive Hungarian fans did against England. Matchday incomes earned might quickly be offloaded on FA fines and other policing costs. Then again, with that in mind, we could see more Declan Rice-inspired celebrations, where opposition players pretend to chug beer from cups. Surely, those celebrations would be so iconic that EA Sports would have no way of not including them in PEGI 3-rated FIFA games by 2024. 

Booze seems set to return to football. The nature of this new age in drinking- a consolidated revival of hooliganism or the nativity for carnival atmospheres in football grounds?- will certainly be one to look out for. 

Image: Marco Velch/CC BY 2.0 via Flickr

The Ashes and the Place of Cricket in the 21st Century

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My whole life, I have been an avid cricket fan. I began playing the sport aged 9 in my back garden with my Dad, and I seemed to have a knack for it. I self-taught myself to bowl and was coming out with some relative quickies in no time, at least for my age. This was all not long after the passing of my grandfather who himself had been a top player, representing his school side in just his first year at school. It seemed to be a way for my father and me to connect with the memory of my late grandfather whilst doing something we both know he would have been very proud of. It is, of course, a great regret of mine that the man I called ‘Gangar’ never got to see me play.

Cricket is a dying art; a game that, many say, is moving behind the times. With dark, imperial undertones, the success of the sport proliferated at home and throughout the Empire in the 19th century, intended to ‘civilise’ the natives of the colonies. The success of those such as Sachin Tendulkar and Virat Kohli in India, for example, are triumphs over such ignorance. But through their nation’s participation in a sport played almost exclusively by ex-British colonies, it is also an awkward reminder of both cricket and Britain’s imperial past.

The Ashes, too, was born out of this imperial context. After the first Australian win on English soil at The Oval in 1882, the satirical sports newspaper The Sporting Times claimed that English cricket had “died”, the body of which would be “cremated and the ashes taken to Australia”. The English captain of the next 1882-3 tour to Australia, Ivo Bligh, vowed to “regain those ashes”, which, in fact, he did.

Nearly 150 years later, we find ourselves as English fans in the same predicament that Mr Bligh found himself in 1882. The first test ended in Australia this year with an Aussie win by 9 wickets; the second by 275 runs; the third by an innings and 14 runs. As I write, Jonny Bairstow is 103 not-out in the fourth test; but his persistence seems rather futile. Nevertheless, I imagine it can’t hurt to score runs on Aussie soil.

The defeat Down Under however, is particularly worrying this year in light of the developments taking place behind the scenes at the ECB in the past couple of years. Test cricket is no longer a priority. Short-form games are prioritised, and receives most of the funding. The Hundred, a success, I will admit, is indicative of this neglect; and even though last summer was as brilliant as it was, particularly for the women’s game, this Ashes proved to be a test at the side’s resolve and capabilities at the long form of the game. Australia does, of course, have the Big Bash, but evidently is better at balancing its short and long-form foci. Perhaps lessons could be learnt from our Aussie cousins; I would advise they should be, however hard it may be.

This leaves English cricket in a precarious predicament at the dawn of 2022. It is not a sport, perhaps, that is attractive to younger audiences; nor is the test team at a level where the country is as captivated by their talent as we were last summer with the football at the European Championships, though the one-day sides are quite impressive. It is, indeed, a dying art. Or is it evolving? As a purest, I see its supposed ‘evolution’ as dangerous, and lacking precedent. The Ashes, a source of national pride but also one of the most fantastic athletic spectacles on the planet, cannot continue to fade into the abyss as this series threatens for the English. But perhaps this is a case of “adapt or die”. I know the game I fell in love with as a child, that I remember my grandfather through, will not be the same again in the 21st century. But what I do know is that I wish it to survive. My mind is not made up yet as to how, but in light of the Ashes, it appears it might be made up for me sooner rather than later.

Image: Davidmollyphotography / CC BY 2.0 via Wikimedia Commons

Jair Bolsonaro’s Brazil shirt

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On the 7th September 2021, Brazil celebrated its Independence Day. In São Paulo, to mark the day, thousands of marchers descended on Avenida Paulista. The atmosphere perhaps was not so jovial, however. Anxious and irate marchers had in truth showed themselves in São Paulo to back Bolsonaro’s vision for a supposedly orderly and progressive Brazil where God is above all, and to lambast the Supreme Court’s tyranny for investigating Bolsonaro, and to gather some Trumpian momentum in the fight against the unlikely and unconvincing possibility of electoral fraud one year before elections take place. The radiant yellow colour the flood of marchers had created was a familiar one, a shade of yellow that would normally be attributed to the Seleção’s iconic football kit. But as Bolsonaro spoke to the thousands, the yellow of the Seleção shirt had seemed to defamiliarise itself from football, and had now become the token symbol for Bolsonaro’s far right agenda. 

It’s nothing new, politicians using football for their own good. Some of Brazil’s 1970 World Cup triumph can be accredited to General Medici’s, Brazil’s dictator, interest in politically investing in the national team and using his military to improve the players’ fitness levels. The country’s leading football writer, Juca Kfouri, writes that “I never let the dictatorship steal even what was most intimate to me”. Football and politics could easily be separated. Brazil’s success on the pitch could never be a politician’s success. 

Pelé had potentially consummated the hazardous marriage between Brazil’s dictatorship and its football when he shook hands with Medici. In a review of Pelé’s documentary film on Netflix, Jonathan Liew of The Guardian writes: “Of course, he admits, he had an inkling of what was going on, even as he posed for photographs with General Médici at official functions, beaming and shaking hands in pictures he must have known would be distributed around the world as pro-regime propaganda. But even now there is no real contrition, no twinge of moral anguish, much less genuine remorse at a course of action he insists was the only realistic choice.”

But it indeed was his only realistic choice. Access to education, let alone high-quality education, is limited. The Brazil team’s visit to the presidential palace was less of a polite invitation than it was a stern-faced command. The denial of a handshake with a dictator perhaps would not be the most sensible choice for Pelé’s own career as a footballer in the years after. It’s easy in retrospect to assume Pelé should feel regretful for not forming his own defiant identity off the pitch. Carlos Alberto Torres, the captain of the 1970 team, put it in an interview in 1988 that the players were only interested in “our careers, the professional pride of winning a World Cup”. Then, the effervescent colours of Brazilian football in 1970 carried a natural purity and artistic uniqueness that could be protected against invasive socio-historical readings. The handshake was not a handing over of Brazilian football’s collective mould of individual romanticism to the state’s powers.

Dani Alves, the world’s most trophy-successful player living in a new age of player activism where footballers’ political voices have become ever more significant, finds himself in very different circumstances to the position Pelé and his teammates found themselves in the aftermath of their 1970 World Cup triumph. Dani Alves has publicly supported Bolsonaro in using his slogan “Brasil above everything, God above everyone” on Instagram- Pelé was never deliberate in showing his support. Neymar’s dad commented under Alves’s post with a fist-bump emoji. Lucas Moura is another prominent footballer to have declared his strong support for Bolsonaro. Polling suggests that Jair Bolsonaro in fact has a very high disapproval rating across the country, despite the mass demonstrations on the 7 September. It is very much in Dani Alves’s consciousness that his political voice carries a significant level of importance to politics in the country. And as Dani Alves’s apparent words of support for the former military captain are complemented by an image of him wearing the national football team’s shirt, the iconic Brazilian shirt seems to embody not the national pride shared by a whole country, but a nationalistic pride felt by a minority in a country. 

It should come as little surprise that the Brazilian shirt seems to have had its symbol stolen. In part due to a number of factors including the 7-1 defeat, performances at recent World Cups, a growing European-led distaste for the “joga bonito” style,  and the demise of the reputation of Brazilian leagues, Brazilian football’s pedigree now finds itself in a vulnerable state. An untidy culmination of Brazilian football’s recent failures came in Brazil’s World Cup qualifier against Argentina, where health officials rushed onto the pitch mid-play to tell some of Argentina’s Premier League players to quarantine – they had been in the country for three days prior and the whole world had been alerted to the fact that they were in the squad ready to start. In a country where over 600,000 people have died from COVID-19, this sudden dismissal had nothing to do with health safety. This was a moment in which the incompetence of the country’s various governing bodies and the general bagunça (utter shambles of a mess) of Brazilian politics had violated, trespassed, and over-spilled onto the country’s most valuable safe-space. The purity and innocence of the Seleção has finally been ruptured, eclipsed, and defaced by political calamity. The far-right capitalised. It’s Jair’s shirt… for now. 

Image: Palácio de Planalto / CC BY 2.0 via flickr.com

Back To School: Sex (Re)Education

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CW: sexual assault.

The long-awaited third season of the hit Netflix series Sex Education arrived on our screens in September. And, just like before, it opens with another sexual montage: something viewers of the show are well-versed in by now. It’s in the name. But the sex is not all ‘for show’, so to speak. It tells so much more about teenage worries, desire and relationships, both sexual and platonic. The well-established mix of humour and honesty that Sex Education brings to these themes is a refreshing approach, and enables an exploration of a huge variety of sensitive issues regarding sexuality, as well as more light-hearted everyday adolescent dramas.

As it says in the name, Sex Education provides an actual education. Or perhaps, more suitably, a re-education from the less than adequate sex ed classes we had in school and the societal expectations that haunt us. Indeed, so many issues that are pervasive and normalised in society are discussed and broken down. Basically, we just need a teacher like sex therapist Dr. Jean Milburn (Gillian Anderson).

The series is direct in its address of the problems with school provision of sex education, from Jean taking it upon herself to provide advice in season two, to the students fighting back against the seeming promotion of abstinence by the new headteacher, Hope (Jemima Kirke), in season three. The series manages to be educational on a whole number of matters, whilst avoiding forcing it down the audiences’ throats. It reveals just how much the school sex education system, and, more generally, societal expectations of and views on sex, need to change. In order to create an equitable space for everyone, all must feel comfortable and confident in themselves and their bodies.

Let’s just say it. Masturbation. Especially for women, this is a topic often avoided, viewed as something dirty. I remember being in school and girls saying, “urgh, no, I would never do that”. As Otis (Asa Butterfield) points out to Aimee (Aimee Lou Wood), “women do tend to feel more shame surrounding masturbation than men. Feeling that it’s sort of taboo…You should probably figure out what works for you, and your body.” The show accurately represents how many women feel about this subject, and yet it actively works to break down these preconceptions. As per usual, it combines a more serious message with a familiar sense of playfulness; Aimee replies “so you’re prescribing a wank?”. This point, figuring out “what works for you”, is carried throughout the show. Ironically, whilst Otis advises others, he also needs to hear this himself. After testing his “clock technique” on Ola (Patricia Allison), he realises he is doing something wrong. He asks for help from a classmate, Ruthie. She says “there’s no magic technique that works for all women…but you shouldn’t be asking me, you should be asking your girlfriend.” Here it is assumed that Ola herself will know what she enjoys, thus implying that she has discovered it. As with Aimee, the show points out the importance of self-discovery and that, yes, it is fine to wank. It’s crazy how innovative it feels for a show to be addressing female pleasure and how important it is to communicate personal preferences.

Societal expectations and pressures are part of the problem, and series like Sex Education is one example of fighting against these and encouraging a different outlook for current and future generations. It opens up conversations that perhaps we’ve been too embarrassed or afraid to discuss before, making us question what we’ve been told from a young age. I remember the first sex-ed class we had in school, in our last year of primary, preparing us for what happens during puberty. Looking back on what we were taught made me angry about the implicit sexism that is perpetuated. We were told that as girls we would have periods and be able to have babies, and told that the boys would wank and have wet dreams. This only continues inequalities in society, when, from a young age, pleasure is an expectation for men and a matter not discussed for women. As a society, we can change this narrative. I personally feel like these matters are becoming a much more open conversation. Just as Jean and Otis show the students at Moordale and then, by the third season, each other, talking about these things is essential.

And let’s not even start on the lack of representation of LGBTQ+ relationships in the school education system. In my school, anything other than heterosexuality was never mentioned in class. By refreshing contrast, Sex Education celebrates diversity in sexuality, gender and identity in ways that are often so neglected in school. Of course, Eric (Ncuti Gatwa) is an absolute fan-favourite of the series. He is unapologetically himself, and also one of the funniest characters. Yet he is not reduced only to this. He is another complex, multi-layered character, and the exploration of his church community, and, especially in season three, his Nigerian family heritage, creates much more nuance to his identity. Particularly when the representation of queerness on screen is mostly reserved for white characters, it’s so important to see sexuality not being stereotyped. 

The series also sees the journey of characters to self-discovery and acceptance of their sexuality. Ola and Adam (Connor Swindells) provide two distinct examples of ‘coming out’ stories; the audience is able to see the series’ different approaches to this. Ola embraces her pansexuality after breaking up with Otis and realising that she has developed feelings for her friend Lily (Tanya Reynolds). Her self-acceptance happens relatively quickly. In contrast, Adam is shown to struggle with coming to terms with an understanding of his sexuality. Sex Education, therefore, depicts a wide range of sexualities, and yet also delves into how people do not always feel entirely comfortable with their identity. Hopefully, more and more representation on screen will help us work towards a culture in which queerness, in all forms, will be celebrated by everyone.

Departing from previous seasons, season three sees societal gender constructions explored and also challenged. We are introduced to Cal (Dua Saleh), a non-binary student at Moordale. As a cis woman especially, I feel that this is a hugely important storyline for educating viewers about gender identity. The inclusion of a non-binary character enables the series to expose everyday issues faced by non-binary teenagers, including ignorance from others, especially teachers. Hope, the headteacher, is extremely intolerant to Cal for supposedly not wearing the ‘correct uniform’. Yet for Cal, refusing to wear the ‘correct’ uniform is not merely ignoring the rules (as Hope assumes and punishes Cal for): it is an essential expression of identity. Yet again, this is another aspect of sexuality that has failed to be discussed in school, and often in society more widely too. 

One of the series’ darker storylines is Aimee’s; she is one of the most lovable characters on the show, but one who has to deal with the impacts of sexual assault. Sex Education approaches the matter with care and empathy. The storyline also demonstrates the power of female friendship – a group of the leading female-identifying characters bond together to support Aimee. Importantly, the series pays attention to not only the event itself, but the aftermath and the effects on Aimee’s mental health, and season three only explores this further. It highlights that trauma is something that can be worked through, providing hope, without downplaying its difficulties. Part of Aimee’s journey to work through the effects of the assault involve talking to Jean, who gently reminds her that, “you may never be the old you, Aimee, but that’s okay…And by processing this trauma, you may gain clarity on the event itself and we can move you towards healing the relationship with your body again.”

Therefore, beyond being an entertaining, funny series, Sex Education addresses many important topics, including female pleasure, LGBTQ+ identities and sexual assault, amongst others. The different experiences of such a wide range of three-dimensional characters on the show mean that there’s always something relatable, while also teaching viewers about the experiences of others. Sex Education doesn’t create an ideal of what sex, or identity, or relationships should look like, as there is enough diversity to be able to recognise something in everyone. Instead, it proposes: be who you want to be. This is the message that teenagers, and indeed anyone of any age, should be hearing, not the narratives constraining their sexuality and pleasure.

Image Credit: Sex Education/ Netflix Facebook