Friday 18th July 2025
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Review: Kanye West – ‘Jesus is King’

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It’s that time of the year again when Kanye West, armed with another batch of outrageous quotes (“God is using me to show off”) and the usual hubristic boasts (“I am unquestionably, undoubtedly, the greatest human artist of all time”), makes his inevitable return to the public eye. His ninth studio album, ‘Jesus is King,’ may plough a more restrained ground than the ‘bleached assholes’ and ‘black balls’ of prior releases, but he nevertheless remains the proverbial bull in the china shop that is celebrity culture; the problem is, he’s already broken everything there is to break, and so now is just left awkwardly galloping around, trying to keep all eyes on him, but ultimately failing, as we customers gradually begin to leave, bored, uninterested and tired. Oh, and the bull now makes really boring music, too. The ‘Yeezy season’ formula of spouting the ridiculous and doing the ‘unexpected’ has grown abysmally tedious, and the inclusion of Jesus doesn’t change this.

Now in all honesty, I’d rather not talk too much about the artist, focusing instead on his offering, but with Kanye, the two are so intimately yoked together, by his own design, that this is a nigh-on impossible feat. With that said, let’s boil down Kanye’s recent endeavours to this; he’s rediscovered Christ and missed a bunch of album release dates. Now it is not at all my intention to question Kanye’s faith, but after a turbulent 2018, which involved manic support for Donald Trump, claims that ‘slavery was a choice,’ and a very strange Twitter-published entry into philosophy, a Christian redemption arc was certainly not a bad move towards saving his public persona. At this point though, I find myself rather indifferent to Kanye. Despite his formidable ability to become, seemingly at will, the most famous person on the planet at any given time, it is quite telling that the most relevant thing he’s done during these last couple of years was piggybacking Lil Pump’s hype on the track ‘I Love It,’ created for the inaugural Pornhub Awards. Sad as it may be, Kanye’s powers are waning, and this may help explain his 2019. He has always been obsessed with and attracted to powerful people, be it Bill Gates, Walt Disney or Donald Trump, and whether intentional or not, one can’t help but see this reignited passion for Jesus to be a further example of this egomaniac aligning himself with power.

Last year, he could be forgiven for his tired antics, since he produced and released some excellent music – Pusha T’s ‘Daytona’ and his collaboration with Kid Cudi, ‘Kids See Ghosts’ saw him back near the peak of his powers. The same cannot be said for ‘Jesus is King.’ Although my excitement had been significantly dampened over the preceding weeks by the numerous missed release dates, I was nevertheless eager, on the eve of the Friday 25th October as I settled down in a window seat on the 853 bus back home to the Cotswolds, cosy and warm in spite of the angry wind and keen rain, to slip on my headphones and relish in the joys of a new Kanye album. It was not to be. Within ten minutes, I was fast asleep, head bobbing against the window as Kanye’s words strolled unnoticed through my unconscious mind. Now I concede that it had been a long week and that I was exhausted, but you can be damn sure that had I played ‘My Beautiful Dark Twisted Fantasy’ or ‘The College Dropout,’ (or pretty much any other Kanye album), I’d have been subtly grooving on that bus all the way back to Cheltenham. The bitter truth is simple; ‘Jesus is King’ is a highly forgettable project.

It begins with some very by-the-numbers gospel music, that, if not particularly interesting, does at least succeed as a reasonably captivating intro to the album. From second track, ‘Selah,’ it becomes evident that although ‘Jesus is King’ may appear to be, and in many ways is, an album in reverence of Christ, it is nevertheless also an album in reverence of Kanye. From implying that he is guaranteed a place in Heaven (“I ain’t gotta peak over [the gates]”) to comparing his recent criticism to the story of Noah (“Before the flood, people judge. They did the same thing to Noah”) and finally to the admittedly very funny mispronunciation of the KJV translation of John 8:33, “Ye should be made free” to sound like his own nickname, there should be no doubt that Christianity serves as a fitting veil for Kanye’s evergreen ego. This is a shame. Oddly, one of his most endearing character traits used to be this ferocious self-confidence, but when it’s being thus disguised, it no longer carries the same impact. Musically the track is laden with interesting ideas, including a momentous organ intro, primal drums reminiscent of ‘Yeezus,’ and a spirited outro of chopped up shouts and whoops, but nothing comes together in a cohesive way; it is simply one rather cool idea after another and this is no guarantee of a good song. The terrible mixing of Kanye’s vocals certainly doesn’t help.

The third track ‘Follow God’ is by far (really very far) the best song on the album. It sees Kanye return to his signature production style, chopping up old samples to create a steady, easy-going rhythm that is extremely pleasant on the ears. It has an obvious impact on Kanye too, who is clearly more comfortable rapping on this sort of beat. His flow, so often jilted and awkward on this album, is here natural and smooth. It is no secret that Kanye’s ability as an emcee has been on a gradual decline, so it is always pleasing to see him come through with a verse of legitimate talent. Beyond this, though, it is hard to find a single other verse – be it rapped or sung – that is worth a listen; though difficult to believe now, there was a time when it was just as hard to find a verse of his that wasn’t worth a listen. The lyrical content on the track, though hardly exceptional, is also the pick of the bunch here. It sees Kanye arguing with his dad about what it is to be ‘Christ-like.’ Now there’s nothing resembling conclusion, nor are any points of genuine interest made, but it does at least show that Kanye is considering Christianity beyond the utterly superficial. The rest of the album, though, where religion is concerned, resembles nothing more than a billboard on a Louisiana highway advertising the local Christian community.

The amount of times Kanye says anything pertaining to Christianity of real profundity can be counted on one hand. What we do get is standard doctrine (“Follow Jesus, listen and obey”), corny jokes (“When I thought the Book of Job was a job”), and empty confessions, (“The Devil had my soul, I can’t lie”), all of which I could get from going to church, but with myriad times more interpretation, humour and depth. I’ve heard countless sermons more exciting than what Kanye offers here, which is hugely disappointing, especially given his knack for genuinely affecting self-evaluation in past releases (see ‘All Falls Down’ or ‘Can’t Tell Me Nothing’). Totally absent is any inquiry into Kanye’s rediscovered faith, or anything that would genuinely work towards persuading others to convert (a goal for which he himself has said he is striving).

Unfortunately, the odd musical flourish cannot save ‘Jesus is King’ from becoming a disgustingly long 27 minutes. Even the aforementioned ‘Follow God’ is directionless, and this half-baked approach is even more present throughout the rest of the album. ‘Closed on Sunday’ quickly engages the listener with a very dramatic opening of creeping acoustic guitars and moody choral hums, but devolves just as rapidly into farce with the aggressively stupid refrain, “Closed on Sunday, you’re my Chick-fil-A.” How are we supposed to take Kanye seriously? ‘On God’ comes next, decked out in an annoying synth line and laboured singing. To think something so dull could end up on a Kanye West album would have been unfathomable just half a decade ago. And it is this dullness that wins the day in the end. ‘Everything We Need’ ambles along without leaving so much as a dent of intrigue. ‘Water’ rivals its namesake more in blandness than in purity, and even Kanye sounds a bit worn out with the whole Jesus thing in his central refrain. ‘God Is’ proves to be a decent little ballad, ruined completely by Kanye’s rather awful singing – and this is coming from someone who is usually a big fan of his sung verses.

Were it not for Kanye’s moans about how he’s not been readily accepted into the Christian community, ‘Hands On’ would be equally forgettable. Intent on being a victim, he begrudges “What have you been hearin’ from the Christians? They’ll be the first ones to judge me.” But did Kanye seriously expect to be welcomed into the community with open arms after previously proclaiming himself a god on the track “I am a god (feat. God)” and spending years spitting in the face of the vast majority of the Ten Commandments? Even if we forget about everything in the past (since Christianity is, after all, founded on forgiveness), he is still radically hypocritical in his practice. While being absurdly dogmatic, to the point of hilarity in some respects (banning everyone working on his album from having pre-marital sex and keeping a daily scorecard for whenever he curses), he is still the antithesis of humility in a religion that preaches being low and humble. Similarly, he has spent the last few weeks boasting about his $68 million tax refunds, rejoicing in his ignorance of Jesus’ statement in Matthew 19:24 that it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God. It is such contradictions that Kanye would typically revel in exploring through his music, and would make for fascinating content, but now they just serve to remove credibility from the man.

An excellent Clipse feature and Kenny G saxophone solo in ‘Use This Gospel’ prevent the record from crashing and burning, but one can’t help but feel the former has been sold short in their grand reunion, while the latter has just been tacked on the end of the song, because why not? Clipse especially deserve better than this; Pusha T has consistently been Kanye’s best featured artist ever since his show-stealing appearances on ‘My Beautiful Dark Twisted Fantasy,’ while No Malice delivers the best verse of the album here, displaying his internal conflict of being a man of God, while also having brought such great damage to people’s lives through his past actions.

The final song ends abruptly, in one last awkward stab to finish off this long-suffering album. Kanye has managed to pull off the remarkable in making an unreservedly soulless gospel record. Considering the theme, it’s very cold and almost heartless, lacking any semblance of emotional pay-off. Lethargic and spineless, it eventually drags itself to completion. I do still have faith in Kanye West – if there’s one person you can never count out, it is he – but I can’t help but feel bitterly let down by this. His rampant egoism no longer holds much weight as Kanye here takes another kick at his own legacy. Jesus may be king, but Kanye is distinctly average. 1.5/5

Boyfriend vs. Genghis Khan

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Back in February of this year, Ariana Grande seemed on top of the world, or at least the music industry. With the release of an album carrying two back-to-back Billboard number one singles that were followed by another that reached number two, it seemed as if no other star in the music industry could possibly shine brighter. A critical as well as commercial success, Thank U, Next managed to significantly evolve her musical style towards more hip-hop influenced production, all less than a year after the release of Sweetener. And yet Grande hasn’t been able to touch those heights since. The two singles after the album, both collaborations, went nowhere, the third, ‘boyfriend’, barely cracked the Billboard Hot 100, and the mess that was ‘Don’t Call Me Angel’ was rightly panned and shunned from the top 10. For an artist who seemed so utterly dominant, these have been very poor commercial responses.

So, what happened? The answer, I think, can best be seen in her most successful post-Thank U, Next song, ‘boyfriend’.  Listening to the song I was immediately reminded of another song, not of Grande’s but of the trio Miike Snow, more specifically their 2015 single ‘Genghis Khan’. Like ‘boyfriend’, the song deals with a speaker whose jealousy makes them want to stop a lover from seeing other people, despite their relationship still being non-committal. I will admit that perhaps my love of ‘Genghis Khan’ has led me to draw a link where others would see only wisps, but I still think we can learn a great deal about the underperformance of ‘boyfriend’ by comparison of which song does what better, if only as part of a transparent exercise to get you to add ‘Genghis Khan’ to your music library.

Certainly, on the visual style of things, ‘Genghis Khan’ has ‘boyfriend’ beat. That’s not to say ‘boyfriend’ has poor quality in its music video and cover art – in fact, the over-the-top ‘imagination’ sequences to show off the jealousy of both partners is quite entertaining and original, but it is all pulled off in the same old Hannah Lux Davis-style tongue-in-cheek shiny and somewhat silly production. It’s the same colour palette we were treated to with Thank U, Next’s videos, the same abundance of slow motion, the whole thing ends up appearing quickly prepared, and treats us to only a single location for the whole video that serves little purpose other than looking mildly interesting. Grande’ style evolved into Thank U, Next, but now appears to stagnate. Genghis Khan, on the other hand, gives us a brilliant homage to classic bond films, complete with massive laser, armies of henchmen and an extremely well-matched visual aesthetic. The video is so good, in fact, I would urge you to watch it purely on its own merits, even if you are not sold on the song.

The modern music industry may be dominated by visual style, but it certainly isn’t everything – and on the topic of the music itself ‘Genghis Khan’ has a few more things to offer as exemplary practices. In terms of vocal skill, Wyatt is nowhere near Grande, which becomes painfully obvious when watching any of Miike Snow’s live performances. Despite this, he manages to inject significant energy and feeling into ‘Genghis Khan’, which are two elements sadly lacking from ‘boyfriend’. Grande sounds a little too comfortable, a little too bored, and Social House add very little from their feature. Defenders of ‘boyfriend’ may have some recourse in the lyrical domain, however. Whilst the line “I get a little bit Genghis Khan” may be interesting and catching, the metaphor is tenuous at best and downright confusing at worst, and I must admit seems a little like shoehorning in order to give the song a more memorable hook line and title. Grande’s song may be repetitive, but uses its lyrics well to fit in with the mood and vibe of the song, and conjures up some fairly decent imagery at times. It may be a little vague to enable listeners to easily slot themselves into the narrative of the song, but such an accusation can easily be levelled at both songs as much as each other. On the production side of things, the drums roll ‘Genghis Khan’ forward with infectious energy, and though the tuned elements may be limited to a piano and bass, the whole production fits together rather excellently. ‘boyfriend’ seems to more subscribe to a modern trend of ‘chill’ music, but admittedly does this rather well. The production elements are altogether not a departure from Thank U, Next in any way, but are nicely refined and provide for a satisfying experience, especially in the chorus.

I think it inevitable that Grande will return to the top 10 of the Billboard charts. She may not have had her usual level of success from her post-Thank U, Next singles, but the album is not even a year old, and she remains an enormous presence in the industry, backed up by extremely competent producers and writers. So, whilst her most recent efforts may not have been par with her best work, at least you can enjoy the top-notch production of ‘Genghis Khan’, which may be four years old, but likely new to many. After all, it may have one to two exemplary elements to be learnt from.

Philip Glass Ensemble – satisfying constancy

Clare:

On the 30th October, Philip Glass and the Philip Glass Ensemble performed Music with Changing Parts. Due to illness, Glass himself was unable to perform. Instead Ensemble member, conductor and director Michael Riesman took the helm. Never having heard Philip Glass other than via Spotify, I am not able to comment on any negative impact his absence may have had. Reassuringly however, Music with Changing Parts – one of Glass’ earliest works which premiered in 1970 – had all the trademarks of his music. I consider myself incredibly privileged to have been there – and all the more so because I had tried to get tickets at the general release and not succeeded. (Oh, those sweet, sweet press seats.)

Music with Changing Parts underwent a rejuvenating makeover in 2018 with the addition of brass and voices. The voices on this occasion were those of the Tiffin Chorus whose buoyant youth kept up with 90 minutes of tireless keyboard (five keyboards to be precise). Their cyclical melodies, syncopated among themselves, were subject to minor changes throughout the course of each movement. I found myself swaddled, encircled, in the mesmeric repetition of harpsichord and organ-esque keyboard, multi-layered sound enriched further by the haunting flute, resounding bass of the trombone and the occasional staccato, almost kazoo-like, of the trumpet and saxophone.

The choir, so seamlessly a part of the whole, despite being such a recent addition to the 49-year-old work, embellished the contributions of all sections at different points during the performance. For several bars at a time, the harmonies would meld with the spritely flute, before switching to reinforce the Baroque-influenced keyboard parts.

Conductor Valérie Sainte-Agathe was dressed as if for a Halloween ball in ruffles of black, floor-length gauze and as my ears were enraptured, so were my eyes by her intricate gesticulations that successfully kept the polyphonic chaos in an oxymoronic state of calm. Sensorially immersive, with barely a moment for audience members and musicians alike to pause for breathe, the Barbican became a perfectly contained microcosm for the duration of the performance. I felt my brain adjust to the consistencies in the keyboard so well that I was able block them out in order to tune in to the eponymous ‘changes’ that led the work’s evolution over that hour and a half.

Structurally and rhythmically challenge, Glass’ music did not fail to enchant and surprise; the climax at the end of Music with Changing Parts just as deliciously refreshing as the opening bars.

This 2018 re-rendering is, in Glass’ eyes, “a richer version of the music and a more satisfying completion of the original idea”. The engulfing polyphony of voices, woodwind, keys and brass was, indeed, richly satisfying to experience live.

Ben:

On Wednesday, 30 October, Philip Glass’s Music with Changing Parts returned to the UK for the first time in 48 years. London’s Barbican Hall hosted the Philip Glass ensemble and the Tiffin School Choirs to perform this new rendition of Glass’s 1970 piece. The hall was packed for the transcendental 90 minute performance which even Glass once judged “a little too spacey for my tastes.” Due to sudden illness, Glass himself was not present, replaced by Michael Riesman, director of the Phillip Glass Ensemble.

Music with Changing Parts is largely seen as a transitional piece for Glass. It was first performed in New York in November 1970 on the heels of his 1969 pieces Music in Similar Motion, Music in Fifths, and Music in Contrary Motion. While rehearsing Music in Similar Motion, Glass discovered long overtones that seemed to stem naturally from the performance. He explored this more intentionally with Music in Changing Parts by creating extended drones in the wind, brass, and choral parts. Changing Parts prompted Glass to write even more extended pieces, including operas such as his famous 1975 opera Einstein on the Beach.

Music in Changing Parts was performed across the United States and Europe in the 70’s and 80’s, including a performance attended by David Bowie and Brian Eno which later led to a series of Bowie-Glass collaborations. In the proceeding decades, the Philip Glass Ensemble focused their performances on his other works until recently when Glass heard several younger ensembles revisit Music with Changing Parts. “I was so impressed,” he says, “that I went back to the work myself.”

The revised work, with enlarged brass and vocal ensembles, premiered in 2018 at Carnegie Hall in New York and David Hall in San Francisco. Last week’s Barbican performance was attended by a full house. The piece itself, as with much of Glass’s work, defies normal concert expectations. The uninterrupted hour and a half performance starts with a steady pulse echoed and elaborated across the several keyboards. Gradually the other parts fade in: a saxophone gently wails, a flute blends in. With Glass, texture, not melody, is the key. The ensemble performs more like a single, multi-faceted instrument rather than a coordinated body of musicians. Each part is nearly inseparable from the woven whole. Periodically, cued by the raised hands of conductor Valérie Saint-Agathe, the ensemble would suddenly drop away from the constant keyboarders’ rhythm and a new texture would develop again.

The titular changes were not always so clear. Contrary to the piece’s title, the overwhelming sense of Changing Parts was its constancy which veiled a slow, imperceptible development. It took nearly an hour to notice the gradually increasing pace of the underlying beat. Parts flowed into each other river-like so that the harmony was continuously, yet passively, engaging. The exception to this rule was the occasional shout of either the children’s choir or the brass. These outburst seemed to serve as mile markers against the stream of decadent consonance that was the rest of the piece. Changing Parts is unusually improvisational for Glass but the musicians are specifically discouraged from ‘soloing’ improvised melodies.

At its core, Changing Parts is natural. One could describe the piece in the words of French writer Jean-Baptiste Alphonse Karr: plus ça change, plus c’est le même chose. Changes, whether we see them happen or only notice in hindsight, are the one constant in life. Glass’s piece reflects this succinctly.

Review: Stranger, Baby

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‘I wanted to put my body into these words’ 

Emily Berry’s 2017 Stranger, Baby, is one of the most adored contemporary poetry collections to emerge in recent years. There is thus something quite remarkable in Maya Little’s restaging of the collection as a play, a devoted love letter to Emily Berry’s meditations on loss, mourning, and the sea. 

Stranger, Baby, opens with the line ‘I stood at the dangerous shore’, and it is from the very first word that Little’s adaptation complicates the original text. Three actors stand on stage, another yet to enter. Exactly who represents this poetic ‘I’, is dissected throughout the adaptation, questioning how we stage the poet’s voice alongside alternate influences. In Berry’s poetry, these influences include her mother, Sigmund Freud, as well as disparate versions of the self, but no actor clearly represents one singular voice. What was one voice becomes four, with the language of the collection brutally dislocated and lines being torn away from actors who rarely get to finish words without interruption. 

While the acting and use of lighting are impressive throughout the show, it is sometimes the use of objects on stage that cannily articulates Berry’s collection most movingly. The mirror, for example, is one of the craftiest props of the show. Even though the poetic voice has already been strained through the presence of four actors on stage, we see each character doubled through the mirror. Not only that but the audience can see their own reflections staring back at them as if they are included in this image of the self. After months of rehearsal, the mirror is blemished with fingerprints, highlighted by harsh stage lights, but it serves a metaphorical purpose, too: ‘Never look at yourself in the mirror when you’re crying / I did not follow her advice.’ We can see how many times the poetic voice has failed her mother’s instruction. What we see in the mirror is the reflection of how many impossible selves it takes to grieve. 

Another notable object onstage is the wooden boat. The text of Stranger, Baby is distinguished for its continual references to water, with Berry’s poems drenched with tears and brimmed with memories of mermaids, tidal-waves, and rivers. One of the most affecting moments of the performance is when Abigail Casson, potentially the stand-out member of an admirable ensemble, is doused with a cup of water, but while the characters repeatedly speak of the sea, we see such a small presence of water on stage. A boat without water figures as a coffin and a bed, but never really as a boat. Little finds new ways of reading absence and presence into Stranger, Baby, and such clever staging is striking.

For audience members who are unfamiliar with the poetry collection, the play potentially dangers on being too abstract, too conceptual, too niche. Yet for someone who has read Stranger, Baby, or someone who has been touched by the story of grief, this adaptation is a poignant revision of a modern classic. It might even encourage an audience unfamiliar with Berry to pick up her work. The text is no less rich and eerie when performed on stage, as the dramatic adaptation of Stranger, Baby is a veneration of the gorgeous polyphony of Berry’s poetics, and a most heartfelt invitation to pick up more poetry. 

Review: Spring Awakening

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Having had the chance to see the dress rehearsal of Spring Awakening at the Oxford Playhouse ahead of the crowds I’m sure will be descending to see this ambitious, moving, and pitch-perfect production. 

I was immediately struck by the set design. Emily Stevenhagen’s garish neon stained-glass window was a constant in the flexible space, immediately and concisely introducing the conflicts between organised religion, civilised society, and rebellious youth about to unfold. The moving staircases and thin metal balcony also worked very well and all the complex set transitions were handled excellently by the ensemble. I only wish that the set’s least creative moments, when two white walls connected to simulate Wendla’s living room, had been given the same thought as their most innovative and affecting, when orderly lines of ensemble in school uniform march across the stage and drop bouquets of flowers to simulate a graveyard. 

As the cast entered in boxer shorts and silk slips, they stand in pairs and dress each other, a touching and subtle show of the intimacy that will be denied them throughout the musical. The initial dialogue was a little rushed and garbled, but the cast soon settled into the show and the stage, which made it clear it was likely just dress-rehearsal nerves. From the first song, I was sold. The acting was strong, but the musical talent of this cast is worth attending for on its own. 

Hannah Andrusier’s, delicate voice as Wendla was a delight to listen to, perfectly evoking the innocence of her character, though occasionally its subtleties were disappointingly no match for the volume of the orchestra behind her. Melchior, played by Henry Waddon, was full of roguish, rebellious energy and easy charm. The chemistry of these two actors was undeniably one of the most compelling parts of this production, and they slowly unfolded their love affair with all of the tenderness and electricity of repressed teenagers. It was only occasionally that this beautiful give-and-take slipped, with one seemingly forgetting to react to a passionate kiss because of the pressure of remembering a choreographed pull-away, but this was only disappointing because of the earnest tenderness of what had come before. I commend these actors and their director, Issy Paul, for building this genuine, growing intimacy into the centre of the musical. It made all the difference.

Special note must be taken of Gavin Fleming and Ella Tournes who played, with incredible fluidity, every adult figure in the musical. The sheer number of costume changes alone must have been a task, but almost every adult represented on stage was a distinctive presence with a clearly defined voice. I only wish some of their characters, like Wendla’s mother whose disapproval is so key to the plot, had been a little less frantic and more three-dimensional. They were particularly enjoyable as the schoolmaster and mistress, though, and the voices they adopted for these characters were utterly perfect. Joe Winter as Moritz also deserves recognition for capturing the awkward charm of Melchior’s struggling best friend, and Martha’s duet with Ilse, performed by Ruby Nicholson and Maddy Page, was beautifully sung and very moving. Some characters, however, like Ernst (Tom Foster) and Hanschen (Emilio Campa) were well acted but fleeting and limited in depth, leaving the audience with the distinct sense that they had missed something.

The music was frequently the star of the show, occasionally to the detriment of the singers who provided less volume or enunciation, and occasionally highlighting that the musicality was more fully realised than the drama. If I did not know the plot already, I may have struggled to keep up with some of the more exposition-heavy songs and plot beats overwhelmed by music. Having the orchestra constantly visible to the audience and even occasionally brought out onto the stage made the production dynamic and undeniably musical, though. The lively group numbers particularly punctuated the divide between the characters’ orderly public personas and their internal desires and frustrations expressed through song. 

This is not a perfect production, but it is a great one. Every aspect is ambitious, from the lighting, to the staging, to the musical arrangements and the emotional performances. The cast and crew have clearly pushed themselves to the creative limit and it has certainly paid off – this production is vibrant, exciting, a bit messy and unfinished (as adolescence tends to be), and very touching. I highly recommend you see it while you have the chance. 

Review: Things I Know to be True

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Andrew Bovell’s play concerning the vicissitudes of quitting a conventional home for the outside world leaves both its characters and audience with a shaky view of home-life. One thing’s for sure: watching Things I Know to be True at the Michael Pilch Studio is one and a half hours well-spent.  

A telephone upon a side-table and two plastic troughs filled with fake flowers provide the opening scene for a play feared to be another cosy, domestic set-up writ large on stage. However, despite the naturalistic, homeliness of arguments over new-fangled coffee machines conducted at a table laid with biscuits and hot beverages, this play, paradoxically, captures the impermanence of a stable conception of home. 

Bob and Fran’s family-of-six is introduced as a close-knit, if squabbling, community gathered for the early return of their youngest from Europe. However, the wooden chair, placed roughly centre-stage, becomes a place of monologic revelation for the four children: Rosie, Pip, Mark/Mia, and Ben; from my seat left-of-stage I watched as familiar moments of family-life, such as the coveting of the youngest, or the taunting of a young girl’s vanity, were rendered sinister in light of individual confessions. 

The consistency of Harry Berry’s characterisation of Bob was genius. His stuttering, gaping jaw, unexplained stage-exits, outbursts, and awkward embraces conveyed shock and dread, just as well as they gave the impression of a retired father struggling with modern existence in some of the most humorous moments of the play. I didn’t believe Bob could look any more devastated by the disintegration of his black-and-white picture of life, until his face was firmly pressed into the freshly-strewn soil of his upturned roses mid-stage.

Indeed, all characters adopted mannerisms and tics which impressed: William Ridd Foxton perfectly captured the jittery toe-tapping of telling one’s parents what you think they never want to hear in the character of Mark. Bailey Finchie’s striding across stage as Ben with freshly washed shirts in tow and the assertion that he ‘Must go, really can’t stay’, only to be tempted by the prospect of lasagne in tupperware, was a stand-out, comic moment. Elise Busset’s portrayal of falling in and out of love as Rosie, the whimsical teen, was faultless, if slightly marred by the use of physical theatre in a lift to represent her swooning. Finally, Imogen Honey Strachen as Pip sung delightfully and produced, what I felt to be, the most modern and uncontrived character of the piece. 

Maya Jasinska had a hard role to master as Fran, the formidable mother of the clan. Just as Ibsen struggled to invoke empathy for the wayward mother of Nora in A Doll’s House because of her lack of affection for her children, Fran’s overwhelming bitterness detracted somewhat from the true relatability of her story as a model mother who feels tired and trapped by expectation. Yet, her abrupt attacks in response to her children’s confidences seemed more a matter of scripting, rather than an acting choice. However, I would have liked to have seen more evidence of tenderness, in smiling moments spent with Rosie, filter into her relationship with other characters, to justify the fond response of her children at the end. Nevertheless, this was a moving performance by an actress capable of shedding true tears on stage, as was remarked by another audience member. 

Tears were also shed in the audience as the cast donned black for the funereal conclusion. This close-quarters experience of a treasured-home turned suffocating-chamber is well worth a watch this week!

Keble reverses ball accommodation decision following student pressure

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 Keble College has reversed its decision to refuse students onsite accommodation during the commemoration ball on June 27, 2020. The move comes after students put substantial pressure on the organisational committee to secure rooms in college, citing access and welfare concerns which would particularly affect low-income students.

In an email to college members, ball executive Sam Edwards said 200 rooms would be initially made available on November 7, but that this was “the maximum number which can be confirmed at this stage,” as the college is yet to finalise academic requirements for students staying on for work in 9th week. 

Third-year student Hannah Al-Qaryooti, who was instrumental in proposing the motion and highlighting the accessibility concerns involved, said, “I am extremely happy that Keble have reversed their decision. It shows that they have listened to student concerns about accessibility.” 

Initial concerns revolved around the cost of rooms outside college, the cheapest of which was priced at £50 – thus making it difficult for low-income students to attend. As the majority of the accommodation was located at Oxford Brookes, students also expressed worry that drunk students might be forced to walk to the site alone in a vulnerable state. 

Rooms in college were originally priced at £43, but the ball committee has decided to subsidise the cost, reducing the price to £33. They will be allocated on a first-come-first-serve basis, although full bursary students will have their rooms automatically reserved.

The college has also committed to offering heavily subsidised tickets to Moritz-Heyman scholars, meaning that they will be able to attend the ball at a cost of £50, which Al-Qaryooti lauded as an “extraordinary commitment to accessibility from Keble and should be followed by other ball committees.”

Social Backgrounds Rep Adam Ferguson told Cherwell: “It is very encouraging to see that Keble is both aware of, and open to our suggestions as to how best support low-income students. Given a short amount of time and a tight schedule, the college acted remarkably quickly and have introduced an element of accessibility to the ball which will hopefully remain indefinitely into the future.”

Despite the success of student action, Al-Qaryooti expressed she was “disappointed that it took such pressure from the student body to actually make accessibility provisions and that such concerns from the student part of the committee were ignored when these decisions were initially made.” 

She added that future balls outside term time should include an access officer, due to fears that “with such a quick turnover of students, it can be quite difficult to create long-lasting change, as when students leave, the accountability does so with them and instead we go back to square one with the new cohort.”

The organisational committee is split into a student section and a college working party, the latter of which was initially responsible for the decision to refuse onsite accommodation to students “for various logistical and safety reasons,” according to Edwin Peel, the chair of the working party. 

24 hours of rowing at University College Boat Club in aid of Mind

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Rowers from University College Boat Club will be rowing continuously for 24 hours to raise money for Oxfordshire Mind at the college on 16-17 November.

The rowers will power two rowing machines overnight to raise money for the charity, and part of the rowing marathon will take place on the college quad and will be open to the public.

Supporters will be able to cheer the club on in the quad from 11am- 5pm on the 16th and 9am-11am on November 17. The overnight section will be held in the college gym.

Kathryn Pickup from Oxfordshire Mind said: “We know that physical activity can make significant improvements to people’s mental health, so it’s great that the UCBC have chosen to raise awareness of this, as well as making mental wellbeing a priority for their own club. At Oxfordshire Mind, we firmly believe that everyone who experiences mental health difficulties should have somewhere to turn to for advice and support. By supporting us in this way, UCBC will ensure that we can continue to make that happen.”

The club chose to support Ox- fordshire Mind because it runs local workshops and provides support for those suffering with mental health conditions which are especially prevalent in young people. The event is also supporting the Rowing Together for Healthy Minds initiative, which was set up in specifically to raise awareness about mental health in the rowing community. Aiming to raise £2,000 forthe charity, the college has set up a JustGiving page.

Worcester JCR reintroduce standing for formals

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Worcester JCR has recently voted overwhelmingly to reinstate the practice of standing as tutors approach the high table at formal hall, after the recently appointed Interim Provost and the college governing body banned the custom without JCR consultation. After passing the results of the referendum on to the college administration, with 130 out of 155 in favour of maintaining the practice, attendees can now choose to stand if they wish – this choice was already made by students at the formal on Tuesday of 1st Week, even prior to the JCR motion being put forth.

Since Worcester is one of the few colleges that retains most formal hall traditions, including gowns, formal dress code and Latin grace there is a strong feeling within the student body that Worcester’s reputation for traditional formals or, as the original JCR motion put it, “the element of theatre,” should be maintained.

A Worcester fresher, who asked not to be named, dismissed the argument that traditional formal hall might hinder attempts to make the college more inclusive of people of diverse backgrounds, calling it an “overreaction.”

Echoing this, JCR President Ellen Flower summarised the feeling of the student body – “people really like some of Worcester’s traditions and feel strongly about the prospect of them changing.” She added that “it’s interesting that the JCR members appear more conservative than members of the Governing Body”; indeed, the original proposer of the motion, Damon Falck, claimed it was an attempt “to get things back to how they used to be.”

However, it is important to note that the apparent conservatism of Worcester students only goes so far; the aforementioned fresher also argued that saying grace has more connotations of elitism than standing for tutors, citing the use of Latin and the fact that “it shows respect only for one specific religion.” In this way, Worcester students do not appear to be opposed to attempts to make college life more inclusive, but feel that this particular attempt has been misdirected.

Controversy over the role of tradition in formal hall and discord between college administration and the student body are hardly unique to Worcester; in the first week of Hilary term last year, the St Catherine’s JCR voted for a motion for students to make a ‘personal decision [of] whether to stand or sit, silent or not, when the tutors walk into the Hall.’ This motion, the very opposite of Worcester’s effort to preserve tradition, passed with 24 votes for, 21 votes against and 2 abstentions, a very low turnout among just under 500 undergraduates.

Indeed, despite the motion students still stand for their tutors at hall and it is unclear whether the Governing Body will implement the vote. The proposition argued that undoing the tradition would make hall more popular and was not only practical but more inclusive; it should also be noted that St Catherine’s is seen as one of Oxford’s more progressive colleges, and unlike Worcester does not have a tradition of saying grace, and has a casual dress code. ll. However, there were concerns that the motion could damage relations between the JCR and the faculty and, like at Worcester, some students argued that standing showed respect for the work of those seated at high table. The proposer of the motion at St Catherine’s declined to comment.

Though few other colleges aside from Worcester and St Catherine’s have had JCR motions addressing this specific issue, and in some the concerns surrounding traditions at formal hall are met with apathy – a fresher at Queen’s claimed that “no one [in the student body] has raised it as an issue to debate, it’s not given too much thought” – there have been strong reactions from individual students calling for the tradition of standing for tutors to be abolished.

Zaman, a fresher at Corpus Christi, thinks it wrong that “someone should command such a show of respect merely because of the official position they hold,” and cited racism, transphobia and climate change denial on the part of tutors as reasons why some students might be uncomfortable standing for them. An Oriel student who requested to remain anonymous raised the issue of the accessibility of formal hall to disabled students, which is not often acknowledged in related JCR motions. “As a disabled person who sometimes finds it hard to stand,” the student wrote, “I would feel embarrassed if I weren’t able [to stand for tutors] at formal while everyone else does,’” though she did also acknowledge the “warmth and empathy” she felt from her college towards her disability.

Ex-Director General of MI5 gives Romanes talk

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Last week, Baroness Eliza Manningham-Buller gave the annual Romanes Lecture on ‘The Profession of Intelligence’ in the Sheldonian Theatre.

Baroness Manningham-Buller was the Director General of MI5 from 2002 to 2007, having had a career in the MI5 for over 30 years.

She is now Chair of the Wellcome Trust and has been a crossbench peer at the House of Lords since 2008. She read English at Lady Margaret Hall, Oxford before joining the Security Service.

The talk was about the nature of intelligence, its value and limitations, and how it is practised. In discussing the role of people working in intelligence, she focused on team- work and diversity. She emphasised intelligence officers should have a variety of experiences and be “comfortable with ambiguity.” She also said discussion between depart- ments and countries is important – it is a “shared endeavour between colleagues.” As well as explaining the nature of the profession of intelligence, she discussed its relation to current affairs.

Anne Deighton, Emeritus Professor of European Interna- tional Politics, noted in a tweet how Manningham-Buller commented on the government’s delay in releasing a report on Russian covert actions and alleged electoral interference compiled by the Parliamentary Intelligence and Security Committee.

“Eliza Manningham-Buller appeared to make a reference to this untoward delay in releasing the report. So what does it say that frightens the govt?”

Deighton told Cherwell: “I thought it was apt, and respectful of her audience that she flagged this issue up, which is about access to information on an important strategic matter which a cross party committee of MPs had spent time compiling. It must make every citizen very curious to know what the report says about the activities of the Russians in our political system.”

No. 10 has since refused to release the 50-page report until after the general election on 12th December, leading to speculation that the government is hiding the extent of Russian interference.

Manningham-Buller’s previous lectures have attracted attention due to her clear opinions on how political decisions impact the UK’s security. In a speech in 2016 at Chatham House, an international affairs think tank, she criticised the choice to leave the European Union because of danger to the country’s security. The Guardian reported how she criticised claims that the UK would be safer outside the EU as “nonsensical and spurious” she suggested that “to leave would present real risks to our security and safety”.


Previous years’ Romanes Lectures have also garnered attention because of prominent figures’ perspectives on current affairs. Hillary Clinton said in the 2017 lecture ‘Making the Case for Democracy’ that young people were “let down by Brexit” and asked whether more should have been done “to turn the tide”. Other Romanes lecturers have included Gordon Brown in 2009 and 2006, the Archbishop of Canterbury, Dr Rowan Williams, in 2004, and Tony Blair in 1999. The first Romanes lecture wasgiven in 1892 by William Gladstone and has since been the public lecture of the University. A distinguished public figure from the arts, science, or literature is invited by the Vice-Chancellor each year.