Thursday 10th July 2025
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Preview: Life Of Galileo

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In a single book published in 1610 Galileo Galilei demonstrated the first observations of spots on the Sun, mountains on the Moon, phases of the planet Venus, the stars of the Milky Way, and the four moons of Jupiter. To a people that had long thought the Moon to be the only moon and the Sun, like all heavenly bodies, to be without spots or blemishes, this book was revolutionary. Velvet Vest Productions will retell the story of Galileo, his moons, and his world in Life of Galileo, opening Thursday, 31 October at the Keble O’Reilly Theatre.

This original translation of the 1939 play by German playwright Bertolt Brecht follows Galileo and his friends as they risk life and love for a novel vision of the world. As historical fiction, Life of Galileo focuses not only on themes of truth and belief, but also on the commercial and emotional cost of science. This Galileo is a refreshing break from the recently popular image of the cold, removed genius (e.g. Benedict Cumberbatch’s Sherlock Holmes or Alan Turing), and yet scientific progress demands its sacrifices. While Galileo may try to save his friends from the plague, for instance, his devotion to his studies ultimately demand those he loves to commit extraordinary sacrifices. These sacrifices provide an emotional undercurrent that can be felt even in the intellectual debates between Galileo and his contemporary scholars.

The performance has a minimalist, small troupe feel to it with each of the twelve actors and actresses flitting in and out of scenes, androgynously taking on a host of different characters. The actors never fully leave the stage, rather they are always lurking in the wings as if to represent the eyes of history trained on Galileo’s critical life and trial. Costuming, staging and props are also minimal, with clever uses of technology and art to convey the story visually without distracting from the emotional and intellectual significance of the text. 

One wants to pay attention especially to the text in this performance. The Brecht estate has authorised this never before performed translation of the German original. The translation was completed by a team of eight students, led by Caroline Wallace and Director James Murphy. Not only did this team translate the prose lines, they also undertook the more daunting task of translating Brecht’s original poems which introduce each new scene. These poems were then put to an original musical setting written particularly for this performance by Sam Woof McColl. The result is a series of beautifully performed short choral pieces punctuating and emphasising the larger narrative arch.

In a sense, this production of Life of Galileo feels very Hellenic. Each player’s multiple androgynous roles, their dramatic painted faces, the choral interludes all are vaguely reminiscent of the ancient Greek tragedies. Yet, the use of electric orbs to simulate models of the universe, of projections in place of traditional stagecraft, of stagecraft dominated chiefly by a single, white curtain all seem wondrously modern. It seems fitting that Galileo’s tragedy should be presented in such a confluence of ancient and modern; his own ideas were simultaneously harkening back to ancient Greek heliocentric models of the universe while paving the way towards modern astronomy, physics, engineering, and the Scientific Method as we know it today.

The relevance of Galileo’s trial against the those who refuse the evidence of their own eyes seems all too obvious in the current day of climate change deniers and flat-earthers. Yet, Life of Galileo invites us to look deeper at our quest for knowledge, to ask serious questions about the cost of science and who pays it. It’s a wonderful combination of art and science, of the past and the present, and is well worth seeing. 

Review: Hannah Gadsby’s ‘Douglas’

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How does one follow up “Nanette”, a stand-up show about the perpetuation of trauma in comedy and the difference between humility and humiliation? Those who had watched Hannah Gadsby’s big break on Netflix (or “Nanette-flix” as she jokingly calls it) must have had this question sitting in their minds when they filed into the Oxford New Theatre on Thursday night. However, they needn’t have worried about Gadsby’s ability to deliver an equally compelling sequel, which she did in the form of “Douglas”, her new show affectionately (and badly, she noted) named after her dog.

In a very unexpected move, at the very beginning of her show, Gadsby gave the audience a blow-by-blow rundown of exactly how the show was going to go. This served two effective purposes: it managed the audience’s expectations of how this was to be different to “Nanette” in terms of content (no trauma, no self-deprecation, and more traditional, laugh-out-loud comedy), but was also a convenient vehicle for Gadsby to casually drop in the fact that she was recently diagnosed with autism, meaning she wasn’t a big fan of surprises and therefore wanted the audience to feel as comfortable and prepared as she did. This was only the first of many unconventional things Gadsby did for the rest of the evening; other antics included a PowerPoint presentation on art history delivered at breakneck speed, a passionate rant about the Teenage Mutant Ninja Turtles, and a hilarious story about how she went from “teacher’s pet to teacher’s nemesis” in a single lesson when she was at school.

As a queer, autistic woman myself, I instantly fell in love with Hannah Gadsby when I first watched her performance of “Nanette” in 2018. The show has since won an Emmy and multiple other awards, and Gadsby subsequently skyrocketed to worldwide fame. With “Douglas”, Gadsby kept the promise she made in “Nanette” in that she no longer pokes fun at herself for the sake of comedy; instead, she takes a hatchet to the patriarchy with her impeccable wit, making seemingly random yet brilliant connections between things like golf, The Lactation of Saint Bernard, and the Where’s Wally? series. I found her description of her autism “like I’m the only sober person in a room full of drunk people” intensely relatable, and the sharpness with which she aimed an onslaught of puns at “the 10-20 anti-vaxxers in the room” had the entire crowd in peals of laughter. There were serious and poignant moments interspersed throughout, too, but she never lingered on them for too long to be uncomfortable, and before long, she would be off on another train of thought and taking her audience along for a wild ride.

My favourite thing about Hannah Gadsby’s comedy, which was prevalent in both “Nanette” and “Douglas”, is how she predicts exactly how her audience is going to react, sets a high bar for the response she will get, and then delivers on it with uncanny accuracy as the reaction to her performance plays out exactly as she promised. She described this as adding another layer of mirth to a metaphorical cake, because when the audience laughs at her jokes, they laugh because the joke is funny, but also because they responded exactly how she said they would and are laughing at themselves for it. Gadsby’s knowledge of comedy and how people react to it is almost scientific in its precision, and it is here that her genius lies; I simply cannot fathom the number of hours she has spent studying the nature of comedy, the devices used, and how she will turn said devices on their head. It was what made “Nanette” so brilliant, after all: that show was less of a traditionally uproarious comedy show, and more of an arrestingly powerful deconstruction of comedy itself. The fact that Gadsby is autistic also means that she has likely had to learn why and how people find things funny from scratch. I vividly remember when, as a child, I was utterly confused by deadpan humour and sarcasm because of my tendency to take things literally, as many autistic people tend to do. Learning social skills and what made people tick step-by-step was a laborious process, and I treated concepts like personal space, using my ‘inside voice’, and body language like I was a foreign species learning the language of human beings in an almost academic fashion. There is a reason why autism is often colloquially (if problematically) referred to as “wrong planet syndrome”, this was the main reason why I was so impressed by Gadsby not only mastering comedy but taking it above and beyond my expectations.

Overall, “Douglas”, like “Nanette”, was an utter masterpiece, and a showcase of a truly gifted mind. I simply cannot wait for what Hannah Gadsby has in store for us next, now that her career has well and truly taken off on the world stage.

P.S. A short commendation also to Hannah Gadsby’s introductory warm-up act, another notable lesbian comedian named Sarah Keyworth, who delivered an absolutely riotous set about fish fingers, Mooncups, and My Little Pony.

Review: The Three Sisters

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The characters in Rudabeh Gray’s production are already clustered on stage, dressed in warm reds, greens and browns and talking quietly amongst themselves. The studio is warm and the set looks cosy, filled with books, mugs and patterned fabrics, creating an impression of comfort and shelter in the space before the audience which during the course of play will come to be characterised instead by a sense of stagnation and containment. The insularity which Chekhov develops so painstakingly is not for everyone, but this is a condition for the most part of the text, not of this production. 

As one would hope, the Three Sisters themselves give excellent performances in this production. Millie Tupper is exceptional as Irina. She is beautifully light and radiant in her initial excitement for work; she is devastating in her ultimate disappointment with life. The authenticity in the way she broke down over the realisation that she will never go to Moscow nor have the life that she dreamed of made was my standout performance of the production. Masha (Martha West) stalks around the stage with dark, fervent eyes, providing moments of relief with her wry humour and offering a sense of profound knowledge and sadness. The groundedness with which Laura Henderson Child plays Olga means that she is most striking in her anger, capable of unsettling the stage with a few words of suppressed rage. 

The male roles in this production suffer somewhat in comparison with the emotional intensity of the sisters. Andrei (Charlie Barlow) performs exasperation and exhaustion easily, but is perhaps never electric enough for his descent into mediocrity to be truly sad. Vershinin (Tom Bannon) is best in his interactions with Masha. Gray makes interesting use of multi-rolling, and praise must be given to Ruby Gold for her effortless switching between parts. She is superb as Natasha, using a twitchy physicality and perfectly pitching her voice in her rendering of control executed through the pretence of affection.

The production is pervaded with a sense of limitation which is amplified by the constant presence of the cast on stage – what begins as comfort and security becomes restriction and dissatisfaction. More could have been done with the characters hovering in the background, who had the potential to magnify moments of intrusion or insularity through simple gestures or movements. The figures lounging around the back of the stage also detract from the play’s sense of liminality as the understanding of who is coming out and in is muddied. 

There is preoccupation with knowledge, with the loss of it, the good use of it, the waste of it. There is intimacy and the shattering of it; the pain of interruption. There is nearly always someone reading. If you too are tired and dissatisfied, the performance may be a draining one. But I would place emphasis on the clarity and nuance of emotional expression which make this piece so very good. The cast is tuned in beautifully to each other and the sisters in particular interact with a wonderful familiarity. I loved the production precisely for its intensity and its self-conscious submersion.

Review: Sübverse

One could very easily mistake Sübverse, the first sketch show from comedy duo Beef Comedy, as nothing more than a random assortment of wacky sketches, featuring absurd characters doing preposterous things. Indeed, there would be no shame if this was all Sübverse offered – escapist comedy delivered by performers who are simply happy to play for laughs. However, what struck me as particularly impressive about this show, performed by Tommy Hurst and Matt Kenyon, was the incredibly subtle but recurring exploration of male insecurity across the sketches. It was only in the final minutes of the performance that the two drew the strings together and highlighted that so many of these outlandish characters were actually burdened by everyday insecurities and issues. 

The show began with Hurst and Kenyon taking on the roles of former rising stars in CBBC who hinted at a scandal which ended their careers in children’s entertainment and led them down a dark road ending at The Wheatsheaf – a weird pub for Oxford w*nkers apparently. The two would return to these roles throughout the show, often to spit venom at Tracey Beaker’s Dani Harmer – the apparent mastermind behind the duo’s fall from grace. Whilst I enjoyed hearing libellous anecdotes about the lecherous and seedy behaviour of CBBC’s Raven and Hacker T Dog, there were points at which these segments felt a little dull, repetitive and lacking in fresh material.

Hurst and Kenyon evidently enjoy keeping audiences on their toes, unsure of what is next to come. Being someone who enjoys live comedy but who breaks out in cold sweats at the mention of audience participation, I cowered in my seat as the duo dragged members of the audience on stage and forced them to play a role in their idea of a perfect party. One unfortunate soul was stuck singing two or three lyrics from ‘Take Me Home, Country Roads’ in a torturous cycle reminiscent of the punishment of Sisyphus. These sketches, while not to everyone’s tastes, gave many in the audience a great opportunity to laugh at themselves and each other. 

Other memorable scenes featured South African slam poets, devious hypnotists, public school rap battlers and mimes forced to play a role in state-sponsored propaganda. The sheer variety of characters who came and went in a matter of seconds behind a canvas sheet really demonstrated the natural quick wit of the performers and the dedication which they must have shown in rehearsals to reach this level of slickness and polish. 

The show then came to its conclusion – a musical apology to Dani Harmer (and her legal team) for the allegations made against her earlier in the show. This was initially very funny but made for a somewhat anticlimactic final sketch which dragged on and lacked much of the manic energy which made the earlier sketches so enjoyable. This problem had arisen once or twice earlier in the show but comedy is subjective and it is by no means easy to judge the point at which a sketch has exhausted its material and needs to come to an end. 

Overall, this was a strong debut which made effective use of meta-humour, absurd characters and the intimate setting of The Wheatsheaf to deliver lots of laughs and occasional moments of poignancy and reflection.

Preview: Spring Awakening

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Steven Sater and Duncan Sheik’s rock musical Spring Awakening is being brought to life by RJ Productions. Under the direction of Issy Paul this already thought-provoking and significant work is to be presented in a whole new light in a few weeks time.

Based on the 1891 German play Spring Awakening by Frank Wedekind, it explores the sexual awakening of a group of teenagers; a theme which, despite its original 19thcentury German setting, can be, and has been, transposed into practically any environment. The play, which is originally rather tragic and morbid in nature, is given a vivacity by this musical; while of course aspects at it will tug at the heartstrings, it is certainly a piece full of energy and excitement. This musical is in effect a symbiotic relationship between the natural desire of adolescents to rebel and to ask the big questions and the unavoidable turmoil of teen-life.

Hannah Andrusier plays Wendla Bergmann, the young girl desperate to grow up and learn more about the realities of life. Her portrayal is undoubtedly brilliant; having heard her sing I am under no illusion that with her vocals she will do the character justice. With songs like Those You’ve Knownand Mama Who Bore Me?the audience is exposed to the raw reality of human desire and the natural inquisitively of the young – the alt-rock score adding a whole new dimension to this already provocative play.

Particularly notable was the performance of Henry Waddon (Melchior). The authenticity of his performance was deeply moving; his calibre of both acting and singing quite incredible; I very much look forward to seeing him explore other roles in the future. Similarly, the heart-breaking scene in the forest between Ilse and Moritz, perhaps one of my favourite parts of the original play, is brilliantly and honestly portrayed by Maddy Page and Joe Winter. I was hugely impressed with their rhythm and co-ordination in this scene; these two actors connect really well and the flow of this conversation is perfectly paced, bringing out the full emotional potential of this key moment in the story.

However, although these individual scenes were brilliant, perhaps my favourite part was the closing number: Purple Summer– the chemistry between this cast is visibly noticeable; with only four weeks of rehearsal time, it is quite phenomenal how smoothly and naturally they move together on stage. 

With a very short run of only four days at the Oxford Playhouse, this production is certainly not one to miss.  I recommend getting yourself a ticket as soon as possible!

Spring Awakening is running at The Oxford Playhouse 6-9 November.

Evening performances: 7:30pm on 6, 7and 9 November and 8pm p on the 8thNovember 

Matinees: 2:30pm on the 7 and 9 November 

Review: Crave

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Sarah Kane’s plays, at their core, press upon boundaries of what theatre can do. As Kane once declared in an interview, she was writing to explore how form and meaning could ‘become one’. Throughout her career, Kane radically re-formed conventional notions of dramatic unity, which made her plays notoriously difficult to stage (some have even said they were “unstageable).

I was immediately intrigued, then, when GOYA theatre company announced their production of Crave: a play whose script contains neither set descriptions nor stage directions. It simply offers the four voices of C, M, B, and A. Transforming such an abstract text into a physical performance demands an immense amount of input from any director, cast and design team who approach it. GOYA’s production, I felt, was able to produce moments of real clarity and affective power but there were weaker spots, too, where Cravefelt somewhat lost in its own matter.

In the face of such a challenging text, Sam Woof and Matilda Hadcock’s direction was adept and purposeful. At times the cast moved with a mechanical unity; at others, an individual voice (or voices) would break from the group – only to retreat moments later. Woof and Hadcock translated the text into physical action very well. Even with Kane’s more obscure moments they managed to find meaning, however fleeting.

Tom Fisher’s extended monologue, which artfully balanced fantasy with despondency, was of particular note. Mattie Williams impressed too: her ability to flick from garbled chatter about ‘pissing on the rug’ to haunting expressions of deep trauma was beautifully in keeping with Kane’s project. Nancy Case and Luke Buckley Harris also deserve strong recognition for maintaining the tempo of a such a tightly-wrapped show – no easy task. However, in this close attention to rhythm and choreography, some of Kane’s black humour, and spaces where silence could have carried dramatic potency, were arguably missed opportunities.

Crave’s lighting was also well-managed by Nicholas Heymann. Each alteration gave a sense of temporal progression in an otherwise atemporal play. It separated the production into more manageable, coherent parts – something which Kane’s four voices were, thematically, struggling to do. 

The set design, too, was fascinating (and is probably the feature audiences will remember most). The cast’s neutral costumes, their slightly damp hair, and the absence of props forced attention onto the play’s surroundings. Martha Cruz’s decision to wrap the Michael Pilch Studio with a membrane of cellophane was inspired. It raised exactly the types of questions that Kane was asking: that of permeability, the capacity for destruction, and the movement between psychic layers. It also acted as a necessary buffer to the opaqueness of the play’s language, floating gently even when the four voices reached points of absolute crisis.

Although Crave’s cast – like the audience – was sometimes lost in the disparity of Kane’s text, it did manage to emerge with instances of real power. Staging Kane is never easy – nor should it be. Despite some difficulties, GOYA’s production ultimately holds onto the enduring premise of Kane’s work: what it means to love, and be loved.

Abiy Ahmed Must Finish What He Started

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This year’s Nobel peace prize was awarded to the Ethiopian Prime Minister Abiy Ahmed. In his eighteen months in office, Prime Minister Ahmed has torn down Ethiopia’s old authoritarian regime through a series of liberal reforms. His domestic policy includes liberating thousands of political prisoners and the press, inviting exiles back to Ethiopia, removing a ban on political parties and promising free and fair elections in 2020. He’s moved the economy towards free-market capitalism by opening up key sectors such as telecommunications, permitting foreign investment alongside an ambitious infrastructure program. The economy is set to expand by 9% in 2019 alone. What secured him the prestigious Nobel prize, however, was “his efforts to achieve peace and international cooperation” through the peace deal he negotiated with Eritrea in July of 2019. Their bitter two-year border war, which left between 70,000-100,000 dead, ended in 2000. But conflicts periodically erupted for years afterwards.  This historic agreement thus marked the end of twenty years of military hostilities between the neighbouring nations.

Yet Prime Minister Ahmed’s Nobel success has not been without criticism. Detractors argue his prize is premature. Despite his laudable achievements, they may be right. Ethiopia’s liberal transformation, while necessary, has ignited ethnic-nationalism and inter-community violence which is threatening Ethiopia’s political stability. An estimated 3 million people have been displaced from their homes. There are around 80 different ethno-linguistic groups in Ethiopia, currently divided between nine semi-autonomous states. Under the constitution, however, each ethnic community has the right to establish its own state. The previous government prohibited the different communities from doing so. While its rulings were oppressive, one is not hard pressed to see why eighty different states would be unfeasible, ungovernable and potentially dangerous deepening of ethnic divides. Yet with the political freedoms Prime Minister Ahmed has introduced, separatist groups have been able to voice old animosities and violently demand regional autonomy. The Prime Minister has so far failed to deal with such hostilities effectively.

Moreover, there is a growing fear that his peace agreement with Eritrea has not lived up to expectations. Directly following the agreement, the border was opened on September 2018, allowing families to reunite and diplomatic relations to strengthen. Since then, however, the land border has been closed again by Eritrea, likely due to the tens of thousands of refugees who fled Eritrea to escape poverty, indefinite conscription and human rights abuses. The repressive political situation in Eritrea remains steadfast after the agreement, with restricted freedoms of the press, speech, association and religion. This begs the question of whether the Nobel committee’s decision to celebrate the peace agreement between the two countries has partly served to legitimise President Isaias’ authoritarian rule. Although it must be said that it is no Mandela-de Klerk joint award, with the Nobel committee only acknowledging how President Afwerki “grasped” Ethiopia’s outstretched hand.

Prime Minister Ahmed himself, however, has also started to show a capacity to permit repressive measures. With discontent rising after news broke of his Nobel success, authorities dismissed petitions for demonstrations to be held in Addis Ababa and did not waste time putting a civic clampdown into place. It was a worrying move from a Nobel peace laureate.

Yet the award was not bestowed upon him for being perfect. As the committee stated in its press release, “much work remains” in Ethiopia. His Nobel peace prize recognises both the great steps he has taken as well as encouraging the steps he still needs to take.

The peace deal may be signed, and there may be no active fighting, but it is vital Prime Minister Ahmed continues to put pressure on Eritrea to live up to its promises of an open border. Ethiopia should continue to engage in constructive dialogue with Eritrea, but Prime Minister Ahmed can now also use his newly-gained Nobel authority to encourage President Afwerki to reform Eritrea’s authoritarian laws.

Most importantly, the Prime Minister cannot let up on the liberal reforms he put into place in Ethiopia. Lasting and peaceful foreign relations with Eritrea and other east-African nations depend on him successfully controlling the situation at home. To do so he must effectively deal with the growing threat of ethno-nationalism. In 2020 he faces his biggest challenge in this respect: elections. He will be up against strong challenges by nationalist parties such as the Oromo Liberation Front and the Tigray People’s Liberation Front. How he deals with different demands from these groups before the elections will be crucial to his success. He must stay committed to his belief in his philosophy of ‘Medemer’ (togetherness). Navigating the nationalist’s desire for the creation of autonomous states, while avoiding the dangerous ethnic divisions this could create, will be a precarious tight-rope walk. His best chance is to keep nationalist opponents included in discussion and decision making, as well as both allowing and controlling legitimate political protest.  

Success can quickly go to a leader’s head: Nobel esteem and the £900,000 that comes with it even more so. President Abiy take note of the warning implicit in the Nobel committee’s statement that “many challenges remain unsolved” within Ethiopia: to live up to his prize he must now go out and solve them.

Girl not (quite) Goddess

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After sitting on the fence about turning vegan for a while, a long summer spenteating heavily-processed American food while working in a summer camp in the States convinced me to make a change. Two days into becoming vegan, I felt like a saint. I was walking on air. Do you know how greatit feels to tell people that no, you don’t want the cheeseburger because you’re vegan (but you will have the equally good bean burger)? It feels really great. No wonder they never seem to stop talking about it.

Nonetheless, after loudly and emphatically asking the canteen staff at college for some more vegan soya milk before beingreminded by my genuinely-vegan friend that the yoghurt I’d also just dolloped into a bowl for myself was not, in fact, vegan, I realised I’m not amazing at this whole commitmentthing. So, while no-one likes a fence-sitter (sorry, Jezza), I’ve instead decided to become a fully-fledged flexitarian and here’s why you meat or dairy-eaters should too (the vegansamong you may continue to enjoy your saintly capacity for self-control):

1. We’re all humans and we make mistakes – and yes, perhaps the kebab I ate after my last night out was a mistake and wasn’t excusable simply because I had had a sip of alcohol. But, rest assured, sober me will forever endeavour to atone for drunk me, in more ways than one.

2. Secondly, is seafood even that good? Just putting it out there – personally, I’ve neverbeen that sold on it. And as for red meat,well… If you want to eat yourself into anearly heart attack then be my guest. Just know that if the entire U.S. did not eat meat or cheese for one day a week, it would be the equivalent of not driving 91 billion miles –or taking 7.6 million cars off the road.

3. This third one should be quite obvious: plant-based food isn’t actually disgusting. It can be easy, affordable and delicious so don’t be dissuaded by your preconceptions. Plus,the level of satisfaction you get from cookinga tasty vegan dinner for your initially vegan-sceptic parents is incomparable, take it from me. Moreover, the more people consuming plant-based products, the more money goes into the industries that produce meat alternatives and affordable vegan products, the even tastier they become – everything isgood!

4. It’s good for your skin and it’s good for your health. This doesn’t require much ex- planation. The chemicals in dairy products, as with the hormones in processed meat,should be avoided like you avoid your dead-lines and, quite frankly, all other impending responsibilities (or is it just me?).

5. And last but not least, it makes you feel good about yourself knowing that you’re doing something for the planet and knowing that Greta Thunberg can’t bully you because you are in fact listening to her immortal words of wisdom. So what if you’re not 100% 24/7 vegan yet? It stops you from falling into the trap of believing that veganism is the mother of solutions for the global climate crisis. It isn’t.

So although telling anyone and everyone that I was vegan was pleasurable while it lasted, it turns out I’m not a saint. But in the meantime, I will continue to enjoy picking the plant-based options as much as possible, and not exclusively when I’m sober – except, perhaps, when it comes to chocolate.

An Oxford Supermarket Guide

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Disclaimer: The overall rating is to be viewed through a student lense. Whilst other con- tributing factors such as quality and distance are important, budget friendly options will do better.

Aldi, Botley Road

Opening time: 8-10am Price: £
Range of products: 7/10 Product quality: 7.5/10 Location: 3/10

Overall rating: 9/10

Grocery shopping on a student budget andfinding the central supermarkets a bit toocostly to support your love of avocado andsalmon? Look no further. With savings like 60p on a punnet of grapes, or around £1.50 for smoked salmon (relative to the prices intesco or Sainsbury’s), you can treat yourself to some nutritious goods and not burst thebank.

One thing to take note is that aldi is great for fresh fruit and veg, but more specialist products are on a supplier demand basis, so don’t expect very niche products.

Having said that, they are constantly introducing new ranges, with a personal favourite being the ‘Halo’ brand ice cream equivalent, costing just £1.99; a savingof just over £3! It is significantly furtheraway from central Oxford than any of the other supermarkets, but if you’re fancying a break a walk or cycle to aldi could bejust the thing (especially since you would get the reward of a labyrinth of affordable treats!)

I will say that aldi is not theplace to find overly healthyready meals or meal-deals,but if you are cooking fromscratch/ sticking to mostlyfresh produce then the prod- uct quality is just as good as anywhere else.

Tesco, Magdalen St.

Opening time: 7am-12am Price: ££
Range of products: 9/10 Product quality: 9/10 Location: 10/10

Overall rating: 8/10

With a central location and a meal-dealvariety to die for (or perhaps just spendfor), Tesco is a fantastic supermarket op-tion. Whilst your weekly shop here will be significantly more expensive than in aldi, you get a guaranteed range of products: be it health orientated brands, exotic world foods or brand new product ranges. (Apersonal victory for me was discovering the Polish fridge where I finally discovered acurd cheese which I had been craving from my Polish shop at home!)

Tesco does also have a reduced sec- tion, which at around midday can offer an impressive variety of otherwise pretty expensive goods. Products to expect in this section include: fresh herbs, bags of salad,fresh fish and entire chicken carcusses…

Tesco also offer a clubcard deal which isdefinitely worth taking advantage of if it is your go-to supermarket. Whilst the savings aren’t great, they do add up so you might as

well. The shopping aisles are also very clear to navigate, and unfortunately the samecannot always be said for Aldi.

Life hack: The clubcard scheme comes intoits own if you are spending a lot of money on food or products for college events; this money will be reimbursed by college and you

get all the benefits from the clubcard points! (Best start helping out at JCR events!)

Waitrose, Botley Road

Price: £££
Location: 3/10
Range of products: 10/10 Environmentally conscious: 10/10
Product quality: 10/10 Overall rating: 8/10

What Waitrose lacks in affordability, it certainly makes up in variety and quality! Itis not uncommon to find at least 2 varietiesof any one vegetable, with the bougie purple sweet potatoes featuring among the classic root vegetables. The quality of the food does account for the difference in price.

If you do manage to get the funds togetherfor a Waitrose shop, it may well feel likehaving formal dinner every night.

But jokes aside, if you are a good cookthen you will certainly be satisfied with therange and quality of the various products and spices. The ready meals are also much more extravagant, and there are far more vegetarian and vegan options available.

What’s more, if cutting down waste is high on your list of consumer concerns, Waitrosemay well be the supermarket for you.

Waitrose has recently launched an ‘un-packed’ scheme which is currently being tested in Oxford, with customers using their own containers to buy produce such aspasta, wine and frozen fruit. More than 200 products were taken out of their packaging at the Botley Road shop in June to cut waste.

Voluntouring is not a vacation

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What springs to mind when you hear ‘volunteering abroad’? For many, it is Western teenagers taking selfies with smiling children in ‘Africa’, enjoying the fact that they’re having an ‘authentic’ cultural experience and improving the lives of the less fortunate. 

My first experience of this was in Ecuador. I was sixteen, and had signed up to a month-long World Challenge expedition, which mixed tourism with volunteering in a local community. I’d had to fundraise to pay the (significant) costs involved – two years’ worth of bake sales, tea and coffee events, and any odd jobs I could get my hands on.

The week-long volunteering project took place in a remote cloud forest community, where I and the other students helped to build sustainable toilets and taught English at the local school. During the course of this week, I distinctly remember thinking how unqualified and unprepared we all were – out of 13 students, only one could speak Spanish at even a basic level, and none of us had the faintest idea how to build a compost toilet. Most of the time we spent ‘volunteering’ was spent waiting around for the local people to (try to) communicate  what they wanted us to do, which translated into basic jobs – moving wood and digging out trenches. Not exactly something that required us to fly halfway around the world to facilitate – let alone each raise and spend nearly four grand to be there.

I didn’t know it at the time, but my expedition was a prime example of ‘voluntourism’ – a form of travel that couples volunteering with travelling abroad to an exotic country. Many choices lie open to the volunteer – be it helping out at an orphanage in Malawi, teaching English in Cambodia and thousands of other opportunities around the globe. Every year, over 1.6m people travel abroad to volunteer, and it is very popular with under-25s, especially from high-income backgrounds.

With such a large demand, a wide range of organisations have sprung up, offering a variety of opportunities around the globe – with one thing in common; questionably high fees. Over 85 organisations in the UK exist (the majority being for-profit) with the average cost of their volunteering programs reaching over £1k – often not including flights, vaccinations or travel insurance. No wonder it’s considered one of the fastest growing sectors of the travel industry, worth an estimated £2bn per year.

However, voluntourism is currently mired in controversy. Some argue the presumption that young unskilled Westerners will be an asset in a development project disturbingly echoes the colonial attitude of the ‘white saviour’. It has reached a point where some communities in the developing world have begun to refuse or ban international volunteers, and closer to home JK Rowling has warned against volunteers, arguing that they perpetuate abusive practices in orphanages. In theory, the concept of voluntourism should be effective – volunteers are providing financial and physical support to development projects overseas. So what is going wrong?

The focus of voluntourism is often on the volunteers’ experience, in favour of the actual development project. This is down to the fact that these ‘voluntourists’ are paying for the opportunity to be there – so they treated more like customers. This has an impact on the range of projects available, as research has shown volunteering with ‘orphans’ has become so popular amongst voluntourists that orphanages are beginning to operate more like businesses than charities, depicting children in poor conditions to attract volunteers. Data from ReThinking Orphanages – a campaign against orphanage voluntourism – has estimated that 8m children worldwide live in orphanages, but up to 90% of these children still have a living parent. Children are being intentionally separated in order to meet the high demand from Western volunteers in search of an ‘authentic experience’. 

International campaigns supported by NGOs and ethical tourism experts have had some success in reducing this particular strand of voluntourism, leading to governments such as Australia banning it. However, they have had little success in pushing for further regulation of the sector, with few blanket requirements or universal standards applying to the industry (while many apply to domestic volunteering). This can have extreme consequences, as volunteers often lack the skill set required for the projects they embark on. Students fresh out of college are unlikely to know how to lay bricks, dig wells or teach English to a class of 30 students in an unfamiliar language – yet provided they have a few grand spare, they’re welcome to travel abroad to do just that. We wouldn’t let volunteers work on a domestic project that they are under-qualified for – yet there is a double standard for volunteering abroad. 

Some would argue that despite their lack of skills, volunteers are beneficial regardless as they are there for free. If volunteers did not crowd out local labour this would be the case, but sadly this is rarely true. Organisations are unlikely to employ local workers when they have volunteers who will pay for the privilege (regardless of their difference in skill). Many studies and anecdotal reports highlight that projects take longer and cost more if they are staffed by unskilled volunteers – especially as they may require supervision. This can even result in volunteer labour impeding a project’s success, as Pippa Biddle recounts of her experience in Tanzania – “turns out that we were so bad at the most basic construction work that each night the men had to take down the structurally unsound bricks we had laid and rebuild the structure”. The money that voluntourists bring is often prioritised over their actual capabilities, with potentially disastrous results. 

By and large, voluntourism can come from good intentions, with the aim of supporting those less fortunate. The reality is that there is poverty and suffering everywhere, not just in the developing world. Many voluntourists cite ‘making a difference’ or ‘giving back’ as part of their motivation, but with a recent UN report claiming that the UK is lagging behind the developing world on child poverty and inequality stats, why is there not a similar enthusiasm for domestic volunteering? Partly this is down to stronger regulation of the domestic sector, but there’s something more at play. Some NGOs have referred to these voluntourists as ‘slum tourists’, pulled towards a mirage of glamour associated with seeing poverty first hand in the developing world – having ‘an authentic experience’, as the stereotype goes – not to mention the bragging rights earned from social media posts documenting their ‘altruistic’ endeavours. 

If volunteers really wanted to make a difference, their money could be more effective if donated to charity, right? Organisations could use it to hire local labour to complete the same projects, and this would be more cost-effective and better for the local economy. However, in some cases even global charities fall short. For example, the Red Cross were criticised for their work in Haiti after the earthquake in 2010, spending $500m they raised in donation ineffectively, with little reaching those it was intended for. If international charities can get it wrong, where does that put voluntourists? With volunteering abroad potentially doing more damage than harm, this can leave those who genuinely want to make a difference exasperated and defeated, left with many questions which are hard to answer, even for those who have made the study of development their career. So how can people best make a difference?

In fact, the most effective way is the one which seems most counter-intuitive – to be a tourist. Tourism makes up a significant proportion of the economies of many developing countries, for example in Cambodia, where it comprises 15% of total GDP. By travelling to these countries and spending money in a way that supports the local economy – for example ecotourism initiatives that protect the environment and provide local jobs – tourists can make a difference whilst experiencing a new culture and environment, just as voluntourism purports to do.

At its best, volntourism is less effective and more costly than providing communities with the support they need, while at worst it’s exploitative and perpetuates colonial-era attitudes. It’s difficult to judge where programs lie on this scale, as voluntourism operators often market their placements to sound as critical and sustainable as possible. Regulation from governments is practically non-existent and would prove difficult to implement due to the varied nature of the sector, so in the end it’s down to us as customers to do the research to ensure that our money is used effectively – whether that’s through volunteering abroad, donating to charity or supporting local economies whilst travelling.

Hopefully it won’t take you as far as an Ecuadorian rainforest to realise that volunteering abroad is not as charitable as it may seem.