Wednesday 19th November 2025
Blog Page 6

1930s artefacts uncovered during renovation of Oxford theatre

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Renovations of the New Theatre on George Street have uncovered a variety of historic artefacts, including newspaper clippings, milk bottles, and photographs, many of which date back to the theatre’s construction in 1933. 

The discoveries come amidst a period of renovation, in which the New Theatre’s foyer and bar is being refurbished, whilst retaining the venue’s distinct art deco character. The theatre recently opened its new Priority Club Bar, located in an area of the venue that “hasn’t been open to the public for quite some time”.

Amongst the items discovered is a newspaper article including an advert for Boswell’s department store – an iconic Oxford retail establishment which was located on Magdalen Street, around the corner from the theatre, until its closure in 2020.

A spokesperson for the theatre told Cherwell that “the most remarkable discovery was definitely a collection of personal items belonging to a World War Two sergeant”. Found in his belongings were “photographs, cigarettes, and a service card, hidden behind the bar. It was an unexpectedly personal and emotional find, almost like uncovering a small, forgotten story frozen in time”.

A spokesperson added that the theatre is “planning to display some of these items around the venue, including the Priority Club Bar, so that everyone can enjoy a glimpse into our rich history. On top of that, our backstage tours offer visitors the chance to see the inner workings of a living theatre, celebrating both our heritage and the dedicated team who help bring every show to life”.

The recovered artefacts serve as a reminder of Oxford’s rich historical pedigree and the everyday lives of individuals who lived and worked in the city across generations. 

When asked about the consequences of their discovery, the spokesperson added that: “These findings reveal the people who came to the theatre seeking a brief escape from their everyday problems, leaving traces of their lives behind.” Even during a time of war, the theatre likely acted as an escape from reality, just as it continues to do today.

The BBC’s dying sports coverage is hurting Britain

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The President’s Challenge – the annual tradition that marks the official launch of the Boat Race – was this year accompanied by another, rather curious, announcement. The race, first broadcast on BBC Television in 1938, will now instead be broadcast exclusively on Channel 4 in the UK from 2026. 

There is no way to construe this as anything other than a big loss for the BBC: last year’s race coverage drew 2.8 million viewers, and the women’s race remains the second most watched women’s sporting event of the year in the UK, behind only the summer’s Euros.

The loss of the broadcasting rights to the Boat Race does not come as too much of a surprise, however, as it is merely the latest in a long-running trend of major sporting events moving off the BBC. Since 2012, the BBC has lost all live TV broadcasting rights to The Open, The Grand National, and Royal Ascot, each of which a key fixture in the British sporting calendar. The BBC also gave up its rights to broadcast Formula 1 races in 2015 and hasn’t shown a live English cricket test match since 2005.

This leaves us with the question of why: what has led what was once the home of British sports broadcasting to discontinue its live coverage of so many different events? It is not “wokery in action” coming from a Director of Sport with a dislike of Oxbridge as some have claimed. The answer appears to be far simpler than that: money.

The cost of TV broadcasting rights has risen dramatically in recent decades. It will come as no shock that football leads the way: the last package of domestic rights alone cost a total of £6.7 billion. Other sports too have seen costs increase significantly. The most recent Six Nations Rugby Union rights package was reportedly worth an estimated £90 million per year, and the ECB’s cricket rights deal with Sky that expired last year totalled £220 million across its duration

The astronomical cost of broadcasting sport seems to have priced out the BBC. This has been compounded by a period of uncertainty and declining income for the organisation. Record numbers of households have been cancelling their licence fee in recent years, leading to calls to completely reform the funding model. This has increased pressure on leaders to keep budgets tight and avoid what might be deemed unnecessary expenditure.

Sport appears to have fallen victim to these cost-cutting measures. While the Boat Race will be staying on free-to-air television with Channel 4, many of the live sports whose rights the BBC has surrendered now exist entirely behind a paywall. The full Sky Sports package starts at £22 a month, an additional cost of over £240 a year. The British public is suffering as a consequence.

Primarily, this trend is depriving much of the nation of the opportunity to watch live sport. The BBC exists as a public service, and the provision of live sport has long been a part of this. It provides entertainment, drama, and attachment to a social identity. There are even studies linking watching live sport to improved mental wellbeing. By putting sport behind a paywall, only those who can afford to pay are able to access these benefits. 

Only those who have significant disposable income are now able to enjoy lots of the country’s live sport, This is only acting to deepen the class divides that are so entrenched in British society. While football may be so important to so many that it does not face this issue, the same cannot be said for other sports. Sports like rugby and cricket are having their reputations as the preserve of Britain’s middle and upper-classes reinforced, and risk disappearing from the working-class consciousness altogether.

There are also worrying implications for racial integration. Sport has historically been a critical avenue for people arriving from abroad to socialise and settle into local communities: cricket has been identified as hugely important in the experience of Caribbean communities settling in England throughout the 20th century. It is clear that, as much as ever, Britain is in need of shared cultural pursuits that cut across the dividing lines of race and immigration status. The decline of many sports amongst the general public, in no small part due to their lack of visibility on national TV, is depriving the country of key tools to foster integration and unity. The BBC is failing us in this aspect of its public service.

It is also difficult to avoid the sense that we are being robbed of the opportunity for more truly ubiquitous national sporting moments. Events like the World Cup and Euros are elevated into the national conversation by the fact that anyone can watch them. Other sports outside of football are capable of bringing together the nation in a similar manner. The 2005 Ashes series captured the nation’s attention as England triumphed over Australia for the first time in over 18 years. But the disappearance of international cricket from free-to-air TV means we are unlikely to see a repeat.

In a political environment that feels increasingly polarised, and a country that often seems as disunited as it has ever been, the loss of more opportunities for moments of sporting captivation on national TV is to be lamented. The Boat Race moving off of the BBC is another small sign of the decline of the BBC’s role in providing Britain with live sports coverage. We can only hope that action is taken to prevent further damage to the BBC’s sports slate and its contribution towards national cohesion.

Interview with Mishal Husain ahead of the Romanes Lecture

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Mishal Husain is an award-winning journalist, author, and broadcaster. She was a household name at the BBC for over two decades, working as the broadcaster’s Washington Correspondent and as a presenter on Radio 4’s Today Programme for eleven years. Husain is now Editor at Large at Bloomberg Weekend, and recently launched her first podcast series, The Mishal Husain Show, where she interviews world leaders, business titans, and cultural icons.

Husain describes her Muslim faith as an integral part of her identity, as well as her work as a journalist. She delivered this year’s Romanes Lecture at the University of Oxford, by invitation of the Vice-Chancellor. During the lecture, Husain tied her faith and ancestry to the history of empire, questions of identity, and the search for reason. She talked of ‘searching for light’, which she said is found beyond the headlines – in history and forgotten texts.

Cherwell sat down with Husain whilst she was in Oxford. In between dress rehearsals and touring the Schwarzman Centre, we discussed the theme of her lecture; her career in journalism, and the changing landscape of the news media – from tapes and print, to tweets and reels.

Cherwell: Maybe we could start by talking about the theme of your lecture: ‘Empire, Identity, and the Search for Reason’. What inspired this?

Husain: My starting point was seeing that the first Romanes Lecture was given in 1892, because that date rang a bell with me straight away. The reason was that when I was researching my family story, Broken Threads, I had noted 1892 as being the general election that brought the first Asian MP to the House of Commons, Dadabhai Naoroji, and the fact that this lecture was first delivered in that year by Gladstone, who was, you know, Naoroji was one of his MPs, I just thought: “Oh, what a wonderful bit of serendipity. This date actually means something to me.” And, of course, when you’re asked to give a lecture as prestigious as this, you also feel the pressure to say something that is ideally unique, but certainly meaningful.

I thought, “my professional life as a journalist is why I’ve been asked to do this”. I also have researched the impact of empire on families like mine, both the establishment of the British Empire and the way it came to an end. And when I thought about 1892, I thought this was a moment – the first Asian MP was elected to the House of Commons, this was an imperial subject who ends up being a legislator for the Empire. This is a moment when East and West come together. From there, I started to search for other examples where East and West come together, really challenging the divisions that we’ve seen for many generations, but which feel particularly current now. And that’s why the final part of my lecture is essentially on Islam and Muslims and some of the underappreciated, if not unknown, ways that Islam and Muslims have either influenced this country, or are linked to this country and its culture in perhaps unexpected ways. That’s why I look at architecture and poetry; reason and insight in the Quran; the world wars; and Muslims in the Renaissance. 

I wanted to say something that reflected who I am, both who I am as a journalist, and my heritage, particularly the Muslim part of my heritage. The fact is, that particular community is underrepresented in my profession of journalism.

Cherwell: One thing that particularly stood out to me is this idea of identity, and the importance of understanding one another’s identities better. You call, in particular, for reason as a response to misinformation, and I was wondering what the best way is, in your view, of tackling misinformation, and who do you think should be responsible for this – is it journalists, politicians, or perhaps day-to-day users of social media?

Husain: I feel the responsibility to arm yourself with knowledge is part of your duty as a citizen. There is, certainly in relation to Islam and Muslims, I think, a lot of casual misinformation. People’s opinions are formed without either much access to knowledge, or interest in proper knowledge, and that’s why there are numerous myths circulating. There’s no doubt, also, that there are cultural practices and there are individual actions and difficult issues that we should never shy away from discussing. I’m not trying to suggest that there are any areas of public life that should go undebated. I’m arguing for proper discussion. I’ve chosen to focus on what I call, in my lecture, ‘the five points of light’, because I think there’s a lack of bedrock knowledge. I think we’re very keen to see divisions rather than common threads. That’s the message I wanted to get at in this lecture. And I hope what I say offers less discussed points or points of new insight.

Cherwell: On the point of division – one of the things that you’ve, no doubt, seen as a journalist is that the way we consume the news is changing. There’s huge gaps between generations and how we engage with the news. To a lot of young people, or some young people at least, the news is something that old people do. Social media has become a priority. Meanwhile, older generations continue to consume these more traditional kinds of news. What would you say to these young people who say, “Oh, the news is something for older people.” Why does the news matter?

Husain: Well, the news is evolving, and I’ve grown up in what we certainly think of, and see. as traditional news media. I’ve spent most of my career at the BBC, and often that’s called ‘legacy media’ nowadays, usually pejoratively. I’ve seen the whole trajectory of the technological revolution in news. When I joined Bloomberg, and then the BBC, tape was still cut by an actual TV editor. You would take the tape which had come in from the agencies, which had been recorded in-house, and you’d physically run with it to an edit suite, and a videotape editor would cut a 10 second headline for you. So the idea that you’d ever have a device in your own hand which you could film an entire documentary on, or you could go live around the world on, was just nonsensical to me when I was your age. I’ve seen a whole technological transformation. But I certainly think traditional media really has both moved with social media, and has also been massively challenged by it. 

I’m launching a podcast, and I think what podcasting has done to the world of information has been revolutionary. I’m now moving into that phase of my professional life. Although the podcast is also going to be filmed, and is going to be on YouTube, and social media. So I think the media of the future is going to have to straddle all these dimensions.

Someone who set out today to have exactly my trajectory, I think would be a very unwise path to go down. That route is not there anymore. I suspect now that if you were setting out as a young producer in a newsroom, as I was in the 90s, what platforms your work goes on would, 10 years down the line, be a bit unknown. TikTok, for example, has come out of nowhere as a news source, as well as a source of other kinds of information. So I think it’s really hard to predict what the landscape is going to be a decade down the line. 

But I do believe that good content travels, and I think my core philosophy as a journalist is to do good work in whatever the medium, and for your principles and who you are as a journalist, not to change, because I think that is transferable. I was at the BBC, and as everyone knows the BBC has a certain kind of framework of impartiality. I’m in a different news organisation now with its own set of editorial standards, but who I am as a person hasn’t changed. I am as committed to fairness and accuracy at Bloomberg as I was at the BBC, and I think that’s the zone which every journalist or aspiring journalist needs to be in. They need to ask themselves: “What kind of journalist or content maker do I want to be?” And then you have to find the vehicle or the employer or the platform that fits what you want to do, but equally, be prepared to pivot.

Cherwell: You talked briefly at the start about representation in journalism, and I guess that brings up two things: ‘representation’ in terms of how certain groups in our society, in our country, are portrayed, and also ‘representation’ in terms of who journalists are, who the media is. What more could we be doing to improve representation in the media? 

Husain: My podcast, The Mishal Husain Show, is going to be in-depth conversations with newsmakers, or ideas people, or cultural figures. And I think what I’m really trying to get at there is something of the lost art of conversation, the lost art of the long form interview. Obviously things get clipped up and shared in different ways, but I also really hope that a really good conversation is the kind of thing you can really immerse yourself in. But look, representation of all kinds in newsrooms is really important. I’ve been around so many tables where people will spot stories. Either they’ll spot stories which no one else has spotted and you need that. Or they’ll say “no one’s thought about this particular angle on a running story”. Journalism is still a very middle class profession and you might do a story on something like prepayment meters, and you look around a room and realise, actually, there are very few of your colleagues who know what it’s like to pay for your utilities in that way. 

So that’s one thing, I think that representation is just really important. You can’t do the best work unless you have enough input from a diverse range of sources. But you also need to have the kind of culture where people can speak up. And I think that’s probably harder to do, because journalism is the kind of profession where the louder voices can command a room. So as editors, as managers, to create the kind of culture where, the person who’s got a thought running through the back of their mind and would really like to say it but feels intimidated, can do so, is such an important thing to do. I think this is often the underappreciated part of representation. It’s not just sitting around the table, but it’s feeling that you’ve got a voice in that particular editorial meeting – you’re not going to be rubbished, you’re not going to be made to feel small. 

And of course some newsrooms, some news providers, they’ve got a very particular axe to grind, and they’re not going to be interested in that. But that’s not the kind of place that I’m ever really going to want to work. So that’s not my world. My world is one where I want to feel that different voices have a say, and I want to be challenged by my colleagues, as well as by people watching and listening, because I think ultimately it makes you better at what you do. The harder you have to think about your process and your product – your output – then the better it is likely to be. That’s also what I’m arguing for in the lecture: you know, there’s a long tradition within Islam of an emphasis on reason and insight and thinking, and that’s one of the under-appreciated and little known aspects of the faith. So I feel like how I am as a journalist is linked to my heritage and my upbringing, as well as the places I’ve worked and the people who’ve influenced me professionally.

Cherwell: I know we’re short on time, but can I ask one very quick question: on your very last broadcast of The Today Programme you chose a song, Daydream Believer by the Monkees. Why did you choose it?

Husain: You know, no one’s asked me that, Conor, it’s very good. Why did I choose it? I think I knew I wanted to have music. And then, of course, there’s the question of what will it be? It’s then very hard because you think “people are going to analyse this”. It’s a bit like desert island discs, although there’s only one song.

I think it’s because it starts with the 6 o’clock alarm. So I thought the very beginning of it was for someone who’d been in that early morning world, or that very early morning world, because it was a 3 a.m. alarm, not a 6 o’clock alarm. I felt that worked, and I also really wanted something upbeat and joyful. But I had a few different options on the go, and in the end I settled on that one. I only expected it to run as a little blast. But then my colleagues at Today decided they wanted the whole 3 minutes. I feel like I sent the nation off with a whole load of music that day.

I did think hard about how to say goodbye, because it’s a programme with a unique place in national life, and I was part of it for 11 years. Someone told me the other day that they cried during my enduring goodbye. I was so touched by that – that’s not the only person who said it to me. I thought “how wonderful – this is about the power of audio to reach out and connect you to people who you’d never otherwise meet”. I was very touched by that.

Oxford Climate Justice Campaign relaunches with Rad Cam demonstration

The Oxford Climate Justice Campaign (OCJC) has relaunched with a banner-drop demonstration in Radcliffe Square, marking National Climate Action Day. It has also joined the Fossil Free Careers Campaign, which aims to reduce the ties of Oxford Careers Services with fossil fuel companies. 

OCJC’s aim is to campaign for the University’s divestment from fossil fuels through reevaluation and amendments to the Oxford Martin Principles. The Oxford Martin Principles were established to “provide a framework for engagement between climate-conscious investors and companies across the global economy”. They were designed by Oxford University and Oxford Martin School, a research and policy unit in the Social Sciences division, to analyse the contribution of investments to carbon dioxide emissions.

OCJC have also joined the Fossil Free Careers Campaign, led by the national student group People & Planet. This is a national effort to pressure University Careers Services into cutting their partnerships with fossil fuel companies and providing “opportunities that sustain and support the environment”, according to OCJC’s statement. The group has been in contact with the Oxford Careers Service, who have agreed to sit down with them to discuss sustainability. OCJC expects this to take place within the next week.

An OCJC representative told Cherwell: “A lot of people are going directly into really damaging industries, and we think it’s the responsibility of Oxford, If they’re telling us for three years that we’re the best and the brightest, to send us towards the things that are doing good for our world.”

Regarding the University’s Careers Service, a University spokesperson told Cherwell that their mission is “to help students make the best-informed decision about their career”. They added:  “We were the first UK university careers service to ask employers for their green credentials and several thousand employers have completed that information.”

OCJC also announced their partnership with a sister society at University of Cambridge. Together, the societies will reinstate the Climate League of Oxford and Cambridge Campaign (CLOC), which will also include a project ranking the Cambridge and Oxford college’s sustainability policies.

The OCJC representative told Cherwell: “A lot of the reason why students don’t demonstrate as much as they used to for the climate is because it feels so huge and so out of control. If we can show people that there’s actually this very focused campaign, that’s college-based and so within their own community, then it might be more appealing to get people involved.”

On divestment from fossil fuels University spokesperson told Cherwell: “The University is banned from investing directly in fossil fuels extraction companies and is compliant with this. The University holds no investments in fossil fuel extracting companies. It has 0.2% indirect exposure through fund investments.”

SU President for Communities and Common Rooms found guilty of Oxford Union electoral malpractice

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Shermar Pryce, President for Communities and Common Rooms at the Oxford University Student Union (SU), has been found guilty of electoral malpractice by the Oxford Union Society, which led to the suspension of his membership for a term.

An Oxford Union tribunal ruled that Pryce interfered in the Union’s 2025 Trinity term elections, using his influence on social media to solicit votes for George Abaraonye. This included campaigning for Abaraonye and distributing a Cherwell article concerning a police investigation into Rosalie Chapman, the other candidate in the Trinity term election, and her connection with an anonymous smear campaign. Abaraonye won the election, receiving 611 first preference votes against Chapman’s 416 votes.

The article was shared by Pryce in a Union-affiliated WhatsApp group chat with approximately 200 members, as well as his personal Instagram story, where he has over 3,000 followers. The panel ruled that this was sufficient evidence to convict Pryce of electoral malpractice.

Cherwell understands that Pryce is currently appealing the ruling, and that the decision is not final until the appellate board reaches its decision.

Pryce told Cherwell in a personal capacity: “This matter predates any relationship and my employment with the Students’ Union. The matter relates to an internal process at a private members’ club which is unrelated to the University or the Students’ Union. It would be inappropriate for me to comment further until that process has concluded.” 

The unknown owner of the Instagram account Overheard at Oxford has also been convicted of harassment and electoral malpractice, specifically “acting violently or in a manner that is liable to distress, grossly offend, or intimidate others in connection with the Election”. The account, which has just over 15,000 followers, posts quotes from Oxford University students that have been overheard around the city. These quotes are often humorous, relating to student life and intercollegiate rivalries.

According to the report: “It has clearly become so widely believed that Mr Pryce controls OaO”, however, Pryce “categorically” denies the ownership. The evidence initially led to a “unanimous verdict, beyond reasonable doubt, based on Mr Pryce’s apparent control of the [Overheard at Oxford] Instagram account”. However, this decision was reversed for procedural reasons. The panel decided that time restrictions meant that Pryce would not have “enough time to properly rebut the case”, so this raised concerns that the decision would be “procedurally unfair”.

Chapman told Cherwell: “What I went through during the Trinity election was extremely distressing…I still care deeply about this institution, and I hope this decision helps move the Union toward a more respectful and fair democratic culture.” The statement was made regarding Overheard at Oxford account, whose ownership remains unconfirmed.

As SU President for Communities and Common Rooms, Pryce sits on a number of University committees, acting as a representative for Oxford students. During his election campaign he was endorsed by all of Oxford’s main political societies, including the University’s Labour Club (OLC), Conservative Association (OUCA), and Liberal Association (OSLA). Pryce was also elected to the Union Society’s standing committee during Hilary Term 2024.

Correction: The article previously stated that Pryce was elected to the Union Society’s standing committee during Trinity Term 2024. In fact, Pryce was elected to the Union standing committee during Hilary Term 2024.

Sin and nectar: Behind the scenes of ‘Women Beware Women’

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I arrived at a rehearsal of Women Beware Women and found Hippolito (Kit Parsons) and Isabella (Céline Mathilda), uncle and niece, embracing and sharing an incestous kiss flavoured by the punnet of grapes sat between them. “‘Tis beyond sorcery, this, drugs or love-powders; / Some art that has no name”, Hippolito lamented centre-stage. This was an introduction fitting for a play whose driving force, as director Jem Hunter put it, is “sex”. 

Thomas Middleton’s infamous revenge tragedy Women Beware Women (1657) follows a series of affairs in an increasingly debauched Florentine court, which culminate in a massacre at a masque. Curious to see how this depravity was taking shape, I interviewed the cast and their director three days before the show’s opening at the Pilch.

In a short interview with Jem, I tried to unpick some of the ideas that were animating the production. My first question was about the set: a garish chessboard lit impressionistically and peopled with costumes hired from the Royal Shakespeare Company. Jem was clear that this beauty was superficial, providing “a glimmering surface for the play, with…ribbons and everything and gorgeous costumes, and underneath it you will understand that there’s a very disgusting, sordid underbelly of lust that’s trying to get through the whole time”. This was the first hint of a theme that kept coming up in our conversation, that of artifice. Jem also described the period costumes in terms of their restrictive nature: “even physically it will restrain the actors”. 

Like the set, the costuming is only another layer of restrictive beauty. Language, even the language of the play, then receives short shrift as another illusory attempt to capture what is physical: “the body is an instrument that makes noises, and the skin stretches over your ribcage and your diaphragm does stuff and your vocal chords vibrate, and you get a raw physical sense of language.” For Jem, the set, costumes, and even the words of the play are only an artificial layer papering over deeper forces.

These ideas have their place within a historical critique of theatre, uniting with Antonin Artaud (French practitioner of the Theatre of Cruelty which emphasised the physical at the expense of the rational) against ‘high realism’ with a sense that “you are trying to represent reality but you need to depart from reality and from that place of departure find the truth”. Jem described conventional realist concepts such as character and emotion as irrelevant, as ways of avoiding an address to those aspects of human experience that are “so much stranger than we think”. Instead, we should “uncover these strange spirits…something magical”. Those spirits seem to exist, for Jem, outside of language or character, instead residing in the scenario of the theatre and the movement of bodies as something strange and ritualistic.

I was curious to see how these ideas were actually finding expression in relationships between the people involved. My first question to the cast, about how they were conceiving of character in a more conventional sense, was met with opposition. Céline was clear that the play is “so representational, because it is a human chess game. It’s almost like meta-theatre”. The cast described the characters as mere puppets within a larger structure, each assigned a chess piece, each acting out of their own control. It was clear that direction in terms of psychological states had been rejected throughout the rehearsal process, replaced with non-naturalistic blocking and an emphasis on spectacle. 

When I asked Jem about how he found working with the cast, he stated that: “I think the main problem with them was coming to terms with, you don’t have to look normal on stage [sic]. You don’t have to act as if this is a conversation happening in a bedroom or something. It is a stage, and you are performing.” The cast seemed to share a sense of what the play is about and what the production was moving towards. I didn’t stay for long enough to get a sense of how this consensus had actually formed, but I did get a glimpse in Jem’s insistence that: “I constantly remind them of the chess pieces. I tell them, embody that. Chess pieces move in a very constrained way, and I think that’s the kind of deliberateness I want.”

As I left, I got the sense that the production was committed to a unifying idea, and that Middleton’s tragedy would probably be receptive. A text so immoral, self-conscious, and garish can only be approached through extremes. Whatever is behind these characters – lust, fate, God, or theatre – we will certainly see a damned humanity spread spectacularly across the stage. This is a production where violence and immorality will be celebrated as the basis of a new understanding, of a place beyond ourselves. What this place looks like is up to the cast and crew on Wednesday.

You can watch Women Beware Women at the Michael Pilch Studio from the 5th to 8th of November.

How to build a ball

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Students have started reaching out to Oxfess to solve the annual dilemma: which colleges are hosting balls, and which are the best to go to? 

Within weeks of unpacking in Michaelmas, inboxes fill with calls for committee applications, while tickets for launch parties are more sought-after than a last-minute Park End code. But there is more to a ball than the glamorous logo on the Instagram account – they put the college’s relationship with their students under a microscope. From proposal to realisation, the inner workings of a ball define the student experience beyond that one night, with college patriotism following you from the first stash drop to your visits after graduation. It’s no surprise that students want to know how to make the most out of their Trinity, but that decision may very well not be yours, as the future for Oxford balls looks to change.

A ball, let alone a worthwhile one, is no guarantee. I myself know how unstable ball planning can be: last year I was on the committee for a ball that never happened. Complications with a bursar handover meant that the 2025 Keble Ball proposal was rejected twice, even after St Catherine’s College bursar volunteered to take all liability for a joint ball. 

The anticipation around a college ball is part of its magic – it is the event of the year, and a brilliant way to celebrate the college community. But this anticipation creates huge pressure, particularly for the ball committee. Thrown in at the deep end, with budget proposals and production companies to book alongside very busy degrees, how do these committees actually make it to the first drink?

The secret: it’s all about the bursar. 

Before we begin

What’s in a ball? According to the Student Union’s guide, an Oxford ball is a must-do bucket-list activity. Most colleges host one every one to three years, inviting current students, alumni, and often guests. The evening is organised by students who first plan a theme, then embellish with food vendors, drinks, musical entertainment, and other activities. Anticipation for a ball builds from Michaelmas to Trinity – the event is announced, tickets are sold, and then black-tie wear is bought. College balls are a great way to celebrate your college community, combining both MCR and JCR, and for the college to foster connections with past students. For students, it’s a fab night out, and you can even work for some of it to get subsidised tickets. This is the legacy of the Oxford ball tradition, but there is more to a ball than an Instagram post. 

A ball must be chosen wisely. It’s not just about who the headlining act is or how watered down those cocktails are. Oxford balls are a unique phenomenon, in that they are entirely held up by goodwill between the members of a college and its Governing Body, meaning that wealth, reputation, and other behavioural issues in college are also factors influencing decisions made. Getting from the first committee meeting to the survivor’s breakfast is a complicated, stressful process – I’ve broken it down into a few not-so-easy steps. 

Step one: Manage your (college’s) budget

The average budget of a college ball, calculated from various FOIs, is £250,000. Despite this cost, it is rare that any college is financially affected by them. They are mainly non-profit, self-funding business operations run entirely on ticket sales. Yet the wealth of a college still hugely impacts the budget, scale, and success of a ball, so that rich colleges know best how to look after their students. 

Wealthier colleges tend to have the best relationships with their alumni. The more benefits a college can give to alumni, the more likely they are to receive donations. The success of a ball is therefore not just a promise for alumni, but a commitment to current students for what they can expect when they graduate. A spokesperson for New College told Cherwell that the purpose of a ball is “conviviality” and to hold a “memorable event”, while St John’s College bursar described it as a “unique and shared experience to celebrate students’ time in Oxford”. 

There is a more practical significance to accommodating undergraduate, postgraduate, and past students in a single event – the relationship between each class of ticket is integral to the success of the ball. Tickets for current students, particularly access tickets, are subsidised by a premium on alumni sales. As a result, richer colleges can offer more to their alumni, take in more in donations, and have better-subsidised tickets for current students, creating a virtuous cycle for when those students graduate. 

Furthermore, while a college’s wealth has no direct impact on the funding of the ball, it may impact how invested the college is in ensuring its success. If appeasing students of past and future is a large part of your endowments and funding, you care a lot more about guaranteeing a good night. 

Step two: Choose your bursar

Once you have your ball (provisionally) approved, you must get to the planning. But the budget of the ball is not the only factor monitoring its scale: the involvement of the bursar is paramount. The balls with the strongest rapports with their bursars, according to testimonies from students and bursars individually, are Merton Winter Ball and St John’s Trinity Ball. Coincidentally, these are the balls with the highest budgets of those who responded to Cherwell’s survey. In previous years, the bursars from St Hilda’s College and Mansfield College took little involvement in the production of the ball beyond their legal requirements. 

In my many emails to colleges across the city, it was notable that the wealth of the college correlated with the amount of characters utilised in their response. Call it networking or saving face, wealthier colleges were much more open about the entire process of organising a ball. 

Iris Burke, Bursary Manager for St John’s, explained that professional staff have taken on more responsibilities for the ball. This was to help “from a risk management perspective and to ensure valuable learnings and experience get passed on to the next cohort of students”. Their domestic bursar and another Governing Body Fellow are on the organising committee for the college ball, liaising closely with the student volunteers. 

Since the COVID-19 restrictions on events in 2020 resulted in many cancellations, the role of college staff in upholding the institutional memory of college balls has been increased. Usually, the handovers between ball presidents, along with students’ own experiences of previous balls, preserve a college’s own traditions. However, with the cancellation of balls from 2020 onwards, and the difficulties in getting them started again, there’s a break in the chain on the student sides. Previous ball presidents may have graduated or dropped out, and few students left in college remember the pre-2020 balls. The expertise of college staff, therefore, has become increasingly important. 

After the 2019 and 2023 cancelled Keble Balls, Jade Morris came to the role of Ball President with a Governing Body who had never experienced a ball at Keble. She explained to me how she contacted the previous Ball Treasurer through Facebook after seeing their name on the handover documents. “A lot of it was on the fly,” but she managed to orchestrate the cheapest college ball in Keble memory: current student tickets were only £80.

The Keble alum recalled how it was her chosen production company that had to explain to her that the £75k budget approved by the Governing Body was not going to be enough. “As soon as you get a marquee involved, there are a lot of extra health and safety costs.” A domestic bursar, therefore, is essential: “the paperwork is unavoidable”. “I was on the phone to the Senior Fellow and Domestic Bursar from 5pm most nights for weeks leading up to the ball.”

It was stressful, but she enjoyed the experience of “building a ball with a blank slate.”

A good bursar with a good heart builds a good ball. Harmohinder Bahl, the current Home Bursar for Worcester College, has made his role integral to the Oxford three-year memory cycle. While his main focus is “to make sure the event runs smoothly and responsibly, with minimal financial and reputational risk to college” he also sees it “as a chance to help students grow. Organising a ball develops valuable skills — teamwork, budgeting, leadership — and it’s rewarding to see students gain confidence and enjoy what they’ve achieved.”

Over lunch or coffee in the college hall, he initiates meetings between the previous and upcoming ball committee members to help provide advice and bounce ideas off of them. Beyond his personal involvement, he has established a tradition of providing a “lessons learned” document to the committee one month after the ball, once the euphoria has waned, to compile advice for future iterations. He explained that it’s all about balance: “I don’t want this to thwart the creativity and evolving nature of balls to come”

When we spoke, he emphasised that there is no tension or hierarchy in the bursar’s involvement with the ball: he sees it as him explaining the experience and sharing his expertise. “I would deliver the ball, but it would be commercial, not for the students.” It is paramount to him that the ball is a collaboration; this is a level of trust that was demonstrated in 2021 when he took on the responsibilities of the outgoing bursar’s ball committee. I asked why he felt comfortable doing so – other balls have been cancelled due to changes in bursar, as I experienced with last year’s aborted Keble Ball. Bahl simply said that he “ had complete confidence in the ball committee’s ability and enthusiasm. They were organised, motivated, and willing to learn — and with that level of commitment, plus my own experience, I felt everything was in good hands”. 

This level of college involvement in the planning of a ball has changed since the cancellation of the 2020-2021 balls: Mansfield College now position their bursar onsite throughout the ball to respond to any issues arising that evening. This role, however, is still entirely focused on the legal requirements and implications, whereas Bahl’s personal trust and confidence is well placed. When I contacted him for a comment request, he asked to call instead so that I could ask as many questions as I liked. A bursar ought to have confidence and involvement in the student committee. 

Step three: Get to know the JCR

Across all colleges, one thing is unchanging: the ball is a student-run operation. The bursar represents the college and Governing Body, but it is the ‘Ball Committee’ who must first approach the Governing Body with a proposal. Each college’s Governing Body comprises of Fellows, many of whom hold University posts. Colleges are hesitant to guarantee a ball outright, but many make reference to a “standing order” in their JCR handbooks which guides the JCR in creating an application to present to the college. This subsection of a handbook is the closest thing that colleges offer in lieu of an instruction manual: they include the standard procedures of how often the college hosts a ball, what a proposal should include, and what a committee should look like. 

So, if you want in on the ball, it seems that you best befriend the JCR committee. In some rather lacklustre responses to my emails, most college bursars declared that they have no involvement with the ball selection process and that it is entirely organised by the JCR. St Hilda’s College Ball is “wholly dependent” on the JCR petition and election of a committee, and the Balliol College JCR leads the selection process. Worcester College were the only ones who mentioned an interview process with the Governing Body for roles such as president and treasurer, while only Merton College specified the involvement of the MCR in the proposal for a ball. 

Regardless as to how much support the college offers to their ball committee after the confirmation of the ball, the proposal and instigation is a student initiative. Each college can adjust their level of involvement at any point in its development, but Bahl’s  “complete confidence in the ball committee’s ability and enthusiasm” was echoed by other bursars such as David Palfreyman at New College, who told Cherwell that in his 40 years as bursar he has experienced “no disasters organisationally or financially – students can organise very effectively!”. Of the 15 colleges who responded, none other than Keble have a record of a rejected ball proposal. 

Step four: Pick your poison, or rather, production

Balls are a competitive business. Restrictions on events during exam season means that there are limited dates that colleges can host. While most colleges sell out their own students’ tickets, the inflation on guest tickets is how many break even. There is obviously a market for guest tickets: balls occur in three-year cycles so students often attend other college balls in the years between their own. When tickets are at such a premium, it isn’t just a struggle to make your ball more appealing, it’s difficult to book production companies. 

The staple entertainment events for Oxford balls range from musical headliners to bumper cars and swings, while certain refreshment stalls offer sponsorship. When multiple ball committees are targeting the same providers, it is a race to sign contracts before they get double-booked for the same day. 

The extent to which balls are conceptualised and developed by students worsens this issue. Once you sign up to a ball committee, you realise that it is an echo chamber of all other balls ever held: whether you are drowning in handover documents, comparing notes with other colleges, or looking at previous celebrations, the names of the same production companies and caterers begin to feel like a threat. 

Still, this is not an issue separate to the college’s involvement: budgets are built from the supplier’s quotes, but they may be booked out by the time the Governing Body approves the proposal. 

These costs are not insignificant either: both catering and production occupy a third each of the average ball budget. Once themes are announced, Oxfess will resurface to ask the masses who the predicted headliner for each college is. Despite being the centre of many students’ concerns on which ball to attend, entertainment (both musical and non-musical) never takes up more than a quarter of the budget. 

Top tip: Get them before they are gone

The future of college balls is changing. Last year, Cherwell investigated the ways in which colleges invest their endowment wealth into student life. Of course, subsidising accommodation and offering study grants are more essential to student life than a college ball is, but the investigation revealed that the relationship between college spending and student welfare changed after the 2020 lockdown. Cherwell found that “colleges have increasingly adopted protective financial policies that place the possible needs of future students above the real needs of current students”. A college ball is still an investment in students because it fosters good relationships with their alumni, who will likely fund future balls through ticket sales or donate directly to the college. It is therefore no surprise that the wealthier colleges have more regular balls with larger budgets: the involvement of a bursar indicates whether or not the college is invested or detached from student life. 

It will be notable in future years to see which colleges adapt to the changing needs and expectations of students regarding the provision of an Oxford ball. Since 2020, balls have changed structure in multiple ways. Many colleges now have increased the role of the bursar to ensure financial stability, but the cost of living has affected budgets too. The production costs for Exeter Ball, including the transport of equipment and energy costs for the evening, for Exeter Ball jumped from 27% of their 2019 budget to 38% of their 2022 ball. 

But some of these changes don’t just reflect the state of the nation but a changing perspective on these celebrations. Worcester College first implemented noise regulations in 2023 after a series of complaints, spending around £4,000 on combating that alone. Bahl explained that this was simply a courtesy: they believe in “One Worcester”, a “shared sense of unity between everyone connected to the College — students, staff, alumni, and the wider community. It means working towards common goals and making sure that big events like the ball bring people together rather than apart.” The individualism of each ball created by the strong sense of college identity required to advertise it does not separate it from its local area.

As the budget for a ball is increasingly unsteady due to cost of living and efforts to ensure the sustainability of a ball, the overall provision of a ball may itself be changing. Bahl explained that the current structure of a ball is becoming an unsustainable endeavour because “the way balls are promoted and delivered is evolving, especially as costs rise.” When I asked him what he saw in the future for Oxford balls, he said “This might mean smaller events or less frequent ones, but it also pushes us to think creatively about how to make them special. With the right mindset, and where finances allow, colleges can still create memorable experiences — and well-funded colleges will likely continue (or start) to offer strong support to keep that tradition alive.” He has been working with the SU to explore the possibilities of a more collaborative approach between colleges.  With the rise of Town Hall black tie events and ball alternatives like the Catz Gala last Trinity, the demand for a ball is changing. 

Jade Morris disagrees. “The secret is in simplicity –  the Keble ball was lovely because it felt like a Keble event for Keble people.” She explained that it was no coincidence that the queue for drinks was always longer than the queue for food – this type of numbers game is what keeps a ball safe. “The purpose of a college ball is to show that you care about your students. Logistically speaking, it’s a pain in the ass”. A smaller ball is more intimate, but it also keeps guests’s expectations in check: Jade explained that the recent Keble Ball was limited to alumni from the last five years only because they would want a “Keble event” rather than “dinner with a champagne reception”. It clearly worked: tickets sold out within three seconds.

Well-managed complexity: ‘In Praise of Love’ 

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In Praise of Love by Terence Rattigan was a play well-chosen in today’s political context – it uses the unhappy relationships between Estonian immigrant Lydia (Nicole Palka), English former intelligence officer Sebastian (Sam Gosmore) and their son Joey (Ali Khan) to comment on wartime trauma, the gap between actions and political ideals, and the isolation that comes with living as a foreigner in a new setting. 

The central tension of In Praise of Love is Lydia’s terminal illness, and her and her husband’s shared knowledge that she has mere months to live, which they each aim to conceal for the other’s benefit. Easy-going American novelist Mark (Grace Yu), a long term romantic devotee of Lydia’s, is introduced as the peaceful voice of reason, offering comfort to both members of the couple. This adaptation chose to lean into the awkwardness of Mark’s romantic attachment to Lydia, with Sebastian displaying a sense of forced obliviousness each time he walked in on them blatantly embracing. Yu’s unflappable, unwaveringly kind tone was a well-executed counterweight to the chaotic emotions of the other characters. 

The actors were talented at balancing comedy and emotional depth. The standout performance came from Nicole Palka as Lydia: her portrayal made it clear to the audience that while Lydia carried trauma from her experiences during the Russian and later Nazi occupation of Estonia, she was by no means weak. Her lines were articulated in a focused way that meant the audience never missed a word, and passages that dealt with her inability to adjust to English culture came across as authentic rather than stereotypical. 

Both Palka as Lydia, and Gosmore as Sebastian, ably tackled their characters’ long narrative monologues, which may have become tedious had it not been for their constant changes in tone and pace. Gosmore’s talents shone through particularly in the second half of the play, in a scene between him and Yu in which he shed his English pomposity, and admitted it was only with the knowledge that Lydia had months to live that he had come to really care for her. 

Another important theme of In Praise of Love is the difficulty of being honest about one’s emotions. The actors’ performances were strongest in the brief moments where the script depicted the characters opening up: particularly memorable was a section where Sebastian relates his understanding of the pain Lydia endured in a wartime labour camp, including a chilling tale of when she played dead amongst the bodies of her friends to ensure her escape. It was a well-performed tonal shift from Sebastian’s otherwise comedic presence onstage, and demonstrated Gosmore’s versatility as a performer.

A key contribution to the relative strength of the second half was Khan’s portrayal of Joey, bringing a clarity of thought to his parents’ emotions. Moments where Khan impersonated his father, angry at the superficiality of his Sebastian’s Marxist principles, were well committed to.


Other moments lacked polish, but this can be attributed to opening night nerves. Joey’s first entrance onto stage could have had more impact, as the audience experienced it as a random disembodied voice in a moment of silence. Leaving a moment or two for the audience to register the actors’ reactions to Joey would have aided this. Likewise, Sam Gosmore’s portrayal of Sebastian as blustering and pompous was generally effective, but there were points of dialogue when his words were hard to make out amongst this characteristic huffing and puffing. I also felt that the couple of passages enacted around the chess set suffered from a loss in momentum, but this can be blamed on the demands of having this tedious prop in the original script.

It was clear that the set was carefully thought out by the production team. It was effective at creating the impression of a middle-aged couple’s home, and the overflowing bookcases were a not-so-subtle nod to Sebastian’s self-centred intellectual pursuits and failed attempts to continue as a successful novelist. The set also carried some comedic flair: the “contraption” that Mark shows Lydia how to use, so that she can access the medical records that Sebastain has kept from her, was in fact a simple step ladder, and this was used well to provoke laughs from the audience.

Despite some less impactful moments, the actors managed the complexities of the script well. Joey’s monologue critiquing his father’s adherence to Marxism in word rather than deed felt relevant today, relating to debates around the right of those with privilege to act as “armchair revolutionaries”. Having not been aware of the play beforehand, In Praise of Love at the BT was a rewarding evening’s entertainment.

University indicates support for tuition fee increase

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Oxford University students will pay higher tuition fees next year after Education Secretary Bridget Phillipson announced a suite of education reforms last month. Under the reforms, the price of tuition in English universities will rise yearly in line with inflation, as will the value of maintenance loans available to students. Maintenance grants will also be reintroduced for students from lower-income households. A University spokesperson indicated support for these changes.

The government has said that, eventually, tuition fee increases will only be allowed at universities that perform well on the Teaching Excellence Framework (TEF), the official system for assessing university performance. TEF ratings are assigned based upon evidence submitted to an independent panel of academics and students, as well as numerical data including student satisfaction and achievement scores. University fees increased this academic year for the first time since 2017 – they were previously frozen. 

Tim Bradshaw, Chief Executive of the Russell Group, an association of 24 public research universities, including Oxford, described the announcement and accompanying white paper as a “milestone”, adding that the indexing of fees to inflation was a “first step in putting the sector on a more financially stable footing”. 

Bradshaw also spoke out against the government’s proposed 6% levy on international student fees, which he said would “seriously hamper universities’ ability to invest in students and communities”. Phillipson had previously stated that the levy on international fees would be used to fund the new targeted maintenance grants.

An Oxford University spokesperson told Cherwell that they had nothing to add to Bradshaw’s statement. The University has long supported increases in tuition fees, arguing that the real cost of educating an undergraduate was far greater than the cost of tuition. 

Oxford has the largest endowment of any university in Europe, when the financial assets of its colleges are included. For several years, Oxford has reported annual surpluses of over £100 million. However, elsewhere in the UK, four in ten higher education institutions are believed to be in financial deficit.

The General Secretary of the University and College Union, Jo Grady, spoke out against the announcement. She said that the policy “doubled down on the tuition-fees funding model” that she credited with causing a crisis in the university sector. 

Grady did, however, agree with Bradshaw’s opposition to the international tuition fee levy, saying that the government should “stop attacking international students, who contribute so much to the sector, the economy, and Britain’s soft power”.

The Oxford University Student Union (SU) told Cherwell that the current funding model for higher education is unsustainable, but said that “passing that pressure on to students is not a long term solution”. 

The SU spokesperson also said that increasing tuition fees will have a disproportionate impact on international students, as the international student tuition levy will likely lead to an increase in international fees. In relation to linking tuition fees to the TEF, the SU told Cherwell that quality should only be incentivised in a way which does not limit access to higher education.

The changes to fee structures will have a significant effect on Oxford students. More than two-thirds of the £412 million that Oxford receives each year in course fees comes from international students. Estimates by the Higher Education Policy Institute predict that the proposed fee levy for international students will cost Oxford around £17 million each year, with the total yearly cost to English higher education institutions standing at over £620 million.

In Conversation with Cherry Vann, Archbishop of Wales

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“I have a strongly-rooted faith that my gender and my sexuality is part of who I am and part of what God created, and that therefore is part of what I bring to my ministry.”

The recent election of the new Archbishop of Canterbury, Dame Sarah Mullaly, was front-page news, as she became the first ever woman to hold the post. But the fact that she was beaten to the accolade of being the first female Archbishop in the UK is less well known. The election of the Archbishop of Wales, Cherry Vann, in July 2025 placed her name in the history books, not only as the first woman to be elected as Archbishop in the UK, but the first woman in the global Anglican Church to be in a civil partnership with a woman. Cherwell sat down for a conversation with the Archbishop of Wales, who will be officially ‘enthroned’ on 8th November 2025, to talk about the issues surrounding her appointment, her education, her ministry, and the Church’s approach to politics.

With Oxford’s rich choral and chapel traditions, the Archbishop Cherry understands the depth that music can bring out of buildings made for worship. She seems to wisely carry forward her experiences from her past into her ministry, and understands the impact that Oxford’s chapels can have – as welfare facilitators and for artistic expression. “Music speaks to the heart. You don’t have to analyse it or explain it. It just gets you. It engages emotions and the deep worlds of spirituality in often surprising and unexpected ways. It can get to you in a way that rational thought can actually keep at bay.”

The Archbishop’s story, though, is much more complex than simply where she studied – it is, in fact, layered with complications about who she is as a person. Unsurprisingly, her election has been met with discussion, opposition and division. The Church of Nigeria has formally severed ties with the Anglican Province of Wales as a result: “We must not allow culture or modern wisdom to dilute the authority of Scripture. These trends must be resisted,” Archbishop Ndukuba, the head of the Nigerian Church, has said in response to the election.

Given the Church’s fraught history with ‘modern’ ideals, this strong reaction does not seem startling. But her approach to this misalignment is one of maturity and trust. She told Cherwell: “The Church in Wales knew as well as I did that electing me was going to cause issues. But, when God calls, then you don’t say no, and they discerned that. I discerned that. And here I am.”

The Archbishop Cherry Vann admits that the variety of countries that Anglicanism represents are so diverse that it is often very difficult for people to come to terms with such broad differences. She explained how it was the context of the Church in Wales that made her election possible. The Nigerian church, alongside other churches across the world, have to fight for their credibility, which is not the case for Anglicanism in the UK. Her profound hope is that they are able to come to terms with their differences, and find relation within their shared humanity: “These people have never met me. They don’t know my ministry, my history, they don’t know what I’ve brought to the diocese, what difference I’ve made. They just focus on one thing.”

Despite her realisation that these differences might never be resolved, she is determined to not let that limit the impact of her election: “My primary drive at the heart of my ministry is to reach out to those on the margins and those who struggle with the issues that I seem to be a conductor, a lightning rod for. Not to stay apart, but actually to go towards and to try and establish a relationship where we can actually talk.”

Archbishop Cherry’s sexuality seems to come between people’s understanding of God’s word and their understanding of her humanity. But the levels of tolerance do not just vary across seas. The Church in Wales has a more progressive stance than the Church of England, allowing blessings for same-sex couples since 2021 and with discussions in progress on same-sex marriage in church. Nonetheless, the appointment of a lesbian Archbishop marks an historic milestone. Its impact on attitudes toward the LGBTQ+ community remains to be seen, but for those long forced to navigate the divide between sexuality and faith, this is a powerful step toward visibility and belonging within the Church.

“It’s been amazing for them to see somebody like me in this role. It’s very empowering and hopeful and inspiring for them and that’s great. I think for the church, it’s signalled something really quite remarkable that it’s been able to happen at all. I don’t think you can underestimate the impact that has.”

But the Archbishop of Wales is no stranger to dealing with disapproval from her colleagues. In fact, dealing with opposition is a cornerstone of her journey through priesthood. Archbishop Cherry was among the first five women to be ordained priest in the Manchester diocese in 1994, the first year of women’s ordination. In 2008, she became the first woman to become a senior priest in the diocese of Manchester, being elected Archdeacon of Rochdale, and, in 2019, she became the third woman in the history of the Church in Wales to serve as Bishop.

Being among the pioneering women at the front of the battle for women’s leadership in the Church, Archbishop Cherry said that her experience with prejudice and dissent in her early ministry. She was uncertain whether she’d be able to become an ordained priest at the start of her training in 1986, but nevertheless she maintained a posture of confidence that her call would find fulfillment in whatever way possible. “I suppose it cements your sense of call, because you don’t take anything for granted. It’s part of the process of learning to trust, that God knew what God was doing.”

Yet her faith did not erase the uncertainty. She recalled the resistance she encountered in the early years of her ministry, especially from male priests she needed to persuade that this was a step forward for the Church. A defining moment in that experience, she said, was a clergy conference in the Diocese of Manchester.

The Archbishop went on to describe the ways in which male colleagues and priests protested the ordination of women by not engaging and not attending Eucharist at the conference. “It just felt really awful and not Christian – not at all what we should be doing. So there was one occasion I went and sat with them at the meal that night. I think it quite amused them. It was awkward, but I felt it was important to just reach out.”

After the conference, she was motivated to contact those in opposition, and created a group of four men opposed to women’s ordination and four women priests. They met three times a year, and would eat, pray and discuss together. After 20 years of respectful conversation, they’d become “really good friends… it’s been one of the most profound things in shaping me.”

The Archbishop of Wales conveyed that modelling the faith and people’s equality within the church family was vital in respecting each other within church leadership: “I saw that when you work hard at loving somebody who is vehemently opposed to your ministry and you try and work with that, then something quite beautiful can come out of it.”

Women, and their role in church leadership, has so often been underestimated. The Archbishop told Cherwell: “Having been to India and to Africa, it’s made me realise how often women are the glue that hold families together and hold communities together. And I think that’s something important that women bring – this kind of innate desire to keep people together as a family.”

Speaking to Cherwell, the Archbishop reflected on how her early ministry and pioneering has prepared her for the backlash she faces now: “Clearly you can’t hide the fact that you’re a woman. Whereas I spent most of my life in the Church of England hiding the fact that I was gay. I know a lot of other people do hide it out of fear. But coming to Wales has just completely shifted that for me because I was told that it wasn’t an issue, and that I would be welcome.”

Archbishop Cherry linked this to the way in which Wales might feel side-lined and a minority in relation to England, which helps its culture relate to, and be sympathetic towards, other people on the margins, and how she feels welcome to visit parishes with her partner, Wendy. “It says something really quite special about Wales.”

But her sexuality is a new fight, one that Archbishop Cherry realises is a harder issue for people to come to terms with than her gender. She approaches building bridges with those opposed by inhabiting the role as a leader, not a campaigner. Modelling the faith, rather than pushing an agenda is important to her, especially due to the weaponisation of scripture: “I think the role of the Bible and what people perceive is said in the Bible can be used in a way that it couldn’t be used with women. Many people in my diocese are fine, but even those who do struggle I am able to maintain a relationship with.”

Lack of unity is not a problem that is restricted to the church, but is at play in our politics too. ‘Belonging’ is a word that seems obsolete to many, and so Cherwell asked the Archbishop of Wales to comment on the rise of right-wing politics, and the Church’s approach towards divisive rhetoric. She spoke about the Church having a story to tell about inclusion and God’s love for everybody, which needs to be told louder and more often. People are dissatisfied and feel excluded by politicians, governments and social norms, and they look for somewhere to give them a voice: “I think Nigel Farage has played clever on that and has accumulated all the discontented people and actually given voice to their anger. But he’s clearly got momentum, and I think everybody’s running scared as to how to counter it.”

The Archbishop emphasised that we need to create a space where everyone feels they have agency and value, and to work with governments to ensure their work doesn’t exacerbate divides, but is actually working for those who feel excluded: “I think we have to be very clear that a society that tolerates exclusion, never mind extremism, is a divided society and therefore, by nature is an unhealthy society… we have to speak out. And I think we’ve been too timid and apologetic.”

But this is not to say that the Church is without its own issues. Alongside major safeguarding issues in the past, Archbishop Andrew John, whose hurried retirement resulted in the appointment of Archbishop Cherry Vann, was prompted to step down from the role. This was due to serious concerns regarding safeguarding failures, inappropriate conduct and weak financial controls at Bangor Cathedral.

Such stories of corruption and misuse of power are stories that we are all too familiar with hearing from the Church. Coming out of this murky haze, Archbishop Cherry Vann is faced with a culture of mistrust perpetuated by the abuse of power that her predecessors have created – a hard position to step into after such serious concerns. Leadership coming out of a break of trust is often a make-or-break moment within an institution, and so her early approach to her new role is vital. She hopes to create a communion where people can come together, voice their concerns, challenge each other’s beliefs, and re-build a relationship between all areas of ministry. She said that she wants to model this culture, because “I think that’s what leaders do. They model a culture, a way of behaving, a way of responding, a way of being, and people notice that. And it trickles down. So I hope to model something quite different, something that’s more open, responsive, accountable.”

The Archbishop said how being open about questions and concerns means that they can be addressed, which is impossible if they are kept secret. Silencing people has caused problems in the past. She said that she is trying to be honest and open, modelling a culture in order to change it. This will take a long time, but people need to be able to identify problems and behaviours that are wrong. “I think we need to find a way of coming together so that we can build those relationships, have open and honest conversations and hopefully agree on behaviours that are going to model something that’s a bit more Christ-like… It might inspire more trust, might show us as being more accountable, and the importance of having that openness and transparency in all we do.”

Clearly, Archbishop Cherry Vann’s experience throughout her ministry has prepared her for this new role – one that she has stepped into with confidence and clarity on what needs to change. At a time in history where church attendance is still declining, but where research is showing there is an increasing interest in faith in the UK, openness and honesty is vital in order to uphold the Church’s structures and the positivity that it puts into the world. This election has changed the history of Christianity altogether, and brings hope for the building of a safer, healthier and more united church for the future.

“Whether you like it or not, God welcomes everybody and you just have to get used to that idea, and find a way of living out that love, that care, that compassion, that respect that we believe God holds all his children in.”