Saturday 2nd August 2025
Blog Page 786

Blind Date: Not God squad, just theology fresh

Adam Large, First Year, Theology, Regent’s Park

Painfully early, after taking a five minute detour to peruse the dis- count aisles of Tesco, I headed to the Kings Arms – little did I know it was the most expensive pub in Oxford. After re-mortgaging the house and settling down to a pint of Kronenburg and a rum-and-coke, the conversation with Jeanne was flowing like bop-juice. We quickly discovered that we both do the somewhat niche subject of Theology, and had actually been in the same Bible class earlier that day (not God squad, just Theology fresh). After a thorough dissection of our course and tutors, we eased into some excellent rowing chat (the staple of any great relationship). Despite some awkward geography mishaps, the conversation was easy-going and enjoyable… hopefully we’ll see each other before our next class on the big JC?

First impressions?

She was two minutes late.

Quality of the chat?

Good, but was mildly distracted by the beaut French accent.

Most awkward moment?

Brexit.

Kiss or miss?

Miss.

Jeanne Lerasle, First Year, Theology, Mansfield.

I spent a lovely evening at the Kings Arms – Adam was already there when I arrived, and was waiting attentively for me as I walked in (ever the gentleman). The conversation flowed really well, and there wasn’t a dull moment or an awkward silence – which is something that cannot be said for a conversation with some Oxford students I’ve met. It was lovely to get to know him, but the highlight was when I found out that I had a better 2K time than him (yes… we both row, and no, his chat wasn’t that bad, and nor was mine). It was a slight shame that he thought that Malta is in Gibraltar and that he lied about his cooking skills. Honesty tends to be the best policy, and basic geography is also definitely a must. Overall, he seems like a really nice guy with great fashion sense!

First impressions?

Very sweet and gentlemanly.

Quality of the chat?

A rower who was not dull, nor boring, nor awkward.

Most awkward moment?

We’re in the same Bible class.

Kiss or miss?

Miss.

 

Swapping halfway hall for a halftime pie: football as a means of escape

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The Oxford bubble is not something to which I had ever given a great deal of thought. This lack of awareness was probably symptomatic of my confinement within said bubble, but that only made my eventual realisation all the more disturbing. You’re probably wondering why this has anything to do with sport, but bear with me. I didn’t think it would either.

My first epiphany was that being in the bubble invariably compromised my involvement with football. As a football enthusiast I have always endeavoured to keep up an eye on the scores, something my early struggles to cope with my hectic timetable had not re-ally allowed for. Checking how my team were doing on a Saturday afternoon had become a matter of procrastination rather than purpose, and this was all too often the closest I came to watching the games themselves.

My friends from home chastised me for failing to watch derbies, title deciders and the like, and I had to agree with them. For the first time in years I could no longer recall the results of previous games with consummate ease. Had all my past devotion really been so hollow?

I called this my first epiphany, and the concern that it raised led me to have a second. This occurred last Saturday, when I realised how much football really did mean to me. Situated not far outside the ring road, the Kassam Stadium, home of Oxford United FC, is out-side the Oxford bubble in more ways than one.

With a capacity of 12,500, the Kassam is a humble home for any sports team, but it still dominates the spire-free skyline. In and around the ground, there is not a gown in sight. Start talking about collections, bops or sub-fusc and you might as well be speaking in a foreign language (in the latter case you of course would be).

There to celebrate a friend’s birthday, we disembarked the bus from the city centre and headed through the turnstiles to the concourse, and then to our seats. I had expected to enjoy the day no matter what.

As it turned out, I did very much escape the familiar, but not quite in the way I had expected. Although well over 100 miles away from any ground I had previously called home, there was something fundamentally homely and reassuring about the atmosphere at the Kassam, a familiarity that made me all the more amenable to it.

Some of my less football-orientated friends made fun as I punctuated my frustrated murmurings about Oxford’s midfield with hollers for their right-back to show a little more attacking ambition, but it was better than stressing over an essay. I even begun referring to Oxford United as ‘we’ by the second-half; the emotional pull of supporting a team was stronger than I had thought possible.

My continuing emotional involvement with football had been confirmed beyond doubt, perhaps even despite myself. The 2-1 home loss to the bottom side in the league left a bitter taste, especially after a chance to equalise was missed in the dying moments. Yet I was glad to have felt emotionally invested in something which is in equal parts utterly essential and completely inconsequential: a game of football.

So, football still meant a great deal to me. It has helped me to overcome the Oxford bubble, and this is a testament to the positive power of sport. It provides an outlet, respite from the concerns of everyday life that is vital in a high-intensity environment of Oxford. Come on you Yellows!

From novices to champions: the success of Oxford’s female boxers and OUABC

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I spoke to Lydia Welham, captain of the University’s women’s boxing team on Sunday. Despite her seniority in the boxing set-up, her passion for the sport is a recent development, having only discovered boxing a little more than a year ago. She tagged along with a couple of friends to a training session, and was surprised by just how much she enjoyed it, and has never looked back since.

Countless training sessions later, the Oxford University Amateur Boxing Club (OUABC) is now preparing for their biggest term, with the Bucs championships (for the women), Town vs Gown, and Varsity all on the horizon. Many boxers come to Oxford with little or no experience, and their success is a testament to the ability of their coaching staff to produce such a quick turnaround. As Lydia herself said: “The advancement of women’s boxing is a testament to Head Coach David Mace’s expertise and commitment to training each boxer to achieve their highest potential.”

It is also demonstrates the dedication of the boxers themselves. While I was struggling to shake off a post-bop hangover, Lydia had come straight from a training session. No Sunday morning lie-ins for the boxers. Training is everything. Although it is never possible to fully replicate the intensity of a real match, the combination of technique work, cardio, and sparring certainly comes close.

It’s about more than simply throwing punches, as you have to work out your opponent’s style as you fight, assessing your options while constantly keeping your defences up. You have to be thinking all the time, like in a chess match, but with much more immediacy. There’s nothing quite like it. With the Bucs championships taking place over the first weekend of February, perhaps the tough training schedule is not surprising. The competition is divided into different weight categories, with universities from all over the country represented by one boxer per category.

Despite the relative lack of experience common among Oxford boxers, they have dominated the competition in recent times. This year’s women’s team will be hoping to maintain Oxford’s status as the best in Britain for a fourth consecutive year. Despite this ongoing success, Varsity remains the primary focus, taking place at the end of Hilary. At Varsity level, men’s boxing is more established, with matches across nine weight categories compared to three for the women last year, but women’s boxing is on the rise.

Having only accepted their first female members 14 years ago, OUABC has become one of the most successful in the country, an achievement that Lydia believes has its roots in the club’s inclusive atmosphere. Men and women train together, especially unusual for a club of over 100 members. The male boxers not only welcoming women into the club, but celebrating their success.

Their sense of community is integral – Lydia likens it to a family. Every year, around 20 of the most committed boxers, go away on a training camp together. With little opportunity for chat at regular training sessions, the active social calendar affords them the opportunity to build close relationships.

Moreover, leaving Oxford does not mean leaving boxing behind, as the club enjoys a strong alumnae network that has yielded funding for a new training gym and a new women’s kit in recent times. Oxford’s past boxers remain keen to support the club’s future, and women’s boxing is playing an increasingly prominent role in that future. Lydia is optimistic that this trend is set to continue.

St John’s thrash Exeter in a JCR Prem goal fest

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Goals from Kayinsola Akinwuntan, Sam Morris, Alex Wilson, Eddy Mort and John Findlay consigned Exeter to a 5-1 defeat as St John’s Men moved into first place in the JCR Premier Division.

With Balliol’s tie against St Catherine’s postponed due to player shortages, this Monday game offered John’s the opportunity to move to the top of the league and assert themselves in the title chase. John’s took their opportunity with aplomb, dispatching Exeter in a surprisingly one-sided contest, given that the game was second versus third at kick-off.

On a small pitch, both teams tried to break away fast when the opposition lost the ball, but with the ground sodden after hard rain for most of the morning, the first-half was a scrappy affair, with the teams going in at the break at 1-1.

In fact, Exeter took the lead against the run of play in the 10th minute as John’s keeper Stás Butler dropped a cross, allowing Arthur Wellesley to tap home. Yet almost straight from the restart, John’s were level as Blues strikers Mort and Akinwuntan combined well, the former threading it through to the latter who dispatched the ball into the back of the net.

After the initial frenzy, the pace of the game slowed, as Exeter seemed content to sit back and soak up the pressure applied by John’s. In particular, Akinwuntan was causing the most problems for the Exeter defence, with his close control and direct running creating several chances, the most notable a cross he sent into the box from deep within the John’s half that was struck past the post by Mort.

The advantage, however, swung decisively to John’s after half-time, as substitutes Wilson and Morris combined on 55 minutes to give their team the advantage. After good work by Wilson on the left-hand side, he crossed the ball to Morris who volleyed it low and hard into the back of the net.

Further goals arrived in the latter stages, as John’s maintained their knack for scoring late. Wilson turned scorer in the 75th minute, controlling the ball well on the edge of the box, and looped it over Blues keeper Sean Gleeson, with the ball seemingly taking a deflection. Two minutes later and the contest was as good as over. Paddy Osborne was fouled in the box, and Mort converting the subsequent penalty, despite Gleeson diving the right way.

John’s added gloss to a fine result in the last five minutes, with Findlay scoring the pick of the lot. Phil Thumfart, who had a fine game in central midfield winning the ball and distributing well to set his team out on the attack, put a ball into the box which was slammed into the roof of the net by Findlay.

Speaking after the game, Exeter’s captain Gleeson was disappointed: “It was not good enough,” he said. “We know that we are better than that. We weren’t good enough today, and that’ll do.” In truth, Gleeson was right, as resolute John’s defending meant that Exeter’s exciting attacking players Oluwatobi Olaitan and Henri du Périer were kept quiet throughout.

Sam Shah, John’s left wing-back, was pleased with his side’s performance, saying that John’s had “put Exeter to the sword” in a fine performance. Indeed, John’s could have had several more, with good chances for Mort in the first half, and Morris hitting the bar during his team’s purple patch in the game’s latter stages.

Goals rained across the JCR Premier Division as Wadham thrashed Worcester 8-2.

The Brew that changed the direction of jazz

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As the 60s came to an end, jazz had become music of the past: the trend had moved to rock and Motown, and with the death of John Coltrane in ’67, it seemed the genre was losing momentum.

A jazz musician known for his ’59 hit ‘Kind of Blue’, Miles Davis could easily have stayed to gather dust on Columbia’s classical list. But by the end of the decade, he had released an album that would define the future of jazz to come.

The shift was in part prompted by his relationship with Betty Davis. A trendy 22-year-old model, she introduced him to the funk of James Brown and the sonic forays of Hendrix, with whom it is rumoured he was ready to start a supergroup along with McCartney. Though the rockstar’s death in 1971 made this impossible, their brief relationship did much to push Davis in a new musical direction.

The result, Bitches Brew, was 96 minutes of organised chaos, a giant sonic canvas that constantly evolves as each of the group’s 15 musicians adds his own brushstrokes and Monk-like angular harmonies. Every player is in close communication, despite having barely rehearsed, making do with Davis’ rare trumpet cues as guidance.

At one point on the title track, one can even hear Davis whisper to the guitarist, as he hears the jam reaching its natural conclusion: “John… play something.” This is music born of the moment, an album that wrote itself as it was being recorded.

Purists were understandably horrified. The man who had defined classic jazz was now featuring on the same bills as Hendrix, packing out the same arenas as The Doors and Jefferson Airplane had done. Nevertheless, with the addition of John McLaughlin on quasi-funk guitar and other instruments the likes of which had never been heard on a jazz record before, he gave the genre the impetus it needed to stay relevant.

The modern attention span, with its relentless diet of 3-minute singles and quick-fire Spotify playlists, will no doubt find Bitches Brew and its precursor In A Silent Way hard going at first. But Davis’ late 60s output will reward any amount of close listening, and continues to stand as a true testament of an artist who refused to be content with his former success.

The culinary technique that always leaves a good taste

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Every time a friend announces that they might be coming down with something, I worriedly probe my own body for symptoms. A consummate licker-of-fingers, sampler-of-spoonfuls, cleaner-of-cake-batter, I can never entirely trust that the infection didn’t originate with the food I cheerfully plonked in front of them last week.

This tendency to stick whatever I fancy into my germ-ridden mouth is only exacerbated by the taste as you go mantra of all my cooking idols. All very well until I need to try my stew both before and after adding salt. What am I meant to do, wash two teaspoons? I’ve got essays to write.

Biohazards aside, I can see where they’re coming from. Tasting gives a chance to course-correct, and it’s a way to get more in touch with what’s happening to the food – to see for yourself over time how a tin of tomatoes turns into a sumptuous sauce. On a good day, I’ll take a bite and let it linger in my mouth, probing for anything that I think would make it better. What happens if I add soy sauce? Vinegar? Tabasco? Oh, god, now it’s inedible – how to save it? (Usually, potatoes.)

I’ve now learned the hard way that not everything exists to be shovelled in by the handful. A mouth full of raw pine nuts was an unpleasant way to discover that I’m not keen on the taste, and I can’t count the number of times an incautious spoonful from a hot pan has left the roof of my mouth tender with pain.

After all that effort, it feels criminal to sit down and shovel dinner in while watching Netflix. Some days there’s nothing that can come between me and my Brooklyn Nine Nine fix, but simply taking the first bite with no distractions – TV paused, bum on seat, desk cleared of notes – delineates the space within a hectic day to focus on the highly pleasurable act of getting energy from outside to inside my body.

Flavours make up the backdrop of all our best memories, and learning to speak that language makes every moment more vivid. In a few years’ time, when I want to invite a rush of nostalgia, I’ll order my go-to Hassan’s, heavy on the chilli. The meandering buzz of conversation, the sticky cling of dance floor sweat on my skin, everything glowing streetlamp-yellow: it’s all folded in there with the industrially acidic garlic sauce and too-hot falafel, a constant thread that anchors me to the end of the night. One perfect bite, eyes closed, and I’m there.

A long way home

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The start of term, for most Oxford students, means being dropped off by their parents at college. The termly ritual often involves a long car-trip, unpacking various boxes, books and cacti, and perhaps lunch out in town, before saying goodbye. But like many other international students, I will never be dropped off, nor picked up. For me, 0th week brings a pang of homesickness as families flood Oxford’s streets.

I live over 10,000 miles away, in Sydney, Australia. The journey to and from Oxford takes me 30 hours door-to-door, but the transition between these two places lasts much longer. It’s a transition I find very difficult, although it’s taken me a long time to speak openly about it. The journey is always coupled with a sense of overwhelming anxiety, one that starts a week before leaving and takes roughly two weeks, once arrived, to settle down. It’s not the flying itself (although international storage, economy-class seats, and jet-lag definitely don’t help). It’s the feeling of constantly being yanked between two different worlds, and not really belonging in either. It’s almost embarrassing to say that I find the vacations the hardest part of my Oxford degree.

I fully recognise that I am privileged to live in, and travel between, these two beautiful cities and that my feelings of dislocation are in no way limited to me as an individual or as an international student. For example, a close college friend of mine lives in Oxford, a ten-minute walk away. They must re-adjust from the independence of student life to the expectations of their conservative family every eight weeks, without the benefit of distance to buffer the transition. One year on, having learned about myself and my friends’ experiences of first year, I now know that the issue is missing Oxford during term-time rather than resenting home in Sydney. Yet there is also a unique set of problems to living so far away.

These problems start before the vacation even begins, with the process of moving out of college. Packing up is intensely stressful because it’s a responsibility that I have to face entirely on my own. I’m reminded that my college room is only a temporary home, particularly by the rather cold-hearted and dysfunctional international storage system. For the past two years, I’ve lived my life from one suitcase and a few boxes. As soon as I feel rooted, it’s time to pack up again. Then, there’s the issue of travelling solo. For 30 hours, I’m left alone with my thoughts and feelings, in the absence of a friendly face or even wifi. I’m also often mistaken for an unaccompanied minor, (being offered a children’s plane toy was just insulting), and going from the intimate college environment to one in which I am an absolute nobody is especially dislocating.

Next comes the crippling jet lag. For those who haven’t experienced it, jet lag is a bit like a week-long hangover. It simply makes everything worse. Not only am I exhausted when it’s least convenient (i.e.: collections), I also feel moody, over-emotional, disoriented. This was how I felt at my lowest point, exactly one year ago, in 0th week of Hilary in my first year. Jet lag became an extra hurdle, on top of the cold dark winter, academic work and changing friendships, that I had to navigate as an international student.

Long-distance relationships are difficult too. It’s impossible to physically meet up with my friends who live in the UK, and the time-difference hinders social media communication, even if today’s transport and technology have made these possibilities easier than ever. It’s even harder to keep up with my friends back home during term-time. This is partly because I struggle to explain what Oxford is like and why it’s such a big part of life without coming off as distant or pretentious. Whilst I recognise that Oxbridge is unique to any other university experience, it’s harder and harder to find common reference points with people my age in Sydney. The norm in Australia is to live at home, study a vocational degree and attend a local university, where the mantra is “Ps get degrees” (where “P” stands for “Pass”, the equivalent of a Third). Most people there don’t quite understand why I’m travelling halfway around the world to study History and Politics at a lesser version of Hogwarts.

There’s also a more existential issue that comes with living so far away, which is that straddling these two worlds challenges my sense of identity. Here, I’m not just talking about growing into my own person at university. The differences between home and college are salient to me as an international student in a way which they simply aren’t for most domestic students. My identity is defined in contradistinction to the place I’m in, but I don’t really belong in either. I am Australian when in Oxford and an Oxford student when in Australia. Even my accent changes depending on where I am, making this disjuncture feel particularly real. I’ve been asked several times in shops and cafés around Bondi where in the UK I’m from and for how long I’m backpacking. I’ve then had to explain that I live five minutes away, and have done so for 14 years. I’m still not sure who’s found these conversations more awkward. It’s often easiest to laugh these encounters away or whip them out as funny anecdotes, to hide how difficult I find them.

I may post Instagram photos of sunny beaches, but I’m secretly wishing that I was in cold and rainy England at my friend’s Christmas dinner party instead. I’m guilty of both idealising Sydney (the heat, the brunches, the relaxed lifestyle) and complaining about it (the heat, the time difference, the “Eastern Suburbs bubble”) as proxies for the deeper experience of feeling torn between two places. Over time, it’s gradually become easier to talk about why I’m struggling and how I’m coping directly. My experience is also relatively easy in comparison to other international students. As a British-Australian dual national, with family in the UK, family friends in town, and a dad who went to Oxford, I haven’t had to deal with culture shock or language difference (even if “chirpsing” confused me for an entire term: the Australian slang is “tuning”). It’s a testament to the drive and resilience of these students that they surmount these extra obstacles, which are invisible to most of us, on an everyday basis and with minimal support.

Nonetheless, the distance between Oxford and Sydney, the full 10,000 miles of it, is a blessing as well as a curse. Travel provides a clear separation between college and my family home. In fact, I like to compare the journey to the flashback effect in bad films, when the screen goes wobbly. Travelling between two very different places has a similar hallucinogenic, dream-like, feeling. It’s difficult to remember what life in sunny Australia is like when I’m shivering in the Rad Cam. This separation means that I can clearly categorise my time and memories in each location, without the confusing overlap experienced by students who live in or around Oxford outside of term.

Moreover, seeing friends or attending events such as Twickenham or the Boat Races is not an option for me. This is sometimes comforting, because there’s really not much I can do about this ‘fear of missing out’. It’s perhaps worse for students who live outside the Home Counties, where such a trip is feasible, but costly and impractical. This distance also means that there’s a network of Australian students in Oxford and Cambridge with which I can share common experiences, talk to when I’m homesick and, most importantly, celebrate Australia Day. I now know that I can rely on this network and other close friends in both Oxford and Sydney when I’m stressed out. To tell the truth, it’s been a steep learning curve. I underestimated the difficulties of living so far away from home. But as I’ve gradually grown more confident in myself and my friendships, expecting a tough transition rather than simply switching over, moves have become easier and easier.

Ultimately, the underlying struggle to readjust is common to most, if not all, Oxford students. First and foremost, there is a radical change in pace. Every dimension of life at Oxford – academic, extracurricular, and social – is intense, and, during the vacation, this routine is pulled out from under our feet. I often experience an inescapable sense of boredom during the vacation as my day devolves into a pattern of “eat-sleep-repeat”, combined with overwhelming exhaustion and guilt surrounding collections. There’s always more to do, even if rest is absolutely necessary to our physical health and mental wellbeing. We are also out of the loop. Returning home after term-time confronts us with the fact that family life goes on without us, and sometimes circumstances change. For me, this has included ups and downs in my family’s health and happiness, as well as the terrifying discovery that my little brother is now two heads taller than me.

As a result, it’s often awkward and dislocating to reintegrate into past routines and relationships – to return to “how things used to be” before flying the nest. This is also the case with friendships based at home. It’s a sad truth that school-age social groups tend to narrow, as they change in importance over time, especially in comparison to the intensity of college relationships. It’s also more difficult to make new friends during the short vacations, meaning that there are fewer and fewer people to come back for at the end of every term. The most challenging experience however is becoming “that Oxford student” – to have my identity reduced to the institution I study at. I have been made fun of, dismissed as pretentious and considered intimidating in this way, both by friends and strangers. Obviously, life must go on. As I change as a person in my opinions and interests, I must accept that I’ll diverge from my life before university. The truth is that I prefer living in Oxford, even if this truth is sometimes difficult for those at home to accept.

This summer was a turning point for me. My family attended the funeral of one of my dad’s best friends from Oxford, and it made me realise just how precious our time here really is. Out of my dad’s year group of 100 students, half a dozen have lost their lives to accident, mental illness or disease in only 30 years. This realisation filled me with a sense of impending doom, as if life is a constant race to stay ahead of mediocrity, anxiety or tragedy. With halfway hall approaching, I described this feeling to a friend as standing on top of a waterfall with my eyes closed (think “Titanic”). I can feel the water rushing around me and am desperately trying to catch hold of it as it slips through my fingers and pushes me closer and closer to the precipice. Ultimately, our time at Oxford will likely be the best three years of our lives. Life beyond Oxford is unknown and there’s a limit to what we can do to change that. Truth be told, it was my dad’s stories about college which made me want to study here at the age of ten. Yeats captured it well when he wrote, “I wonder anybody does anything at Oxford but dream and remember, the place is so beautiful”.

Our time here is finite, it’s imperative that we seize the opportunities these years provide us with. The terms are intense, the work is rigorous and the vacations are long. I cannot wait to get back to college, despite all the essay crises, emotional breakdowns, and chirpsing drama it entails. So as I’m sat writing this on the plane, I now know that “home” can be both Sydney and Oxford simultaneously. And I’ve only six hours and 45 minutes of this long journey home to go.

Young Tories call out sexism and harassment in OUCA

Half of Oxford University Conservative Association’s (OUCA) current officeholders have slammed “a problem with sexism” in the society, claiming that multiple allegations of groping and harassment are “not being dealt with”.

The statement, seen by Cherwell, was submitted by eleven current and former OUCA officeholders at a meeting of the society last Thursday. It was presented by the most senior female officer in the association, Social Secretary Lucy Boland. Signatories include Treasurer James Olney and Political Officer Connor Beattie.

It claims “there is a common perception that the association has a problem with sexism, and that this perception is right”, and that there are a “number of members who feel able to treat women with disrespect and discourtesy”.

The statement cites “numerous reports” that several attendees at last week’s Port and Policy event “groped, touched, kissed (or attempted to), or otherwise harassed female guests”. It also alleges that this has been a recurring issue.

However, when these issues were raised to other senior officers, it is claimed they were “dismissed due to fears of bad PR.”

The signatories claim “that senior members of the association have been ignoring sexism and misogyny, not because they are themselves sexist, but because they are worried about the public image of themselves and the association.

“Members have been afraid to speak out about harassment because they fear that nothing will come of their complaints, resulting in no action being taken against the minority who behave inappropriately.

“This has created a downward spiral in which victims are further discouraged from speaking out because it appears futile.”

The statement read: “one may easily dismiss reports of harassment of unnamed women but I am sure that if one of the victims was one of your own sisters you would feel very differently, and you should extend the same concern to all of our members.”

Multiple solutions were suggested to rectify the issues raised. These included banning from events members “guilty of groping and harassment”, and mandating sexual assault prevention courses for all officers and committee members.

The creation of a new welfare officer role was also proposed for members not comfortable bringing concerns to senior officers such as the President or Returning Officer.

The signatories stated: “Our aim is not to cause trouble for the Association but to change it for the better.”

OUCA president Timothy Doyle told Cherwell: “The Association takes allegations of misconduct at its events very seriously indeed. Where the Association receives an allegation of an incident of sexual harassment at one of its events, the only action it can take is to refer it to the University authorities.

“I am not aware of any Member’s [sic] having been discouraged from making a complaint for the sake of avoiding bad publicity. I should deplore such an attitude.

“I am grateful for these suggestions, which I began to implement at last night’s Port and Policy. I’m currently looking for suitable candidates for appointment as Welfare Officer, and am investigating the availability and viability of sexual harassment prevention courses for our Officers.

“I am pleased to see progress being made on an important aspect of our Members’ welfare. The association expects all attendees of its events to behave respectfully and appropriately at all times, and take allegations of misconduct very seriously indeed.”

At second week OUCA council, committee member Lewis Roberts submitted a similar statement condemning the association for being “more concerned with its own image than equal rights.”

Roberts is now suspended from OUCA committee, awaiting a disciplinary hearing. Historic blog posts were cited as the reason for his suspension. President Doyle would not comment on ongoing disciplinary matters.

An Oxford University spokesperson told Cherwell: “All registered University clubs and societies are expected to act in accordance with an agreed Code of Conduct and with the University of Oxford’s Policy and Procedure on Harassment.

“This states clearly that all members of registered clubs are expected to treat other members with dignity and respect, discourage any form of harassment by making it clear that such behaviour is unacceptable, and support other members who feel that they have been subject to harassment.

“Students across the institution can seek support from University or College harassment advisors, college deans or other officers with pastoral responsibilities, the Common Room welfare or equal opportunities officer or a student peer supporter, the University Counselling Service, or OUSU’s [sic] Student Advice Service.

“Club members can make a formal complaint in writing to any Committee member, and where Club activities are found to be in breach of the University’s disciplinary regulations, the Proctors may hold Club officers or organisers responsible.”

Julius Caesar review – ‘two hours of pounding drama’

While one is rarely surprised to witness a Shakespearean production opened with music of some sort, it is fair to say that you might not expect the first note to be played on a heavy, distorted bass guitar, launching hungrily into a medley of Katy Perry and Survivor before a frantic and building rendition of the White Stripes’ Seven Nation Army, designed, one feels, to build an air of playful confrontation and an almost mischievous prescience of events to come.

In a new production of Julius Caesar at the Bridge theatre director Nicholas Hytner amplifies the electrifying effect of these opening numbers with clever staging – the venue still very much on debut – stripping out the vast majority of the stalls to create a Globe-esqe promenade area which forces the audience within to adopt many different guises en masse as the production proceeds.

As Caesar, David Calder is almost more played by the lines than the opposite. He floats through scenes, delivering with a sadly transient effect, perhaps desired however, as it means that other aspects of the production can combine to support various opinions that Hytner has produced a fast-paced, pseudo-subtle two hour allegory of Trump’s America, complete with slogan-plastered baseball caps (onsale in the pit, £4) and rational scepticism amongst the liberal opposition. This, however, is where the comparison ends and, as the plot unfolds, Calder releases a more personal side of Caeser, building to his demise, where we see him exhausted by utter conviction in his values and a frustration building at how he is received, to the point where one feels empathy for him and is lead to question just who exactly has been cast by Shakespeare as hero and villain at the time of his explosive and immersive demise.

The unexpected questioning of Shakespeare’s plans for his characters is intensified by Ben Whishaw, opposing Calder as a reluctant, innocent and highly self aware Brutus, leading the audience through his every consideration with a soft intensity characterised as a quiet academic. Whishaw’s Brutus is simultaneously the ironically self-righteous voice of reason and filled with self-loathing for his capabilities and beliefs in them. Brutus is thus an emotional rag doll for his co-conspirators in the Roman elite, led confidently Casca (Adjoa Andoh) and Cassius (Michelle Fairley). Adjoa especially gives a flawless performance, assured in her role and bringing together Brutus and Cassius with an unquestionably believable portrayal.

From the bell in the foyer, and simultaneous beginning of the live music, the cast set a relentless pace, with next to no let up from the action. There is however, a slight sense of a stutter after the death of Caesar when the procession becomes slightly confused and the ever-dynamic scene changes more frequent. It is, indeed Bunny Christie’s staging brainchild that lends so much intensity to the production with the audience constantly shepherded around by marshals, as either security guards, disgruntled Roman soldiers or field nurses, out of the way of the constantly shifting stage – hydraulic platforms that raise and lower, presenting a highly adaptable environment, with the regular rushes of the pit populace in towards the stage preventing any essence of stillness. These scene changes provide a playground for Paul Arditti’s evolving sound design. Volume, particularly in dialogue, proved to be one of the only questions raised against the staging layout, occasionally a struggle to hear from the pit, with three galleries of seats in the round presumably in worse scenarios.

As the staging perhaps became overly frenetic in the second half (two hours, no interval) the soundscape created became a notable and appreciated presence, sheer volume and audacity of effects aiding the immersion of the audience and a booming old-arena tremolo raising silence during Mark Antony’s (David Morrissey) lamentation of Caesar during the funeral. Unlike Brutus, Mark Antony captures the hearts of the Roman citizens, appealing with story and emotion rather than logical justification, a scene Morrissey delivers with gentle gravitas such that cements his foundation for an instrumental and calculated part in Brutus’ psychological downfall as the play moves to resolution.

With this production Hytner has brought together a cast that is perfectly complementary, the unquavering assurance of Fairley, frenetic nervousness of Whishaw and calm, searing performance of Morrissey melting together in this creative new venue to result in two hours of pounding drama that leaves audiences questioning character roles that have been understood for centuries, and curious to see what he can do next. A definite recommendation and, for a very minor sacrifice in comfort, definitely worth taking the promenade view for obligatory and revelatory inclusion in the troubles.

The 39 Steps review – ‘It is rare to see an Oxford play take itself as seriously as this 39 Steps – that is, not a jot’

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I would not be leaking sensitive information if I were to reveal that I like comedies. Look at my files and you can see that I have gone on record claiming that comedy is the perfect antidote to the tribulations of Oxford life. Antonia Hansen’s adaptation of the Alfred Hitchcock spy satire The 39 Steps covertly promised to defy seriousness and deliver a light-hearted experience: suffice to say, this placed it firmly on my radar. Much like these spy puns, The 39 Steps expertly parodies a tired genre with a solid knowledge of its fundamentals, but sometimes ends up inheriting the weaknesses of its source material.

Taking our seats to the tune of Frank Sinatra’s ‘Fly Me to the Moon’, the mellow yellow lighting against which the actors dissolve into silhouettes, Benedict Turvell knocking back enough apple juice to keep a nursery buzzing for hours; the stage designers nail the thriller, film-noir aesthetic. “Who the bloody hell cares, actually?” about wars, everyman Richard Hannay (Benedict Turvell) questions as he slouches in his armchair, solemnly recounting the events of his life. The 39 Steps has all the mystery tropes: an innocent man on the run, framed for the murder of an international spy; questionable, misogynistic flirtation; an eccentric spy-ring leader.

Except, The 39 Steps subverts all of that in favour of conjuring up a world of absurd unreality. Our hero, Richard, is both acutely aware of the artificiality of the world he inhabits and ridiculously unfit for the role into which he is thrust. Turvell embodies his character’s mannerisms perfectly, his eccentric tilting of the head, his awkwardness, his lanky, puppet-like run during the Scooby Doo chase sequences. Although loveable, his character can feel a little strained and confused: how can a character break the fourth wall so much, yet still get caught out by predictable thriller conventions?

Luckily, his reason serves as a great foil to the caricatures of the other actors. From Richard’s first meeting with intelligence agent Annabella Schmidt (Miranda Mackay), the play erupts into a series of ‘Allo ‘Allo!-style accent exchanges. Carlo QC and Jon Berry, the plays aptly named ‘clowns’ perform an impressive range of characters, from two perverted Englishmen on a train, to the innkeepers Mr and Mrs McCarrigle. Their attention to conveying idiosyncrasies diversifies each of their characters, even if they both share a Scottish accent, for example. Berry’s maniacal Professor Jordan even challenges Richard’s motivations as being romanticised, something akin to a spy novel, before growing a stereotypical German accent mid-sentence. The accents are hilarious, for sure, but they can drift towards over-the-top caricature, especially as the script becomes more repetitive in the second half.

Elsewhere, the producers successfully utilise the amateurish feel and low budgets typical of student theatre to further destroy any shred of realism. A fan appears during a train chase sequence while Richard and his pursuers flap their coats with their hands. That same train is composed of a few boxes arranged in a grid and the characters bouncing up and down in their chairs. Clever uses of lighting and sound are not always synchronised with the actors’ movements. Cheeky chappy Richard knowingly winks at the lighting and sound technicians as he opens and closes the doors to a party at the villain’s mansion, lights and jazz music cutting in and out whenever it feels like it. Such moments were so brilliantly timed that I could not decipher whether they were intentional or not, but they added to the sense that the world of The 39 Steps plays by different rules to its characters. Professor Jordan threatens Richard to join him and the cheesy party music cuts in for a split second. One of the villainous henchmen (also played by Berry) remarks on the sudden appearance of thick fog, but it is a solid five seconds before a fog machine is wheeled into the corner. Intentional or not, the actors adapt to the situations, and the result is comedy gold.

Without a doubt, the strongest aspect of the acting is physical theatre, an element often overlooked in comedy. The 39 Steps has an almost cinematic quality in its visual humour: Annabella (also Miranda Mackay) is careful not to reveal the knife in her back until she flops onto Richard, who exclaims “golly!”. Rather than simply moving the body, Richard instead decides to wriggle out of his armchair. This ingenious moment, and moments of a similar nature, had me in fits.

Annabella’s was not the only corpse onstage, however: some accents were so cartoony that not even the actors themselves could resist laughing. What is more, the marathon running time combined with the declining quality of the script and originality in the second half meant that, by the play’s conclusion, the actors were some of the only people still laughing. The play loses its steam after the interval, as characters incessantly repeat their, and each other’s, lines. For the actors to stay in character for such a long production was commendable, but they appeared drained of all vivacity by the end.

A word must be said about irony. The 39 Steps is steeped in so many layers of self-parody that identifying intentionality is futile. The ‘battle between the sexes’ has long been a staple of comedy, but especially in spy films. The 39 Steps has faith in its audience to interpret for themselves what is satire and what is serious, and some of these gags are genuinely funny: whenever a pink light is switched on, the characters are obliged to get lovey-dovey, reflecting the contrived and unrealistic relationships depicted in spy flicks. That said, the play never progresses beyond nostalgia, beyond pointing and laughing at tropes, and I quickly tired of the same “your non-existent husband is a lucky man” jokes and cringeworthy 60’s Bond humour.

The 39 Steps is rough around the edges, surely, but it acknowledges this and transforms it into a veritable parodic strategy. It is rare to see an Oxford play take itself as seriously as this 39 Steps – that is, not a jot – and difficult to get bogged down in negativity for too long over a play that so whimsically defies generic convention for the sake of putting a smile on one’s face. If Inspired Productions wanted to convince us that there is a place for light-hearted and nostalgic comedy in Oxford, then they certainly succeeded there.