Monday 9th June 2025
Blog Page 813

You do the maths: why aren’t female mathematicians getting firsts?

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The University’s Mathematics Department has held firm in spite of an examiners’ report suggesting that changes implemented with the intention of closing the gender disparity in finals results have failed.

Just seven female Maths finalists achieved firsts in 2017, compared to 45 men. This means that only 21.2% of women graduated with first-class degrees – a decrease of 4.4% from 2016 – while that figure was 45.5% for men.

Furthermore, 15.2% of women achieved a 2.2 or below, compared to only 9.1% of male students.

The widening of the gender gap in results comes despite an increase in time allowance from 90 minutes to 105 minutes, introduced under the belief that female candidates were “more likely to be adversely affected by time pressure.”

In their report, the examiners described themselves as “concerned” by the statistics, saying: “We would like to bring this year’s very significant gender discrepancy to the attention of the department, which we know is already well aware of this issue.”

However, in a statement to Cherwell, the Mathematics Department claimed that the change had worked well: “Whilst there is clearly more progress to be made, the departments guardedly feel that this change was a positive one.

“We will continue with the longer papers for the foreseeable future, monitoring the exam data carefully.”

The Department highlighted the fact that the gender gap for the 2017 cohort had closed slightly from their second-year papers.

“Some improvement in performance might be expected as students choose options suited to their strengths, but the improvements for female students outdid the marginal improvement for male students… particularly in the reduction of 2.2s,” they said.

The disparity regarding results is much more marked in the three year BA Maths degree than in the four-year MMath course. In the 2017 MMath results, a slightly higher percentage of female students were awarded firsts than male students – although there were only 18 female candidates compared to 66 male.

A University spokesperson told Cherwell: “The University is fully committed to gender equality, including both the representation of women and the advancement of women’s careers in STEM subjects.

“This commitment includes our participation in the Athena SWAN Charter, with an institutional award and 30 departmental awards across the University. The University has committed to the revised Athena Swan Charter, which includes developing this work into humanities and social sciences departments.”

However, Oxford’s efforts to increase the number of female Maths undergraduates appear to be working better than Cambridge’s: while 37% of the Oxford offer-holders for Maths in 2017 were female, this figure was just 17% at Cambridge.

Professor Helen Byrne, the Director of Equality and Diversity within the Mathematical, Physical and Life Sciences Division suggested that Oxford’s intake reflects the gender split of secondary education.

“Students are required to have double-Maths [Maths and Further Maths] at A-level for entry… therefore we have a smaller pool of female students to draw upon,” she told Cherwell.

“Indeed, the gender balance of Maths undergraduates reflects the gender balance of students taking double-Maths at A-level.”

In 2015, only 29.1% of the 14,363 entrants for Further Maths ALevel were female. In the 2015/16 academic year, a slightly smaller percentage of Oxford Maths undergraduates were women, with 24.6% of that year’s intake identifying as female.

Professor Byrne also highlighted the Department’s outreach work, suggesting that positive steps were being taken to address the problem at its source.

“In recent years, [the Maths Department] has been running an increasing number of outreach events targeted specifically at women; they now annually reach thousands of women, including hundreds who are pre-A-level.

“We are also developing online material in order reach an even bigger audience and to enthuse more students in general to take Further Maths A-level.”

She also drew positives from recent data. “It indicates that, on average, the exam performance of female Maths undergraduates [at] Oxford improves during their studies,” she told Cherwell.

If this is indeed the case, then this year’s Prelims results should be reason for optimism in the Department’s attempts to close the gender gap.

While the percentage of men achieving firsts fell slightly, from 36.1% to 33.6%, 23.1% of women were awarded firsts, up from 14.9% in 2016.

A member of the University’s Mirzakhani Society, which represents Maths students identifying as female or gender non-binary, suggested that female students are more likely to experience problemsolving difficulties when around male students.

Helen Zha told Cherwell: “One thing I’ve heard and felt is that where there are more males in the room, women will experience stereotype threat more strongly and perform worse than they would otherwise.”

“Being aware of this and talking about [it] as a widespread phenomenon as opposed to it feeling exclusively like a personal problem could be helpful.”

Another member, Jess Woods, claimed that the problem was one that needed to be addressed not by Oxford, but by the UK’s education system in general.

“We need a cultural shift. When I said I wanted to do Maths at uni, I was questioned and doubted. My male friends doing Maths were just encouraged. How can women perform as well when they spend their lives being told they shouldn’t?”

Clearly, the blame does not lie solely with the University in this instance: while Oxford could be doing more, the low number of female Further Maths A-Level students is the real cause for concern.

Chancellor condemns “fascistic” safe spaces

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Oxford University Chancellor Chris Patten has condemned safe spaces and the practice of “noplatforming” at universities as “fundamentally offensive”.

In a speech to the Oxford Union last week, Lord Patten, the last governor of Hong Kong and a former Conservative party chairman, said he felt “more strongly about this issue than almost any other at the moment”.

He added: “I was in Hong Kong three or four weeks ago, talking to young men and women who face going to prison because they argue for free speech, and I come back to Britain and I find that people want universities to be full of safe spaces where you can’t speak your mind.

“There is a huge difference between having an argument with someone and having a quarrel with them.

“It’s one of the reasons that I find safe spaces at universities or no-platforming so fundamentally offensive.

“It’s nothing to do with my view of what university should be like. The University should be regarded as liberal, with liberal values of free speech.”

His comments come after a string of student campaigns to encourage safe spaces. Sussex University’s free speech society was recently told by the student union that its inaugural guest must submit his speech in advance for vetting, in case it violates their safe space policy.

In his recent speech he described those who campaign for noplatforming, as engaging in “fascistic behaviour” and “denying one of the most important roles of a university in a free society”.

A first-year PPE student who attended the speaker event added: “If people want small safe spaces within the University, I think that’s fine, but the University as a whole should be kept free.”

The National Union of Students has a no-platforming policy to prevent “fascists and racists” from speaking and an official no platforming list which contains six groups, including the BNP and Al- Muhajiroun

Comeback kids

Sat in your tute, your mind is on other things and your eyes are on the clock. The agonising ticking towards the hour mark is almost as painful as the awkward atmosphere as your tutor fruitlessly probes for some degree of engagement with the topic. Mentally, you’re already across town at your college playing fields, alongside your teammates in the crucial cuppers fixture that was cruelly rescheduled to clash with your tute. No sooner are you put out of your misery than you are out the door, taking the steps three at a time, dashing across the quad and outside onto your bike. You can feel your phone vibrating against your leg as you pedal furiously. Your teammates are clearly anxious, and so are you, thankful that at least you’ve only missed the first half.

But in that first half, your team certainly missed you. You’re greeted with horror stories of defensive disasters and freak set pieces as your teammates try to give you the lowdown on the situation, and it’s certainly dire. Three goals down, it looks as though your college’s cuppers dreams are over. You barely have time to change into your kit before the ref signals the start of the second half.

What is there to do in such a situation? The answer: everything. You’ve got the fresh legs, so use them. Put their defence through their paces right from the whistle and see if the cracks begin to show. If they think they’re sitting pretty, the opposition might try to mix their admirable football with their questionable chat, but it’s important not to get drawn in. Some colleges just seem to breed this sort of lacklustre ‘banter’, but if they’re concentrating on that more than on the game itself, then you can easily turn the tables. Perhaps try to ruffle a few feathers yourself. There’s nothing more disconcerting than having that false sense of security whipped out from beneath you, and pulling one back early on will certainly cause tension in the opposition backline. Once the momentum is in your favour, the important thing is that you capitalise on it. If they can score three, then so can you. If you can score three, then why not one more?

“If you can keep your head when all about you are losing theirs…” Rudyard Kipling never went to Oxford, save for one visit to watch a college football match that inspired his famous poem, and it is no less relevant today than when he wrote it. The same sort of scenes inspired Steven Gerrard as he hauled his side to a comeback victory in Istanbul. The Liverpool legend has never hidden his admiration for the Oxford College football league, and would be proud to watch you seal victory in the dying seconds. Your winger squeezes a cross into the corridor of uncertainty, missed by two of your teammates and three opponents, reaching the back post, where you stretch to poke the ball home. The euphoria, that’s what college footballers live for. Few ever get the chance to experience it, fewer still take it, but for those who do, there is no better feeling.

Anger at “unacceptable” Weinstein bop costume

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An LMH student has been criticised for trivialising the “lived experience of survivors” of sexual assault after attending a bop dressed as film producer Harvey Weinstein.

The student appeared as Weinstein – who in recent weeks has been the subject of multiple allegations of sexual assault and rape – for LMH’s “horror movie classics” themed party.

The student was asked to leave by other students, before later being asked to meet with the college dean to “reflect on his behavior”, according to JCR President Lana Purcell.

In a statement to JCR members, LMH Equalities Committee encouraged JCR members “to retain a sense of awareness of the implications of [their] actions when living within college”.

They continued: “It is extremely saddening to have seen offensive bop costumes, which in this case parodied sexual assault. To trivialise the lived experience of survivors and position their trauma as a part to play within a narrative of ‘humour’ is unacceptable. This behaviour is rude, insensitive but most importantly extremely damaging.”

The statement was praised in an anonymous post on Oxfess, which characterised the student’s actions as “beyond disrespectful” and recounted their own experience of sexual assault.

The unnamed student said: “I was sexually assaulted by a family member when I was about 10 years old. This man has a very strong resemblance to Harvey Weinstein. Now, some people might think it’s ridiculous of me but when I keep hearing about these allegations and seeing the articles, it’s very upsetting for me…

“I am very glad that I did not go to the bop that night because I do not know what I would have said if I had seen that person. I don’t even know who this person was but I really hope that they have learned their lesson and know not to do this again.”

As they did in following a similar incident in January 2015 in which students were criticised as “racist” after wearing towels on their their heads to an ‘Arabian nights’ themed bop, the college’s JCR emphasised that “LMH prides itself on being a healthy, inclusive and supportive environment”.

The statement further warned “any further behaviour will be directed to the senior management of college. There will be zero tolerance for such behaviour. This is down to respecting the welfare of those you are living alongside and fostering a healthy collegiate environment”.

This follows the recent controversy of a Christ Church student attending the college’s last bop of Michaelmas Term 2016 wearing a pillowcase resembling the hood of the distinctive outfit worn by white nationalist group the Ku Klux Klan. Although the student insisted the costume had not been intended to cause offence, and was “intended as a satirical response to the theme ‘2016’”, they were subsequently banned from all future JCR events.

The right production but the wrong play

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I am baffled by Candide. There is so much that is excellent about Jonny Danciger’s production – the acting talent, the staging, the moments when the direction mocked its own musical theatricality – but there is so much that is wrong with the play itself.

After weeks of sordid revelations about the way powerful men sexually manipulate their juniors, there is nothing funny about something that cake-ices sexual exploitation with the bells and smells of musical theatre, and makes rape the punch line of a very tired joke about sexually predatory women. The defence that it is a satire – that it condemns the repulsive world it presents – feels unconvincing when you find yourself laughing at the show’s victims as much as at its villains. It is a huge shame that such a melting pot of Oxford theatrical talent got it so wrong with their choice of musical.

David Garrick is a real talent: as the double-breasted suit wearing, drivel-spewing philosopher Pangloss he gave us plummy toned and lecherous buffoonery that fractured into a kind of pathetic vulnerability. Amelia Gabriel proved her impressive range as Old Woman in a part that could not have been further from her passionate Anna Karenina last Hilary. All cocked hips and devastating winks, she squeezed every juicy drop out of the grand old theatrical trope of leery old women, blending a comic physicality with her gorgeous voice. Freddie Crowley also deserves a mention for his master class in pink satin self-obsession as Maximilian.

The textiness of the set, designed by Christina Hill, which included blocks covered in type print and tree made of paper, seemed like an enjoyable nod to the verboseness of the characters. Danciger also did a fantastic job with the chorus movement and staging, creating some very convincing ships with only six people, some rope, and a steering wheel. The performance was a little beset by sound trouble – Crowley’s microphone wasn’t on in the first scene, and at points the words of Voltaire (played by Gavin Fleming) were drowned out by the music – which was unfortunate in the professional setting of the Playhouse. With a running time of nearly three hours that left the audience flagging through the final scenes, it could also have done with a more ruthless edit. But these are technical points, and should not detract from the undeniable creativity of cast and crew and the slick production they have created.

But in the end, I just couldn’t bring myself to like it. It’s true that when- ever you revive an older work, you are faced with bridging a historical gap. The case of Candide is also particularly challenging – a director must tease a contemporary interpretation out of something that is engaged with the concerns and expectations of both an eighteenth-century readership (Voltaire’s original novella) and a twentieth-century audience (Leonard Bernstein and Hugh Wheeler’s musical adaptation). Relevance is not the issue: in its exposition of the exploitation of the common man, Voltaire’s biting social satire would have something to say in any period of history. The problem is one of tone. Obviously the impact of satirical drama relies on making the audience laugh at something repulsive. You laugh, you question, you criticise – comedy gives the diesel to a political engine. But when you’re dealing with very sensitive material, the question that should always be asked is, who are we being directed to laugh at?

One particularly troubling song, ‘Glitter and be Gay’, attempts to create some psychological complexity around Cunegonde’s (played by Laura Coppinger) horrifying situation as the sex slave of two men. But Richard Wilbur’s lyrics do not do any kind of justice to the seriousness of the subject mat- ter: “The dreadful, dreadful shame I feel” is a shabby gesture towards a representation of a rape victim’s psyche, and the overall message of the song – that jewels and luxury are some compensation for her treatment – makes light of the repulsive subject matter. The production made a decent attempt at injecting seriousness into the flippancy: Coppinger turned the repeated ‘ha, ha’ lyric into maniacal laughter, and ended the song by smearing red lipstick across her face, with disturbing effect, but even that could not overcome the overall insensitivity.

We cannot judge Voltaire by our modern moralities with 250 years of history between us, but in my opinion, Barricade Arts misjudged their material and picked a play that does little justice to the talent of the cast and crew.

Candide runs from 8-11 November.

The Lieutenant of Inishmore review – ‘fast moving and extremely funny’

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Martin McDonagh’s 2001 black comedy, set in 1993 on the small Irish Ireland of Inishmore, begins with a cat. The plot revolves around the accidental death of Wee Thomas, the feline best friend of Irish National Liberation Army member Padraic. This performance, playing from Wednesday to Saturday of 5th week, brings the fast paced and bloody play to life brilliantly.

The action is equally brutal and ridiculous, and much of the comedy derives from the way that silly back and forths about mundane topics can result in a triangle of men pointing guns at each other’s heads. Padraic, who is beyond mad in both his capacity for violence and his all-consuming love for his cat, is played by Christopher Page. Page is wonderfully menacing from the outset, physically tense and imposing. We first meet him asking the small- town drug dealer he is torturing, played by Peter Madden, which of his nipples he would rather have chopped off. The two have a hilarious conversation, in which Madden’s screams of agony are interposed with a chat about how best to feed a cat ringworm tablets.

The group dynamics of each individual unit of characters are very effective. Chris Dodsworth, Patrick Orme and Cameron Spain play the three INLA members active in Inishmore. Their quick movements between bickering and unity are very funny, as is the definite manner with which they insist on their contradictory logic. Hugh Tappin’s Davey and Aaron Skate’s Donny also have a great rapport. Donny, Padraic’s dad, was supposed to be looking after the cat, whilst Davey is apparently responsible for running it over. The bewildered, non- violent pair panic in various comic ways, enduring a lot of stress before they finally come to function as the surprising voices of almost reason at the end of the play.  Davey’s younger sister, Mairead, is played by Kate Weir, who perfectly balances the wide eyed, sinister and comic aspects of a teenager’s longing to be part of the violence.

The staging is simple but effective. The minimalist interior of the main room of a house forms the one set, and does the job of helping us to place the action in a small Irish village. The actors also move through the area around this, which is left clear of any props, and functions as a multipurpose space in which they can shoot and torture and travel and sit eating baked beans. This paired back approach works well, ensuring that the shifts between scenes are seamless and quick.

The performance, directed by Phillipa Lawford and produced by Kiya Evans, is fast moving, enjoyable and extremely funny. The dialogue is whip-smart and lively; in the world of the play, in which a response could be the difference between life and death, conversation is a casual art form, each line of up-most importance to the character in the moment and forgotten as soon as the action again shifts. A strong sense of enjoyment in the extremities of violence and closeness to death is felt throughout. It’s not for the faint hearted; fake blood and disembodied limbs do feature heavily. But I most enjoyed the sharp comedy of the dialogue. The animated, buoyant interactions are very entertaining, and I left feeling that I had seen a refreshing celebration of the ridiculous and illogical.

Police evacuate Summertown street over ‘chemical hazard’

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Police closed off a street in Summertown and evacuated over 60 people this morning after discovering a potential chemical hazard.

While carrying out a routine arrest at a property in Elizabeth Jennings Way, police were alerted to the presence of the substance. They subsequently evacuated the house and the road at just after 5.16am.

Several Oxford colleges own student accommodation in the surrounding area. Nearby stand large blocks of Jesus and University second year accommodation, along with several Hertford owned houses. It is not thought that any students have been affected.

While no members of the public are known to have been affected, seven police officers did receive minor irritation. Two have been kept in hospital overnight as a result.

In a statement Thames Valley Police said that the property owner, a 34 year old man from Oxford, had been arrested at the scene. Officers are at the street, and will continue with their search and investigation throughout the day.

It is not believed that the incident is terror related.

Oxford University and colleges used offshore funds to invest in oil extraction

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Oxford University’s endowment fund (OUem) and many Oxford colleges have been investing in oil extraction and exploration, the recently leaked Paradise Papers have revealed.

Over half of Oxford’s colleges have placed money in offshore private equity funds, The Guardian reported today. Oxford University deny that the taxpayer has been deprived of any money as a consequence of their investments.

The full list includes All Souls, Brasenose, Christ Church, Corpus Christi, Exeter, Jesus, Lincoln, Magdalen, Merton, Nuffield, Queen’s, Somerville, St Antony’s, St Catherine’s, Trinity, University, Wolfson, and Worcester.

Through this method, large sums of money were deposited in various firms located in tax havens across the world. One of these was Coller International, a Guernsey based private equity firm, which received a £2.6 million investment from the university.

Money received by Coller from the University and its constituent colleges was split into two separate funds, one of which – Coller International Partners V – made significant investments in Shell Oil and several of its subsidiaries and business partners. These latter companies focused on “innovative” new oil extraction and exploration techniques and technologies.

Jesus and Magdalen have each also put over three quarters of a million pounds in Dover Street, a ‘blocker’ corporation known for its investment in controversial retailer BrightHouse, which has been accused of exploiting customers with learning disabilities. Brasenose reportedly invests in a similar scheme.

OUem – which manages the endowments of 26 colleges and the central university – was revealed by leaked papers to have invested around £30 million in a Cayman Islands based fund, Sycamore Partners.

Several colleges told the Guardian that they had now divested from Coller International, and that as OUem invested their endowment for them they had no direct investments anywhere.

Worcester provost Jonathan Bate said that while the college had invested £1.35 million it was now the case that “since the endowment is held at arm’s length in OUEM, Worcester has no direct investments – onshore, offshore, in cyberspace, or anywhere else”.

In a statement Oxford University told Cherwell: “As charitable trusts, Oxford University’s endowment is exempt from UK tax. The taxpayer therefore does not lose a penny from our investments. The investments generate some £80 million a year which is spent on key academic priorities in Oxford.

“These include the majority of our scholarships and bursaries for students, vital research across medicine, the sciences, social sciences and humanities and our globally outstanding teaching. That is £80m for UK education and research which the taxpayer does not have to fund.”

An earlier version of this article published on 10 November repeated claims made in The Guardian newspaper that Oxford University Endowment Management (OUem) could have avoided UBTI taxes through the use of ‘blocker corporations’. OUem in fact used ‘blockers’ to save costs, rather than to avoid taxes.

An improbable journey to the East

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In 1953 Nicholas Bouvier and Thierry Vernet left their homes in Geneva for ‘the East’. With a rusty Fiat Topolino, enough money for nine weeks and a vague idea that they wanted to get to Afghanistan, the two set out on a journey that would take up four years of Bouvier’s life. Indeed, during his lifetime he would often proudly proclaim it had taken him longer than Marco Polo to reach Japan. The Way of the World is the story of the first eighteen months of this trip.

Despite being all but unknown in the UK, Bouvier occupies the same cult status in Switzerland and France as Patrick Leigh Fermour or Bruce Chatwin does in the UK. The Way of the World is unique amongst his works, however, in that it depicts his first trip abroad, exuding the passionate fascination of a man who has never left home. His prose is simple and direct, there’s no abstraction of detail and only a bare sketch of his surreal days animates it. There’s no flourish beyond that, and, of course, there’s no need.

Denying themselves “every luxury except one, that of being slow”, the duo creep across Yugoslavia, Turkey, Iran, Pakistan and finally Afghanistan. Their companions are humble Azeris, paranoid school teachers, wistful Persian truckers and the occasional European spook.

Every few months a lack of cash hits and the duo are forced to settle down in some distant town: indeed, the highlight of the book occurs when they arrive in Iranian Azerbaijan. Trapped by the falling of snow, the two men sink, fascinated, into the Armenian district of Tabriz, working as French teachers as they wait for the snow to melt.

By the time they emerge from their ‘hibernation’ they are true Tabrizis, nit-picking the angle at which hats are worn and marvelling at the differences in the shape of clouds outside their city.

With a passion for simplicity, Bouvier’s writing elevates the mundane to the monumental and transcendental. In eastern Anatolia he writes: “Time passed in brewing tea, the odd remark, cigarettes and then dawn came. The widening light caught the plumage of quails and partridges and quickly I dropped this wonderful moment to the back of a memory like an anchor that one day I could draw up again.

“In the end the bedrock of existence is not made up of family or work or what others think of you but of moments like these when you are exalted by a transcendent power that is more serene than love. Life dispenses them parsimoniously. Our feeble hearts could not stand more.”

Throughout their journey Bouvier and Vernet pass through some of the most politically charged landscapes in the world – they are in Iran during the trial of Mossadegh – yet Bouvier never lets such events form any more than a backdrop to the book.

Instead its focus is on those he meets on the road – the songs of gypsies in Serbia, the legends spread by chai khana customers across the deadly Baluchistan road, the folk tales told by prisoners in a Kurdish gaol.

Since Bouvier’s travels, Iran has undergone an Islamic revolution, Afghanistan has been plunged into 30 years of war and, indeed, his stint at working in a bar in the Pakistani city of Quetta would be impossible in today’s radicalised and bandit infested Baluchistan. The Way of the World captures a history that has all but disappeared. Yet, it is much more than a simple story about foreign lands – it is a journey toward the self. “Traveling outgrows its motives” Bouvier writes. “You think you are making a trip, but soon it is making you – or unmaking you.”

‘Lights Over Tesco Carpark’ review – “equal parts inspired and bonkers”

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When I heard that there was a student play called Lights Over Tesco Car Park being produced in Oxford, my head was filled with possibilities of what it could be. When I discovered that it was in fact an absurdist work from Poltergeist Theatre framed around audience participation featuring that familiar haunt of students shopping for their milk and ginger nuts, and that it was going to be about hypothetical alien sightings, I knew it was something I needed to see for myself. Fortunately, behind that concept, equal parts inspired and bonkers, lies a play which feels as fresh and unique as it does alien.

From the minute it begins, Lights Over Tesco Car Park wants to confound its audience. The sketches dart ambitiously from phone calls accompanied by miming out the apparition of an alien spaceship, to entire scenes where not a single word is spoken and a child plays endearingly with a flying saucer sweet, all in an attempt to reconstruct what happened during the alien sightings. It is a surreal experience, to say the least. Lights gives you very little to go on, minimal sense of space or time, or anything in the way of plot, and yet it provides plenty to keep the imagination buzzing. I also maintain that this play finds the best use for flying saucers that I have ever seen, transforming a subpar sherbet sweet into everything from an impromptu light filter to a metaphor for human stories. The writing is gleefully absurd. Staging, while very simple, is effective at keeping the audience in the dark, mimicking a sterile interview room, as if we are merely observing an investigation.

That is, until we become part of the interrogation. What sets Lights apart from other student comedies, and its most well-executed asset, is its dedication to audience participation. What is most impressive is how this technique is employed not purely for laughs, but is central to the narrative. The best examples of this are when an audience member has an identity forced upon them, is patronised by an interrogator, and, since they do not know what the actors will ask them and must therefore improvise, they unwittingly fill the position of a traumatised victim trying to recollect what they saw. They do the actors’ work for them. This is audience participation done right. By the end of the play, everybody in the audience knew exactly how to respond to the characters onstage, via commands conveyed to them through minimal instruction.

Above all, Lights just exudes an aura of hilarity, provoking more than a few laughs. Some scenes make it evident just how much fun the cast and crew had producing this gem, such as a scene in which the characters riff off ludicrous headlines they found on the internet. In trying to uncover the mystery of the extra-terrestrial sightings, the investigators expose themselves as being just as weird, if not weirder, than the threat they are tracing.  Lights Over Tesco Car Park revels in the ridiculousness of human life.

If I had to offer any criticism, I would say that, for the admittedly low price of a ticket, some spectators would expect a longer running time: the production is criminally short. With the creative talent on show here, it would not have been impossible to include a few more sketches, even if just to get a few more audience members involved before the play draws to a close.

Overall, Lights Over Tesco Car Park is a bemusing play. This type of production will not appeal to everyone, but for those willing to be confused and surrender themselves to the madness, there is a lot of enjoyment to be had here and a lot to inspire one to try and make sense of the absurdity. Lights’ glowering achievement is that, in its manipulation of its audience, it constantly asks us to re-evaluate whether we were the aliens all along. What is truly alien in Lights are the interactions we have with each other, our encounters with strangers and friends alike.