Wednesday 23rd July 2025
Blog Page 820

In-form Blues put six past Northumbria

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Tom Stileman took his try-scoring tally to nine in three games as his hat-trick helped the Men’s Blues to seal a comprehensive victory over Northumbria University.

The table-topping BUCS team had endured the long journey down from the north on a chilly Monday night, but the opening encounters were lightening quick with flowing and expansive rugby aplenty.

After an unbeaten run at Iffley Road, the hosts were determined to continue their impressive form, having lost only one game so far all season.

The visitors went into the clash sitting at the top of the Bucs Super League, and with only one defeat – a 53-50 thriller against the University of Exeter – this season, it was no surprise that they brought a high pace and intensity to the match with a desire to play attacking rugby.

Following a strong opening few minutes with clever tactical kicking from the Oxford half-backs, captain Conor Kearns slotted an early three points to give the home side a lead that they never relinquished.

Then, a try in the corner for winger Stileman, and a fantastic attacking move from Rob Quinlan, took the score to 15-0. Even though the visitors were missing some key players, the Blues could not have expected such a strong start.

A final three points before half time took the score going into the break to 18-0 with the home team looking comfortably in the lead despite some missed chances.

At the start of the second half, Stileman, who scored four in the win against Bristol RFC, managed to grab two more tries after some powerful carries down both the midfield and the wing.

The visitors scored in the far corner midway through the second half, eventually managing to break through a strong defensive backline led by Kearns and centre Alex Hogg, who barely missed a tackle between them.

And despite that score, the Blues turned the screw and were able to punish the Northumbrians in the scrum.

The first pushover try was dotted down by flanker Roberto Talotti, part of an exceptional Oxford back row which also contained former England U20 Sevens skipper Will Wilson, and ex-Saracens man Andy Saull. The trio were outstanding at the breakdown all evening, and it is vital that they remain fit and firing for the rest of the Blues’ season.

Only a few minutes later, a penalty try was awarded, and Kearns slotted home the conversion to complete the scoring.

The match finished with a resounding scoreline of 40-7, a menacing show of intent from the Blues for the rest of the season.

Indeed, with the Varsity Match looming, it seems as though the Dark Blues are in pole position for Twickenham glory. Their opponents, Cambridge, only recorded their first win of the 2017/18 campaign last Wednesday, scraping past Moseley 27-24.

While Varsity fixtures are rarely one-sided, the signs are positive for Oxford, especially after another confidence-boosting win.

Intruder and Seven Princesses review -‘Twisted and ghoulish delight’

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I’m not the greatest celebrator of Halloween. I’m not a huge fan of the horror genre and the holiday goes over my head so easily that not even copious amounts of sugar can salvage my attention. Had Intruder and Seven Princesses come out just over a week earlier, however, I might have revised that opinion. This pair of expressionist horror plays from Maurice Maeterlinck plunges its audience into a grim hour steeped in fear and unease, all whilst remaining thoroughly intriguing, a twisted and ghoulish delight.

Immediately apparent is the horrific atmosphere the cast and crew manage to evoke. Everything, from the uncanny, jagged stage design which moves as characters’ anxieties start to enflame, to each of the characters’ various tics and twitches, works to unnerve the audience. The sheer physicality of characters, such as the Three Daughters from Intruder or the Grandmother from Seven Princesses shambling across the stage, is impressively disturbing.

The script is similarly jarring, punctuated with unsettlingly humorous non-sequiturs, synchronised coughing, and haunting repetition. The structure of both plays lurches from periods of outright hysteria to relative calm. No single event feels concrete, as the viewer is forced to question what constitutes reality within the world of the play, or whose reality is being projected. We are forced to ask whether there is truly any danger, whether it is coming from outside, or from inside. Even the transition from one play into the other is cleverly choreographed so as not to release the viewer from this immersive feeling of dread. It may be a cliché, but my heart was genuinely pounding the whole way through. The spectator is never allowed to feel comfortable for too long.

If anything contributes to the horror aesthetic the production constructs, it is the sound design. Not only do characters change their pitch, projection, and intonation for just about every line, causing their tones to clash with each other, but the producers also saw fit to possess the sound system and subject the audience’s eardrums to the most grating sounds imaginable. This is especially impactful in Intruder, where the audience seems to be being shown a representation of the Blind Grandfather’s psyche, made more terrifying by the fact that he is hearing contradictory information. The production opens with a warning of strobe lighting and loud sounds, and it surely merits that.

Intruder and Seven Princesses also has to be the first production in history that looked at the Burton Taylor Studio and decided it was too big a space to perform in. The production is staged in one corner of the studio, transforming the expected intimacy of the BT into a claustrophobic horror-scape where every scream, wail, and laugh is amplified, hopefully not your own.

The plays do fall short in a couple of areas, however. Moments where the lighting is completely cut are effective, making me wish there were more instances like this, or that they were held for longer, perhaps in silence.

Most of my praise until this point has been more relevant to Intruder than Seven Princesses, undoubtedly the stronger piece of the two. Intruder is scarier, more engaging, and makes more effective use of sound effects in every way. One gets the impression that the producers recognised this, too, as the stage is designed with Intruder in mind. Seven Princesses also has few interesting technical flourishes going for it, barring a clever technique of division between the sleeping princesses, represented by the characters looking through a window at the audience. Moments of meta-theatre, where the audience is made to feel complicit in the violence they are witnessing, close both plays, but it is simply not as impactful the second time round. Intruder is definitely the main attraction, but most of the issues of Seven Princesses arise from Maeterlinck’s script, rather than from the production itself.

In this case, it seems, to be deeply disgusted by a play is a testament to its quality. Intruder and Seven Princesses are a terrible pleasure to witness. Productions like this are few and far between, so if Halloween failed to scratch that horror itch, Intruder and Seven Princesses’ scythe will be more than happy to accommodate. A word of advice to the brave of heart looking for a truly frightening experience: sit in the front row. Just do it.

Campaigners tell Oxford: “pay your taxes” after fossil fuel investments leak

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Oxford University is facing fierce criticism for fossil fuel exploration investments, following the revelations in the Paradise Papers earlier this week that showed Oxford has invested tens of millions in offshore funds.

A student protest calling on the University to “pay your taxes!” took place earlier this afternoon. Campaigners accused Oxford of “lying to its students, faculty, and the world”.

Over 50 students gathered to protest against the University outside the Oxford University Endowment Management (OUem) headquarters. Following several speeches from protestors, including a Labour city councillor, they delivered a symbolic financial transparency form to OUem.

The protest was organised by third-year students Tom Zagoria and Lucas Bertholdi-Saad, both of whom are former co-chairs of Oxford University Labour Club (OULC). They were joined by representatives from Oxford University Climate Justice Campaign (OCJC), Oxford SU Campaign for Racial Awareness, and On Your Doorstep, as well as other students. 

Speaking to Cherwell during the protest, a representative from OCJC, Julia Peck, said: “Our separate movements – climate justice, racial equality and the Labour Party which represents a socialist vision for living together as a society – are looking for a university that does not act like a corporation but instead acts like the beacon of education social progress that it is supposed to be.”

Peck added: “It was a really fantastic opportunity for different Oxford groups implicated in the newest revelations to come together and demand some transparency and, more importantly, a fundamentally different role in the University.”

Bertholdi-Saad, one of the organisers, told Cherwell: “This is the start of a longer campaign. We really want to hammer home this message and bring this message through the common rooms, through the University democratic structures – those which still exist – and make sure that the change happens permanently.”

The protest was organised following the publication of the Paradise Papers earlier this week which revealed revealed the Guardian had made investments in multiple offshore funds. Coller International Partners V – one of the University’s two off-shore funds – invested $1bn in Shell.

Xtreme Coil, one of Shell’s business partners, also received funding from Oxford. The firm specialises in “innovative and efficient drilling rigs”. Other Shell ventures that received funding are invested in “production and exploration” technologies.

Over half of Oxford’s colleges were found to have placed money in offshore funds. 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.

Photo: Meghan Shea.

As part of the protest, organisers held a “teach-in” to educate those present about the meaning of these papers. Speeches were then given by the organisers, as well as representatives of the other campaigns, before the symbolic financial form was given to OUem.

A representative for On Your Doorstep, Alex Kumar, told the crowds: “This is a story about a university that can afford to invest tens of millions of pounds in offshore funds and deep-sea drilling, but cannot afford to invest in basic human dignity within its own city.

“It has become clear that it’s down to us now to provide the University with the moral compass it has clearly been lacking.”

The Paradise Papers revelations follow pressure for both Oxford and Cambridge to divest from fossil fuel companies.

In a statement earlier this week, OCJC sharply criticised the University, saying: “The Paradise Papers revelation is shocking and infuriating, but it is in line – unfortunately – with the current Oxford administration’s practices of denial and obfuscation and the University’s colonial, exploitative history.”

Speaking to Cherwell before the protest, Zagoria and Bertholdi-Saad said: “It is disgraceful that the University has been pumping money into private equity partnerships based in tax havens, in order to invest in areas such as fossil fuels.

“These revelations are symptomatic of a system in which the wealthiest institutions can act with- out scrutiny and without regard to global inequality or the urgent need for climate justice.”

The report also revealed that Jesus College and Magdalen College invested in another corporation – Dover Street – which has indirectly invested in controversial retailer BrightHouse. BrightHouse has been accused of selling electrical goods to people with learning disabilities at high interest rates.

Oxford SU, along with hundreds of academics from Oxford and Cambridge, have previously called on Oxford to divest from fossil fuels.

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.”

Oxford SU to fight University over “damaging” moot gowns

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Oxford SU passed a motion to lobby for a ban on the wearing of scholars’ gowns in Law Faculty moots, branding the practice “damaging”, by creating an “unconscious bias” among examiners.

The vote was passed with 38 votes in favour, with only three votes in opposition and two abstentions.

A moot is a mock law case that Law students are required to take part in to complete their degree.

The motion has mandated the Oxford SU vice president for Access and Academic Affairs to petition the Law Faculty to change their policy on wearing gowns in moots.

Many of these moots are judged by partners at corporate firms and a good performance may have the reward of a fast-tracked job application. Several moots also carry financial rewards.

The motion was proposed by Thomas Howard, a second year Law student at Magdalen College. According to the motion, “judges, sometimes from leading law firms and chambers, may have unconscious bias based on the gowns worn.”

In the meeting, Howard argued that it seemed unfair to differentiate between participants of a moot, as there is no direct correlation between exam performance and oral argumentative ability.

Speaking about the unconscious bias, Howard said: “This is damaging for those in a commoners’ and can be for the scholars too since the judge may expect more of them.”

Howard also suggested that the conflation of a scholars’ gown and academic ability were not necessarily accurate as “scholars’ gowns are not solely down to academic achievement” but sometimes for choral and other musical scholarships. He added: “The motion isn’t radical, it just brings moots into line with other exam regulations.”

This motion follows changes in regulations for viva examinations last year to make everyone wear commoners’ gowns. This move was to reduce the risk of prejudice in oral examinations.

Howard questioned whether, given that the financial reward and the lucrative job offers are at stake, it is right that the Faculty continue to enforce a hierarchical gown system that exists a “no other university”.

There was no opposition speech in response to the motion. A question was raised by a student from Merton about the similarity of the motion to one raised last term which called for the outright banning of scholars’ gowns pending consultation.

In response, Howard defended the motion in terms of its unique context and the fact that the views of students were not directly translatable from the consultation results.

Catherine Canning, Oxford SU vice president for Access and Academic Affairs, told Cherwell: “As with viva examinations, the fact that you are judged in person in moots means that the gown worn may have more significance or lead to unconscious bias.

“This issue should be distinguished from scholars’ gowns in written exams where examiners do not see the candidate, where student council in 1st week voted to keep them, which also reflected the views of students in the all student consultation in TT17.”

Oxford SU held a student-wide consultation about whether to abolish scholars’ gowns last term. Those who proposed this change criticised scholars’ gowns for creating “an academically hierarchical environment.”

The consultation last term revealed that 63% of students were in favour of keeping the current scholars’ gown system.

Speaking to Cherwell about the motion, Peter Saville, president of the Oxford Bar Society, said: “At the Bar there are advocates whose status is shown by their gowns.

“‘Silks’ who wear a gown to distinguish years of experience and their ability are a reality of practice.

“To artificially level the playing field when there are scholars who have been selected on the basis of academic ability makes moots less reflective of a competitive, adversarial court system.”

One second year Law student, Haroon Zaman, told Cherwell: “It is a divisive issue because it pits tradition of Oxford against changing winds, which seems to be a perpetual fixture on campus nowadays.”

Another Law student from Pembroke said: “This seems only a natural extension of the decision to ban scholars’ gowns in viva examinations.

“Whilst there is less at stake (normally a trophy rather than a degree classifi cation), we often cannot help but make subconscious decisions on the intelligence of someone wearing a scholars’ gown as opposed to a commoners’ gown.”

The Faculty of Law declined to comment at this time.

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.