Monday 27th April 2026
Blog Page 850

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.

The 39 Steps preview – ‘guaranteed to be a comedic spectacle of no small intensity’

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The 39 Steps is a comedy based on the adventures of stiff-upper-lip hero Richard Hannay, who is caught up in a satirical spy plot involving a number hilarious and improbable predicaments. With a cast of five playing around forty characters, this show is guaranteed to be a comedic spectacle of no small intensity.

The play acknowledges the Hitchcock film it is adapted from, and director Antonia Hansen says that she intends to incorporate a ‘play-within-a-play’ element to her production, as we watch the actors within it struggle to create the film itself.

Hansen told me that she sometimes think student theatre can take itself too seriously, and says that the main aim of this play is to create a fun atmosphere for the audience, which incorporates a self-awareness of the amateurishness that is intrinsic to student theatre.

I enjoyed the three scenes I watched in Mansfield college, and felt I gained an essence of how the production will fit together as a whole. Its greatest strength seems to lie in its physical comedy, and the range of talent displayed by its small cast.

Benedict Turvell is a strong lead, and he demonstrated the kind of baffled despair which is integral to carrying out such farcical theatre. I particularly enjoyed a scene in which a woman (played by Miranda Mackay) dies on top of him, and he is forced to wiggle out from underneath her.

Most impressive was a scene in which all five actors are on a train together, with more physical comedy displayed by Turvell, Jon Berry and Carlo QC, as they struggle to get past each other in a cramped train carriage. Berry, QC and Miranda Mackay play multiple role throughout, and I was impressed by the range demonstrated by all of them. Jon Berry played three different ‘salt-of-the-earth-bloke’ characters in the space of two scenes, but each of them felt distinct and well characterized.

Another scene involved Hannay finding himself handcuffed to a woman (played by Teddy Briggs) who hates him, and the two of them are forced to share a hotel room together. Although this scene is all set to guarantee laughs from the audience, I felt it was somewhat let down by QC’s ‘Scottish maid’ character, whose accent was so over-the-top it became virtually incomprehensible. Although this seemed to be part of the joke, in practice it only served to upstage the otherwise hilarious handcuff situation.

Although I only saw a small section, this production still feels a little rough around the edges, and the company have hard work ahead of them over the next week. However, I feel confident that they will be able to pull it off, and by opening night the show will have the energy and precision it requires to be a success. I certainly intend to buy a ticket.

Restaurant Review: Shoryu

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Delighted at the array of new restaurants that the Westgate has to offer, I was more than happy to sample the delicacies that Shoryu had to offer, on not one occasion but two – attending both their grand opening and also taking the opportunity to spend a leisurely lunchtime satisfying my ramen cravings. Although notably, whilst there are extensive ramen options on the menu, there are a large number of other options to satisfy even the fussiest guests you bring along, even offering a vegan set menu to kick off the new year.

Initially it struck me as particularly remarkable how different the atmosphere of the restaurant changes during from lunchtime to dinner. From a bustling environment, filled with families tucking into bowls of delicious ramen, to a place with a classy vibe, with a plethora of orders flying out from the bar. This made me feel that I would be comfortable visiting with family who’ve come up to Oxford, a group of friends, or even on a date. The staff enthusiastically lead you to your table, hitting a small gong, and declaring “irasshaimase!” (“welcome to the store”).

Indeed, the staff of Shoryu are very proud of what they have to offer. The CEO, Tak Tokumine, explained how important it is that he can serve the most authentic and carefully crafted Japanese food. I must confess, having eaten my way around Japan this summer, I was slightly concerned that nowhere on this side of the world would be able to create the same delicious flavours, or source the high quality ingredients necessary. Tokumine, however, assured all guests that they import their ramen noodles, and spend twelve hours cultivating the tonkotsu broth that makes up the base of the meal, joking: “it’s better than Wagamama.” But as much as I’m a sucker for a katsu curry, he’s right: I cannot fault a single item of the menu. From the karaage, to the teriyaki, to the yakitori, the sashimi, and the tonkotsu ramen itself, I was won over; it was like being in Japan. This is far more thoughtful and detailed than the majority of anglicised adaptations of meals. Perhaps the only thing that could’ve made the experience more like a Japanese ramen restaurant would be if you had to order and pay for your meal using a vending machine and, within two minutes, have a steaming bowl of creamy ramen in front of you.

The varied menu is, ostensibly, an exciting prospect until you realise that you actually want to try everything on the menu. But whatever you do, you need to try the buns – I particularly enjoyed the prawn tempura buns, filled with juicy prawn and golden batter; the winning ingredient tying the starter together was the Japanese mayo (what is in it, who can know? But it was perfection). I think it would be a shame not to shout out the wonderful drinks menu, which fulfilled all my Instagrammable, visually aesthetic fantasies. There is a large offering of vibrant drinks, offering cocktails made from Japanese spirits and fruits, a healthy selection of whiskey and sake or, a personal favourite of mine, plum wine with soda.

Shoryu is not in the average student dining out budget, but I’d still highly recommend it for a special occasion, as a place to catch up with friends over hot drinks and sweet treats. You can order lattes in an array of rainbow colours from matcha green, to bright red or cool blue. The cakes, sundaes and cheesecakes use the tangy citrus flavours of yuzu, earthy matcha, or fresh sakura (blossom flowers), to offer tasty desserts unlike anything else you could find in Oxford, and all are beautifully presented.

Oxford has a wealth of ornately crafted international cuisine for a small city, and Shoryu fills the gap of a central restaurant offering Japanese cuisine, away from the westernised lunch spots like Wasabi or Itsu.

@juliaisobela

Back staff strikes, in solidarity not charity

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When our academics go on strike on 22 February they will not just be walking out to defend their working conditions. They will be taking part in a wider battle to turn our universities into centres of a free education system rather than marketised institutions characterised by spiralling fees and precarious employment. It is in students’ interests to support the strike in every way we can.
The University and College Union has called a nationwide strike to protest changes to the pension schemes of university staff.
The scheme, known as the University Superannuation Scheme, is being retrospectively changed to depend on investments rather than contributions. This means that the amount the pension fund pays out will depend on how its investments are faring.
Workers who have put money into their pensions for years, on the expectation that they would have the security of a guaranteed income in retirement, will now be left at the mercy of the stock market. It is estimated that this change will lead to the average lecturer losing £200,000 from their pension.
On 25 January, Oxford SU released a highly equivocal statement of support for the strike, which focused on concerns over the effects the strike will have on students. Such concerns falsely place the interests of students in opposition to the interests of tutors. We must remember that whenever austerity bites for academics, students also suffer.
The current pension cuts are just one part of a wide-ranging assault on the pay of academics. According to The Guardian 53 per cent of Russell Group academics are currently on insecure contracts. Approaching academic works so casually particularly effects the PhD students who frequently take our tutorials and mark our work.
This further demonstrates how misleading Oxford SU’s division between students and staff is. Our SU exists to support PhD students, as well as undergraduates, and it should be actively encouraging us to join the strike.
Alongside the changes to their contracts, academics have also been subject to the hugely damaging public sector pay cap, meaning that their real wages have been cut by 10 per cent over the last eight years. The image many of us still have of the overpaid and underworked Oxford professor luxuriating in his office could not be further from the truth.
Taken together, these measures have left academia an unattractive profession to enter and an incredibly stressful one to be in. Academics must be properly paid, have decent pensions and job security for them to be effective teachers. Yet, our interests lie with the academics not just because we need them to be motivated for us to benefit from their expertise. We must understand the current dispute as being part of a wider struggle.
For the last eight years, both students and academics have been in the government’s crosshairs. While academics have seen their pay and conditions slowly eroded, the government has driven through the trebling of tuition fees and the scrapping of maintenance grants.
On all of these issues, the UCU has stood with us. What is at stake here is two contrasting visions for education.
The government wants education to be marketised. In a market, students are consumers to be squeezed for as much cash as possible and public-sector workers and their unions are little more than nuisances.
If these pension cuts are forced through the most powerful union of university workers across the country will have been decisively defeated and academics will be poorly treated workers delivering a commodity rather than an education. In other words, if this strike fails, we will all be a huge step closer towards the government’s vision of a marketised, extortionately priced education system.
The alternative, for which we must strive, is a fully funded free university system accessible to all in which students and academics are partners, partaking in the public good of education.
In fighting for such a system, students and academics are allies. Every positive reform for which Oxford students are currently campaigning hinges on this conception of the university.
Such changes require the government to see us as active participants in our education, rather than simply passive consumers. Inaction is no longer acceptable – opposing marketisation is a prerequisite for any progressive change at Oxford. Our position will be irreparably weakened if our academic allies are defeated in their upcoming strike.
We saw the power of industrial action when the threat of public sector strikes forced a partial u-turn over the pay cap for police and prison other officers. Students must join their tutors on the picket lines.

The many egg-cellent things you can do with eggs

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I am going to try and convince you of the excellent versatility of eggs. They’re a common occurrence these days – be it in your kitchen, or in the form of some avocado-related concoction in a hip-and-happening cafe. Yet one rarely encounters an egg cooked in any form other than fried, boiled, scrambled, and so on.

We need to be adventurous with eggs. I am by no means snubbing the scrambled, poached or fried fantasies that usually appear when one contemplates eggs, but nonetheless I am calling for some new additions to the ‘egg canon.’ Some ways to spice up your egg repertoire may simply be to add a new twist on an old classic. Take Japanese omurice, for instance: an omelette on top of fried rice, glazed with curry sauce. This omelette is no ordinary omelette. It’s a melt-in-your mouth, tastes-like-a-cloud type of omelette; it’s perfectly cooked and then slit neatly with a cool knife, so that the sides of the omelette come apart and spill over the rice with an oozing, dribbling action. Alternatively, if omurice sounds too ambitious, Asia offers another delight: the Chinese tea-stained egg. Simply hard-boil an egg, crack the shell, and leave it to marinade in a mixture of soy sauce, tea and spices. You can experiment with any type of tea as well – maybe it’s a way to enjoy your morning cuppa and breakfast in one.

An egg doesn’t really have to be in a typical ‘egg form’ at all. That sounds inaccessible, but it’s actually my next idea: spaghetti carbonara, with a lazy and healthy twist. Blend an egg yolk with half of a mashed avocado, lemon juice, garlic and a tablespoon of cream to create a rich sauce. Pour this concoction over some spaghetti and stir in some olive oil, salt, black pepper and parmesan. Tear up some parma ham or prosciutto to garnish, if you wish. Dinner is served. And for breakfast you can have the leftover egg white in the form of an omelette with sun-dried tomatoes and spinach, or maybe as meringues for dessert. I call that an eggcellent meal.

Town triumphs over gown as Oxford descends upon Union

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A lively crowd at the Oxford Union saw the Oxford University Amateur Boxing Club lose out narrowly at the annual Town vs Gown boxing event.

With 16 fights, pitching OUABC in the blue corner against town boxers in the red, the fixture staked its claim to be one of the most exhilarating University sporting events of the year.

The atmosphere was a lively one, each fight punctuated by the blaring out of a familiar chorus of ‘Feed ’em to the Lions’ or Kanye West’s ‘Stronger’. From the outset it was close. The first match pitted OUABC women’s captain Lydia Welham against Petra Banrtakova. Despite Banrtakova’s strength and quickness in the first round, Welham managed to reassert herself as the fight progressed, earning an impressive split decision win for the blue corner. OUABC’s Sasha Skourow and Ella Penny were less fortunate, losing out to stronger opposition.

A handful of fights pitched two Oxford students against one another. Tash Fairweather’s attritional win over Sofia Lindqvist was a standout moment, albeit a little gruesome. She ended the bout with her gloves covered in the blood of her opponent, much to the delight of the hysterical fans.

The OUABC’s men started strongly against their town opposition. Before the interval, Owen Karau and Chris Huang pulled off brilliant wins to put the gowns ahead. Owen was a particular force; rumour has it that the live stream was turned off for his fight, to prevent Cambridge from getting a preview of one of Oxford’s best assets before this year’s Varsity match. Meanwhile, Chris Huang took special pleasure bearing his muscles to the crowd and blowing kisses around the venue after his victory.

However, after the break the gowns succumbed to the town boxers from the particularly strong Blackbird Leys ABC.

The standout match of the evening was fought between OUABC’s Alec Murphy and the town’s Daniel Robinson. It was Robinson’s brawn against Murphy’s technique. For the first two rounds, Murphy put on an impressive show, slipping Robinson’s punches and landing some of his own. However, in the third Robinson seemed to have got the measure of his opponent and bounced back strongly, eventually claiming a win by the final bell. OUABC’s Gustav Dermen suffered a brutal defeat at the hands of Daniel Bogatinjous, although Ravi Hayer provided some respite for the blue of Oxford, weathering an onslaught from the young Djouly Mailereau before picking him off in the final round.

The night’s final fight saw Oxford’s Hugo Brewer end up on the receiving end of some monstrous punches from Shaun Yearwood. Ultimately, it was the town’s night.

The event was not without its more uncomfortable moments. Boxers and spectators shared the same bathrooms, and it was disturbing to see the potentially concussed town fighter Jamie Anderson throwing up into the sink, asking his coach, “I don’t understand. What’s going on?” moments after we had celebrated his defeat.

An event such as Town vs Gown necessarily lacks the anonymity of a professional fight, and at times it makes for bizarre viewing to sit behind a boxer’s parents as their son gets knocked around the ring like a punch bag.

Nevertheless, the University boxers gave a good account of themselves, the event living up to the hype as one of Oxford’s most popular sporting traditions today.