Sunday 17th May 2026
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Turtles All The Way Down review: messy, clichéd, and pretentious

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John Green is a big name in the lucrative world of young adult fiction. With four novels and two Hollywood films under his belt, and supported by a fan-base of millions, the release of Turtles All The Way Down, his most recent novel, was a certified big deal.

Turtles All The Way Down is about a girl called Aza who struggles with OCD. It’s also about a billionaire who goes missing, his son, a tuatara, and the White River, which runs through the city of Indianapolis. But above all that, John Green’s new novel is about John Green. Of course, all novelists incorporate insights from their own personal lives into their work – that’s part of the writing process.

Yet, in the case of Turtles All The Way Down, John Green’s confessional account of his own experiences with mental illness seems to come before all else. The plot is a messy cliche, with the characters merely serving as voices in a contrived and at points deeply pretentious faux-platonic dialogue. There are three supporting characters in Turtles, who are all predictable and two dimensional.

The manic and extroverted sidekick Daisy, who’s a foil for the protagonist’s withdrawn introversion, the poetically nerdy but angsty boyfriend Davis, (recycled from his previous novels), and the mother, who’s well-meaning but unsure about how to deal with her daughter’s condition.

Maybe Green is trying to highlight the everyday truths about living with mental illness, or trying to depict ordinary day-to-day relationships when someone’s really struggling. The best sections of Turtles are the bits which deal with OCD. But everything else in the novel feels either superfluous or formulaic. We’ve seen it all before – both Paper Towns and Turtles have the motif of a missing character as a narrative centrepiece, whilst the conversations about love and poetry are recognisable from every one of Green’s books, as is the well-worn romantic progression between the two protagonists.

Indeed, you could be forgiven for thinking that John Green or his publicist has found a formula and is sticking with it. Perhaps the most grating thing about Turtles All The Way Down is that it’s so messy. The best plots are often the simplest, but this one is sprawling, bringing in the Tuatara, for instance. Not only is it messy, but it’s also secondary to what John Green really wants to write about: his OCD.

I was more disappointed than frustrated by Turtles. I love John Green, and have been watching Vlogbrothers (John and his brother Hank’s YouTube channel) for five years. Indeed, John Green is fun to read, at points, and it’s great that teenage fiction is really engaging with mental health issues, but the hype that Turtles All The Way Down is getting seems a little unjustified. It’s messy, clichéd, and at points it’s pretentious. Read something else.

Villians Review – ‘Pop songs with rock sensibilities’

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Ever since I first heard ‘No One Knows’, I was in love with Queens of the Stone Age. Their driving riffs were in perfect harmony with notorious frontman Josh Homme’s eerily melodic voice. They created a musical catalogue any rock band would be proud of, and they have done it whilst straddling the line between true gritty, guitar-rock, and a sort of cabaret parody of itself. 2013’s. ‘Like Clockwork’ was, for me, their masterpiece. Following that, therefore was always going to be a tall order.

‘Villains’ starts with three driving rock songs. The riffs for all three are simple, matched with Homme’s typically droning, ghoulish lyrics, you end up with pop songs with rock sensibilities. The opening track swells in and kicks off into a truly instantly gratifying groove, and the breakdown shows Homme’s voice at its ethereal best. The single, The Way You Used to Do, is an Era Vulgaris-esque headbanger, truly dissolving the line between guitars and synthesiser. The chorus is what makes this song special – a flourish of rich chords in an otherwise musically simple jam. Domesticated Animals is in the same vein, with a 7/8 time signature that will make you feel like you were tripping on your own feet.

The rest of the album is quintessentially QOTSA. Hideaway is a personal favourite: Homme sounds like a choir-boy over raucous, roaring chords, and a hazy drumbeat. What makes the song, however, is the synth line, which washes over cleaning all your wounds from the earlier pace of the album.

‘Villains’, then, is both typically QOTSA, but still an example of them at their punchy and fresh best. However, it can never match the emotional depths or musical variety of its predecessors and can only be considered as one of their ‘very good’ albums, and no more.

Queer spaces can benefit from the presence of allies

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The commodification of various queer events have understandably lead many to try to protect queer spaces with an increased fervour.

For those who identify as LGBTQ+, these spaces serve an integral purpose within the queer community. They supply a safe environment for those who wish to express their identity and are affirming to those who are rarely surrounded by those similar to them.

But they are arguably most vital for those who are taking the first tentative steps towards accepting who they are. It is for this reason that the presence of allies within spaces like Plush should be debated with a certain degree of care. It’s easy for those who have already established a network of friends who identify as LGBTQ+ at university to argue that these spaces should be exclusively queer. But to do so appears potentially selfish – it is to deny those questioning their identity the chance to explore it in the presence of a safe group of friends.

It is to suggest that those well-meaning allies are not valued – when in fact the opposite is true. Of course, there is a distinction to be made where large groups of straight people overrun places like Plush and we should all be troubled when such spaces are almost fetishised by the straight community. Venues like Plush and events like Queerfest are not to be used as a break from the monotony of Bridge and Cellar. These spaces, and the people who occupy them are not an exciting ‘other’ and should not be used or viewed as such.

But there is a deeper problem which underlies complaints of straight, cis-gendered people occupying queer spaces. It is mistaken to presume that we can immediately ascertain someone’s gender or sexuality by merely looking at them. We may assume we see a straight person or couple in a queer space, but to assume such is problematic. Biphobia is an issue which the LGBTQ+ community is yet to adequately combat. Bisexual people are the largest group within the queer community, and yet they are consistently overlooked and undermined by the movement.

So long as straight people remain exceptions to the rule, their presence shouldn’t be deemed inherently problematic. Allies are an integral part of the LGBTQ+ movement, and to reject them from queer spaces is, occasionally, to deny someone of valued support.

Hopefully most will appreciate that they may don the glitter and bask in the glory of Haute Mess or Queerfest, but in the firm knowledge that in this space they are a guest, not a host.

“I’m carrying two paper bags. One contains a croissant, the other my soul”

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Shiny towers and lifts to 116 floors. Glass windows in every direction, the concentrated smell of freshly-pressed suits and over-strained orange juice. Unfulfilled syrupy hopes and dreams are dashed into coffee shots, workwear choices are a sliding scale of monochrome shades – correlating levels of fatigue and monotony that are exhibited by their wearers. Discussions about the weather deliciously extend into ones about financial spreadsheets. After a while everyone looks like a spreadsheet. I press a light-up button and begin the greasy climb. It’s my first day at The Corporation and I’m carrying two paper bags. One contains a croissant, the other my soul. I hand over the latter to a receptionist who really knows how to use eyeliner. The precision of her eye contouring seems rather judgmental, and I immediately doubt the authenticity of her response: “Thank you, you’ll get that back in forty years.”

In return for surrendering my soul, I receive a seductive starting salary and a lanyard that supposedly opens doors. In ten years’ time I will have watched four Wimbledon matches (none of them with my friends), read a disappointing number of books, and have an
unmatched amount of LinkedIn endorsements. I will cash in my bonus for a golden retriever, a dutiful partner, and a home in Clapham. Such is the soulless corporate world, narrated by a beautifully uniformed humanities student. It’s a sterile and naked brand of Hades’ lair that has napping pods rather than glowing pits of fire, and fancy hand cream dispensers littered about in bathrooms to soothe monetary burns.

Dramatics aside, hostility towards the corporate world features rather a lot in conversations I have with other finalists. If we’re not matching types of herbal tea to our moods or discussing dreams had whilst napping, we’re usually producing passive sighs and eyerolls whilst discussing our future careers. Someone has probably just expressed an interest in pursuing a corporate career and suggested that they might find it tolerable, even enjoyable. It may even be that that someone is the one doing the eye-rolling – to soften the blow for us, who are, naturally, the ‘non-corporate intelligentsia’.

This rhetoric that prevails has prompted me to consider rewriting various dictionary definitions. For example: ‘Selling out’ (verb). Used by Oxford students to describe other Oxford students who decide that there is nothing better in life than to get really loaded, exchange their soul for a branded highlighter, and renounce the virtuous lifetime pursuit of wholesome intellectualism.

It’s all a bit silly and small-minded. Whilst our scepticism and mocking might seem mildly amusing, it is arguably rooted in an unwillingness to acknowledge reality. Life, for most, runs on rent and realism, rather than padded-out footnotes. And, it is often brushed over that not everyone from Oxford is presented with the same range of opportunities on graduation.

It’s very easy to lull ourselves into a false sense of homogeneity here. Together we live in a somewhat ethereal kingdom where our continued existence, regardless of our subject, largely depends on reading books or completing a tute sheet, or pretending to have done either. It is an seven-day weekly routine of sparring at pre-arranged tutorial duels and sleeping in marbled towers.

We are also taught by tutors who rarely venture outside. Rather predictably they often only concern themselves with life in the rewarding, yet expensive and volatile, realm of academia. Their words, whether they concern potential career routes or my essay plan, are often ungrounded and rather incomprehensible. It is this aura of intellectual uniformity that starts to show its cracks as graduation beckons. In our final years of Oxford, the real world becomes imminent and less cloaked by stuffy gowns and the like. It becomes a lot more obvious that we are each our own individuals, with different priorities and facing different realities. Upon graduation, some people will eagerly move back home, whilst others won’t want or be able to. Whilst comparing career options, some people will always look for economic security, whilst others will be more flexible and be in the position to be pickier. Just as some can’t justify taking on an unpaid internship, others struggle to qualify applying for jobs in the charity sector, or those which are equally morally applauded, particularly if it means that making ends meet seem impossible or a plain struggle.

A corporate job isn’t always the answer to these insecurities, let alone the only answer. However, amidst all our hate speech I think it’s important to stress that the corporate life is an informed choice, sometimes even a compromise, that many students know they’re lucky to have the privilege to make. For many, it’s the stepping stone to other careers and a foundation from which other goals are pursued. Whilst I’m arguably naïve in saying so, I feel that the drawing of such finite lines between people’s calculated life choices and inherent morals is rather an oversimplification. After all, we are not cut-out paper dolls, and those who choose to go down the corporate route probably do have more highly prized possessions than a logo-embossed Moleskine notebook.

As students, revelling in intellectual snobbery and the rhetoric of ‘selling out’ is amusing. Actually, it’s often hilarious, yet hilariously bad at providing the full picture – which I’m sure we realise, but often forget. It also serves to place those, for whom money is no problem, in a position where making the moral choice is an easier step.

After all, given that my brother does work for a bank, I’m pretty sure that some financiers do have their souls intact, because he has a rather great one. I’m certain that like the aesthetic filter on the Paradise Papers, corporate people have shades of yellow in their lives as well as monochrome, just like all of us.

Could Man City become the new ‘Invincibles’?

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In the 2003-04 season, Arsenal completed their Premier League campaign as champions without a single defeat to earn the team the nickname ‘the Invincibles’, based on the name given to the Preston North End team that went unbeaten in the first ever Football League season. Arsène Wenger’s side, built around the mercurial talents of Robert Pires and Thierry Henry dominated English football that season, and is widely considered – alongside José Mourinho’s Chelsea side in 2004-05 – to be one of the best sides in the Premier League’s history.

Fast-forward fourteen years and Manchester City look set to challenge that consensus. Following their return to the Premier League in the 2000s, and the club’s acquisition by the Abu Dhabi United Group, City have become one of the wealthiest clubs in the world. This has led to huge spending – over £210m went on last summer’s transfers – and the ability to attract Pep Guardiola as manager. City are also blessed with world-class players such as Kevin de Bruyne, highly promising young talents like Raheem Sterling and Leroy Sané, and – at a time when all clubs want a ‘twenty-goal-a-season’ striker – they have two in Sergio Aguero and Gabriel Jesus. Surely, they have everything they need to be the new ‘Invincibles’?

At the moment yes, but we are only eleven games in. City are a great side, and have plenty going for them, but they aren’t perfect yet. You can get at them, as an average West Brom side demonstrated at the end of October, when the mid-table team managed to bag two goals against City’s less-than-convincing defence. So while they have not been defeated so far this season, having won some impressive games (last week’s Champions League victory against Napoli 4-2 springs to mind), they are by no means ‘invincible’.

City are a great attacking side, but their style does leave them exposed at the back. Indeed, a squad that relies on Nicolas Otamendi and John Stones at centre-back will always be vulnerable, and whereas Wenger’s Arsenal ground out results up when they were up against it thanks to the rock-hard spine of Patrick Vieira, Gilberto Silva, Sol Campbell and Kolo Toure, City lack the same bite and winning mentality when they have an off-day.

While it is too early to say for sure, it seems inevitable that Guardiola’s side will fall short of becoming the new ‘Invincibles’: despite the fact they may well win the title, the strain of a European campaign and a lack of leaders at the back means that a City defeat is inevitable at some stage.

In conversation with Layo-Christina Akinlude

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She’s about to start a technical rehearsal when I begin my interview with Layo-Christina Akinlude, the up-and-coming star of Shared Experience’s new production of As You Like It, and after a busy national tour that began in July, her ability to squeeze an interview into a hectic schedule and still remain relaxed, friendly and engaging is the first thing that impresses upon me.

With As You Like It about to come to Oxford (running at the Playhouse from November 14th – 18th), we begin by talking immediately about the production. Shared Experience, formerly the resident theatre company of the Oxford Playhouse, is a group renowned for its vibrant and distinctive physical style, so I ask if it was this innovative style of theatre that drew Akinlude to the project. The answer, she says, is both the exciting possibilities offered by the text, and the vision of the play captured by the company. “Shared Experience is spearheaded by lots of female creative artists, one of them includes our director. And essentially, As You Like It is that show, it’s that show that is spearheaded by a woman, and the whole plot is about a woman taking charge of her own destiny, which is hugely refreshing”.

What does she think makes the Shared Experience version of As You Like It stand out? “It’s current. It is applicable to the world in which we live, especially as regards men and women and the ways in which we interact with each other. When we look at everything that’s going on in the world right now, I think it’s very important to have a play like As You Like It.”

Akinlude plays Celia, the headstrong daughter of Duke Frederick, and with all this talk of strong women, I wonder if she can see any resemblance to her character in herself. “I think a lot of what she does I can relate to. I went to, I don’t know if you’ve heard of it, The Guilty Feminist? I went to one of their live shows, and one of the talks was about how women use silence to gain power, and it was really moving. I think Celia is a good example of someone who does that, she uses her silence to acquire what she wants”.

She’s recently completed a stint as Bianca in The Taming of the Shrew at Shakespeare’s globe, another example of a strong-willed female role. Are there any other Shakespearean characters that Akinlude has her eye on? “I think Lady Macbeth is probably up there, and I would also say Beatrice in Much Ado About Nothing. There’s so many female roles… and of course, I’m doing one now!”.

Outside Shakespeare, “which I love”, she describes an ambition to play the lead role of Ifemelu in Chimamanda Ngozi Adichie’s 2013 novel Americanah, the winner of the National Book Critics Circle Fiction Award for its heart-rendering tale of a young Nigerian woman emigrating to the United States for college. Akinlude’s conscious proclivity towards parts that uplift women and provoke thought is one that should be admired.

My next question – about her plans following As You Like It – is met with knowing laughter and an enigmatic “only time will tell”, so we chat briefly about the experiences of young actors trying to find work. In reference to the idea of getting a so-called ‘big break’, Akinlude says that “it requires, as I’m sure you know, a level of discipline that is alien to even professional actors, it’s hard, and one must be prepared for that”. But still, she adds, “if you can’t imagine doing anything else, then pursue it, and pursue it with everything. If it’s what’s going to make your heart beat at night then do it, and do it with everything you have. Be shameless, be relentless in the pursuit of happiness.”

It’s good advice from a woman who has clearly found her own happiness in inspiring others.

As You Like It runs from November 14th – 18th at the Oxford Playhouse. Tickets are available at https://www.oxfordplayhouse.com/whats-on/all-shows/as-you-like-it/6054#tickets

Angel Hill review – ‘It may be simple, but it isn’t empty’

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In the world of contemporary poetry, Michael Longley is often overshadowed by Seamus Heaney, his literary compatriot and friend. But underrating Longley is a mistake, as his most recent Forward prize nominated collection Angel Hill shows.

Longley isn’t concerned with the political or social complexities of the modern world, he’s concerned with the natural, historical, and personal fabric of the world itself. There’s something refreshing about the unashamed and uninvolved observance of Longley’s work, and, as his editor puts it, in these poems the “imaginations of poet and painter intermingle”. Precious little of Longley’s is even remotely political.

In 60 pages of often short and rarely structurally complex poems, Longley explores the world around him as he grows older. Split between his own home in Carrigskeewaun, and Lochalsh, in the Highlands, Longley’s verse is both a series of observations of his world as he ages within it, and an excavation of its history. He writes about his father who fought at Passchendaele, the children whose parents died in the troubles, the early years of his marriage.

The real strength of Angel Hill is the sense of controlled universality that Longley evokes without ever seeming overblown or exaggerated. Angel Hill encapsulates, in rich and powerful verse, everything that it is to be Michael Longley.

Almost all of the poems in the collection focus in some way on both the fl ora and the fauna of Longley’s world. Corncrakes, a rare and elusive bird found sporadically across the Highlands, swallows, nosegays and larks’ nests all feature. A veteran bird watcher and naturalist, much like Heaney, Longley consistently roots himself in nature. Trees, birds, flowers and mountains serve as reference points by which he defines his life. In ‘Age’, Longley writes “I have been writing about this townland/ for fifty years, watching on their hummock / autumn’s lady tresses come and go.” His life is defined, not by his work, but by the natural world with which he has framed his life.

Longley is 78 this year, and his age plays a vocal and important role in this collection. His grandchildren feature throughout, and, once more, Longley envisages himself within the natural environment. In the poem ‘Granddaughters’ he writes “You have buried me up to my shins / in autumn leaves. I am taking root.” He becomes, through his offspring, a part of the natural backdrop. Angel Hill is certainly in part a peaceful meditation on death – both his own, and that of his friends, including Heaney.

Although Longley isn’t much read, he should be. His poetry has peace to it, a sense of contentment. He looks at the world around him, at his own life and he sees in the trees and in the birds something appreciable, something worth versifying. It’s simple, but it isn’t empty. It has all the craft and meaning of someone who’s been writing poetry for fifty years. It is, at its best, timeless.

Bike crashes and thefts soar, new figures reveal

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Over 2,000 cyclists have been injured in crashes on Oxford’s roads in the last ten years. New data from the journey planner CycleStreets has shown that city’s main roads are becoming more dangerous.

Particularly hazardous areas include Botley Road, Abingdon Road, Woodstock Road, Banbury Road, and Barbelo Road.

The figures revealed that there were 2,004 collisions resulting in injuries between 2005 and 2016. These are only the reported collisions, leading to fears the real number is much higher.

Labour councillor Louise Upton told the Oxford Mail: “As many collisions go unreported, this already distressing data is likely just the tip of the iceberg. It shows the urgent need to improve Oxford’s cycling infrastructure and, in particular, the need for segregated cycle lanes.”

Josh King, a second year Mansfield student, told Cherwell: “A joyful cycle ride in Oxford continues to become more like navigating a minefield blindfolded. With unclear bus lanes, dodgy traffic stops and lack of cycle lanes, and more traffic by the day I now feel myself pondering what it will say in my obituary every time I go to lectures.

“The council ought to do more on this issue, segregating cyclists from traffic on all major roads.”

Cyclox chairman Simon Hunt encouraged people to sign a new charter to improve safety, which was launched last night. The charter is named after Claudia Comberti, a 31-year-old geography PhD student at Oxford University who died after coming off her bike in Botley Road in May.

Crashing is not the only danger cyclists have to fear. Police have told Oxford cyclists to take extra precautions to secure their bikes amid a sharp rise in thefts.

According to new figures, reports of bicycles being stolen in the city have soared by 70 per cent in a year. A total of 2,339 reports of bike theft were made to Thames Valley Police from June 2016 to June 2017, an average of six thefts a day.

King said: “I feel increasingly unsafe and uncomfortable to lock my bike up on the High Street anymore.”

Wadham set to field all-male Uni Challenge team despite female-only trials

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Wadham appears to have decided against enforcing a gender quota on its 2018-19 University Challenge team, after some suggested the idea would be “patronising”.

The college initially held mixed trials for the team over the last three weeks, but when the number of female-identifying attendees was seen to be unexpectedly low, they introduced female-only trials.

However, as the all-female trials were poorly attended, the Wadham SU committee then considered positive discrimination to balance the gender of the team.

It was suggested in the SU meeting that a woman should be placed on the team, even if they did not perform well enough to place them in the top four entrants – perhaps allowing women who made the top six to be in the team.

According to the minutes of the meeting, Jack Wands, Wadham SU President, suggested that a woman should be put on the team, saying: “When we were invited to enter a team we were encouraged to represent the institution as a whole”.

However, others argued this would not be a fair method for either male or female students. One student said: “We should run a team on a meritocratic basis or submit no team. It would not be good for the welfare of the woman entrant to be there knowing she was let in to fill a quota. This is national television.”

Another added: “It would be embarrassing and maybe tokenistic that the team was not selected on a meritocratic basis if this affects performance.”

A majority of committee members voted in support of a motion stating that Wadham would put forward an all-male team if a female applicant failed to make it into the top six entrants. The ultimate decision on whether to field an all-male team will be decided in a women-only vote at the next SU meeting.

Greg Ritchie, one of the social secretaries, told Cherwell: “I think quizzing, like darts and snooker, tends to attract more men than women.

“It is bad when an all-male environment deters women from applying. To this end, I think we’ve done everything reasonable in our power to encourage a diverse team that reflects Wadham, such as ensuring trials were advertised on the women’s Facebook group and holding women-only trials.

“As Wadham SU agreed, putting a woman who isn’t of the necessary standard on the team is not fair on other contestants, the woman herself, or the wider movement for gender equality in University Challenge.”

Verity Babbs, who attended the women’s trials, told Cherwell: “Having the women-only trials was an excellent idea on the part of the organisers, as it was noticeably a different vibe to a previous trial, where I had been the only woman.

“I think the extra trial was encouraging for women who might have felt intimidated to go to previous mixed trials.”

Babbs added that she did not resent the decision against positive discrimination: “I don’t think anyone would be comfortable feeling like they were on the team only to fill a quota space – I think the idea of a quota is patronising to the women who took part in the trials.”

Last month, St Hugh’s was criticised for fielding an all male team in the 2017-18 edition of the television show. Critics of the college, including the pro-vice-chancellor of the University of Brighton, questioned why a male-only team was being fielded by a a college that was formerly all-female.

On the programme, presenter Jeremy Paxman joked: “On the basis of tonight’s team, we could be forgiven for thinking they [men] had rather taken it over.”

The college also faced complaints related to the selection process which was believed to be unfair, as one of the team members selected had not taken part in the college’s internal competition, but was chosen because he was rumoured to be a “good quizzer”.

One unsuccessful female applicant for the St Hugh’s College team said: “It feels like the ‘application process’ was irrelevant.

“As a woman who initially applied, I was pretty gutted to not even be asked about it and only found out who had been picked when they went to do the recordings.”

Update (13/11/17): An earlier version of this article was updated to clarify that a final decision on a quota will be made by an all-women vote rather than by the SU social secretaries.

‘A Familiar Friend’ review: “a masterful intensity”

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At first thought, the idea that the story of Peter Pan by J.M. Barrie would be vaguely relatable to student life seems absurd. But Josh Bourne manages to take one of our childhood tales and vividly re-imagine it so it slots into our daily lives. Indeed, the crux of this play’s success lies in its use of contrasts and conflict; imagination vs realism, childhood vs adulthood, excitement vs mundanity, with the idea of childhood extended to encompass university life, including liberal drinking and drug usage. This carefree attitude is embodied in Chloé Delanney’s Peter Pan.

Here, the small intimate setting of the Michael Pilch studio proves to be very useful in creating the atmosphere of a student room. The staging team clearly have an eye for detail with the inclusion of fairy lights in jars, potted plants and a photo collage which adorn Wendy’s room. These down-to-earth, realistic props are contrasted by the other end of the stage which is decorated with fairy-tale esque trees and a clock on the branches. The contrast between the childish and the adult is something that frequently dominates – perhaps epitomised by the scene in which Wendy makes a phone call about her future career, whilst Peter lounges on, a bed carefree and oblivious.

This attention to detail extends to the costumes which are modern and well thought through. Instead of a girly fairy costume, Charithra Chandran’s Tinkerbell wears a sassy, on trend wrap-dress which perfectly expresses her feisty, protective demeanour. Peter Pan carrying a fanny pack on his shoulder, and an oversized patterned shirt, gave a nonchalant hipster aesthetic. Jess Brown’s Wendy moves from an innocent blue dress to a black dress and heels which reflects her move to becoming a ‘grown up’. It is a consciously millennial play in terms of styling and props. Yet, some moments were strikingly surreal with childlike wonder – such as a fight scene which used a mop and a hoover to create physical humour.

However, the theme of drug-related mental health issues still pervades the entire play. Indeed, the underlying darkness from the casual use of ‘Fairy Dust’ adulterates and corrupts the innocent and childlike moments, turning them into something much more concerning.

The themes tackled (suicide, drug use and mental illness) could have threatened to make the play too monotonous but the vital injection of humour makes the tragic ending even more potent. Recasting Captain Hooke as Mr Hooke the ‘management consultant’ was pure genius. An evil pirate turning into a corporate drone who read PPE at Balliol could never go wrong. Alec McQuarrie’s performance as Hooke was a treat, although he came off far too likeable to be a villain in the traditional sense. But the lack of a villain figure certainly didn’t affect the play because such characterisations are often unconvincing. Humour definitely worked to the play’s advantage. Scenes were frequently full of witty, self- aware jokes on Brexit, tutorials and croquet dates. The loftiness of heavy themes is contained through these little references which bring it back down to earth and prevent any preachiness or melodrama.

The climax of the play was Chloé Delanney’s masterful and visceral breakdown, which bought all the issues to a head. The sheer energy and physicality in her performance was astounding as she bounced through varying moods of youthful euphoria and hopeless depression, with the emotional intensity making the audience feel almost uncomfortable. The use of voice-overs during the breakdown scene could have easily been clichéd, but Delanney’s acting dominated to prevent it.

The constant reminder of needing to grow up is a pressure that I am sure all finalists in the room felt. The feeling of encroaching internships, grad schemes and careers in overflowing email inboxes was illustrated by the frequent interruptions by Hooke and Smee. The actors’ sharp RP accents and even sharper suits were a constant reminder that Grace had to make a decision eventually. The spotlighting and phone sounds employed added to the sense of repetitive annoyance and persistence. Adulthood was further explored through the romantic relationship of Peter and Grace. We see a real intimacy between the characters during their conversations, but it is always clear that Grace must leave Peter.

All in all, A Familiar Friend was an experience which utilised the best of cast, crew, sound, costume, lighting and props to marry contrasting and conflicting themes. It’s an original exploration of staying true to our childhood dreams or moving forward into a more practical vocation.