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Oxford Takes The Fringe

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The Oxford performing arts scene is well and truly thriving at the Edinburgh Fringe this year. With acts that include improvised comedy, a capella singing groups, and an opera about Kim Kardashian–it’s easy to get lost in the number of exciting new performances. So, to make your trip to Edinburgh easier, we’ve compiled this guide to the Fringe so you can support some of Oxford’s brightest upcoming talents without the stress of organising an itinerary:

The Oxford Revue

What?

In their own words: the critically acclaimed Oxford Revue is returning to the Edinburgh Fringe Festival for its 53rd year. Written and performed by the country’s finest student comedians, this hour of sharp and subversive comedy, including sketches, songs, and satire, is sure to keep you entertained. Since being founded in the 1950s, the Oxford Revue has produced many of the UK’s best-loved comedians including Rowan Atkinson, Alan Bennett and Michael Palin. To quote a previous Fringe review, ‘Is there anything the Oxford Revue can’t do?’

When?

3rd – 28th August, 16:20

Where?

Assembly George Square Studios (Venue 17)

How much?

£8 – £9

 

The Oxford Revue (Free)

What?

Alternatively, The Oxford Revue are presenting a rotating cast of the country’s brightest young comedians in a stand-up extravaganza. Given that former Revue performers have included Sally Phillips and Armando Iannucci, this is the perfect opportunity to come along and catch a rising star in action (completely gratas).

When?

3rd – 19th August, 15:45

Where?

Laughing Horse @Moriarty’s (Venue 332)

How much?

Free

 

The Oxford Imps

What?

In their own words: back from several international tours and brimming with infectious enthusiasm, Oxford’s favourite improvisers play games, sing songs and invent stories to delight and entertain, from Broadway musicals to Shakespearean verse on the spot. Each performance is a wholly original blend of clever, family-friendly comedy, and the show will feature special guests from across the international improv limelight to jam along with these ‘devastatingly funny’ (EdFringeReview.com) home-grown improvisers.

When?

2nd – 28th August, 13:30

Where?

Gilded Balloon Terriot (Venue 14)

How much?

£8 – £10

 

Witch Hunt

What?

In their own words: an American, a Scot and a woman walk into a bar – they’re three of the Oxford Revue’s finest returning to Edinburgh with an hour of character comedy. They’ve got a suitcase full of wigs and they’re not afraid to use them.

When?

12th – 26th August (not 21st), 15:45

Where?

Subway (Venue 56)

How much?

Free

 

The Oxford Gargoyles

What?

In their own words: the Gargoyles are Oxford’s world-renowned jazz a cappella group. Having toured internationally and competed across the UK, including as finalists in BBC’s Choir Of The Year in 2012 and 2014, the Gargoyles have confirmed themselves as a staple of the UK and Edinburgh a cappella scene, and are excited to be returning for their 12th consecutive Fringe. Their stellar mix of impeccable musicality, black-tie charm, slick wit and slicker dancing delights audiences far and wide, and with toe-tapping jazz standards and grooving funk tunes, the Gargoyles will dazzle you with an unforgettable performance

When?

5th – 19th August, 14:00

Where?

C Venues (Venue 34)

How much?

£8.50 – £11.50

 

Alternotive Acapella

What?

In their own words: fresh from a starring appearance on BBC One’s Pitch Battle, Oxford’s premier contemporary mixed a cappella group return to the fringe for the eighth year running. Featuring songs from Muse to Michael Jackson, from Disclosure to David Bowie, from Cinematic Orchestra to Christina Perri, the group’s complex and fun arrangements are guaranteed to leave you with a smile on your face.

When?

3rd – 19th August, 13:00

Where?

C Venues (Venue 34)

How much?

£7.50 – £11.50

 

William Rees: The Splash

What?

In their own words: DJing and poetry is surely a combination that deserves greater exploration. Thankfully in this show it is given just that. Ploughing aggressively through such topics as love, war and agriculture, William Rees (The Oxford Revue) dives into the calm before the storm, the puddle before The Splash.

When?

4th – 31st August, 00:10

Where?

Laughing Horse @ The Cellar Monkey (Venue 293)

How much?

Free

 

Out of the Blue

What?

In their own words: prepare to be hooked by Oxford’s premiere all-male a cappella troupe – with over 15 million hits on YouTube, the Fringe’s biggest selling student show is sure to bring smiles all round. Expect vocal acrobatics, eclectic repertoire, and ludicrous choreography which never fails to delight – for their fourteenth year in a row, Out of the Blue are well and truly back. The show will also be supporting  Helen and Douglas House, the world’s first children’s hospice.

When?

3rd – 28th August, 13:30

Where?

Assembly George Square Theatre (Venue 8)

How much?

£9 – £12

 

The Optimists

What?

In their own words: when Daniel accidentally dopes a professional football team a day before their drug test, kidnapping the club’s owner seems like the simplest way out. Or it would be, if the neighbourhood Communist Society weren’t out to get him. A farcical comedy, fresh from the OUDS New Writing Festival, asking important questions such as ‘how do four communists split a bill of £6.71?

When?

14th – 26th August (not Sundays), 22:15

Where?

The Space on Niddry Street (Venue 9)

How much?

£6 – £8

 

About the Unsaid

What?

In their own words: this touching new musical by Maria Shepard explores the interior monologues of three interconnected characters through acoustic songs, focusing on their lack of communication and the difference between what they think and say. Genuine, heartfelt and boldly thought-provoking: About the Unsaid is a daring fusion of folk genres and musical theatre that examines universally timeless dilemmas in relationships.

When?

22nd – 26th August, 13:55

Where?

The Space on the North Bridge (Venue 36)

How much?

£6 – £8

 

Dates

What?

In their own words: Dates is an original sketch show comedy satirising dating in the modern age. From sketches such as ‘Tudor Tinder’ and ‘Menopausal Match.com’ to ‘Pay Tribute to the Patriarchy’, this raucous hour of sketch comedy explores the trials and tribulations of modern romance. The show is somewhat unique in that all the sketches hinge on a female perspective; the funniest characters, dialogue and scenarios are reserved for female performers

When?

2nd – 19th August, 15:20

Where?

C Royale (Venue 6)

How much?

£6.50 – £9.50

 

Fantastic Beats and Where to Find Them (In The Pink)

What?

In their own words: Join In the Pink on a bewitching journey as we bring Oxford a cappella to Edinburgh! After receiving that all-important letter from Hogwarts – or in the girls’ case, from the University Admissions Office – what to do when the daily grind turns excitement into tedium? Fantastic Beats promises to re-inject the magic into the monotonous by seeking out the music in every aspect of student life, from Bridge to the Bod.

When?

14th -19th August, 17:55

Where?

The Space on Niddry Street (Venue 9)

How much?

£6 – £8

 

Girls Will Be Girls

What?

In their own words: Girls will be Girls, a collaboration from Chucked Up Theatre and FourSevenTwo Productions, follows seven very different teenage girls over a school day which leads up to the all-important release of offers from Oxford University. Moving from class to class, these girls embark on the extra-curricular assignment of how to become women but quickly find themselves caught between demanding body images; phallocentric sexual experiences; and sky-high academic expectations.

When?

14th – 26th August (not 20th), 11:40

Where?

Greenside @ Infirmary Street (Venue 236)

How much?

£8 – £10

 

The Inevitable Quiet of the Crash

What?

In their own words: three women struggle to overcome the anxieties of living in modern-day London after a man is killed in a train crash. Having pinned their hopes on a city that won’t stop moving, they must now come to terms with the unforgiving consumer society on which they have become addicted. This critically acclaimed musical features an all-female cast and contemporary jazz drumming score.

When?

2nd – 28th August, 18:00

Where?

C Venues, Studio 6 (Venue 6)

How much?

£8.50 – £10.50

 

Radio

What?

In their own words: You ate someone’s crisps? You shoplifted once? You cheated on your girlfriend? You killed your grandmother? What would the voice on the radio say if it started to spill your deepest, darkest secrets to your housemates… Sunscreen Productions presents Archie Thomson’s blistering new play about six students, one radio, and the dirt under everyone’s fingernails.

When?

5th – 19th August (not 13th), 21:05

Where?

Paradise in Augustines (Venue 152)

How much?

£5 – £8

 

The Red Emerald: A Farce for the Colourblind

What?

In their own words: Two thieves. One emerald. No refunds. The Red Emerald is a blisteringly funny farce set in a crumbling, old German castle across from the Guildford Tesco’s. Herr Falkenstein’s broke. All he has left is his maid, his cat and his 12,000 acre estate. He throws a party to steal the Red Emerald – the most valuable jewel in the world, because nobody can quite work out whether it’s red or green. But more than one person wants to steal it… ‘

When?

14th – 19th August at 12pm, then 21st – 26th August at 17:45

Where?

The Space on Niddry Street (Venue 9)

How much?

£5 – £10

 

Doctor Faustus

What?

In their own words: Medical researcher Dr Emma Faustus is on a personal mission to cure Valdes’ disease. With no hope of funding, she turns to Mephistopheles for a more extreme solution. Lucifer’s company will provide her with everything she ever wanted – for a price. The electrifying new musical Doctor Faustus embarks on a national tour this summer. Based on the legend of Faust, this new adaptation brings the myth into the modern day, featuring an electronic score and the stark setting of the corporate world. No magic, no souls, no demons, just science. How far would you go to get what you want?

When?

5th – 27th August (not Sundays), 17:30

Where?

Paradise in Augustines (Venue 152)

How much?

£9 – £12

 

Peer Gynt

What?

In their own words: Gruffdog Theatre’s Peer Gynt is a sprawling, cinematic tale of magic and monsters, told using the company’s distinctive combination of puppetry, ensemble movement and live music. After winning Best Theatre Show at the Buxton Festival Fringe earlier this month, Gruffdog are excited to be heading to Edinburgh for a full month run at ZOO venues. Armed with a cast of 10 identically dressed Peers and a 8 foot troll puppet, this fierce rendition of Henrik Ibsen’s poetic classic should be a valuable addition to your Edinburgh lineup.

When?

4th – 28th August, 13.55

Where?

Zoo (Venue 124)

How much?

£10 – £12

 

Stop: The musical

What?

In their own words: STOP – this years OUDS National Tour – is a new musical set at a London bus stop. Four people are just trying to get on with a normal day – unaware of the consequences that getting on the bus will hold for them. But the bus stop can see whats in store, and has other ideas… Developed with and fundraising for mental health charity SANE, and workshopped with composer of Les Miserables Claude Michel Schönberg, STOP is the ‘deeply moving and grounding’ dramatisation of mental health that the modern world needs.

When?

3rd – 28th August (not 15th), 14.45pm

Where?

C South (Venue 58)

How much?

£7.50 – £9.50

 

Columns

What?

In their own words: Joe’s parents have vanished. Sophie says she can help find them – but can he trust her? As Joe’s hope falters, the narrators add truths from their own lives to the story, and ask the audience to do the same. Part storytelling spectacle, part bold confession, Columns is theatre at its most challenging, charming and sincere. From the writer of Sleepless Theatre’s ‘mind-blowing’ (ThreeWeeks) The Master and Margarita. Thursdays: specially adapted Relaxed Performances. Those with a learning disability, autistic spectrum condition, or sensory or communication disorder are especially welcome.

When?

14th – 26th August, 10.55am

Where?

The Space on the Mile (Venue 39)

How much?

£7 – £9

 

Hotter

What?

In their own words: ‘People are more fixated on flesh than ever before in history’ – Ann, 97. “What gets you hot?”, HOTTER has asked everyone, from grannies to drag artists.  Joined by the voices of women and non-binary people interviewed around the country, including Ann, we are two women embarking on a battle against embarrassment.  Using sketch theatre, song and dance, HOTTER is a show about blushing, sweating, pinkness and pleasure. Be prepared to boogie. Be prepared to sweat.

When?

5th -27th August, 22:45

Where?

Paradise in Augustines (Venue 152)

How much?

£8 – £10

 

Bacchae

What?

In their own words: Flying Pig Theatre’s new adaption of Euripides’ dizzying ancient tragedy sees Thebes transported to a crumbling Victorian mansion. Imaginatively retold through physical theatre and original music, with cutting edge sound technology, this classical piece is brought to dazzling new life.

When?

4th – 26th August (not Sundays)

Where?

The Space at Surgeon’s Hall (Venue 53)

How much?

£8 – £10

 

Ruby Redfort

What?

In their own words: The first ever stage adaptation of Lauren Child’s bestselling mystery series, ‘one of the best things to happen to British fiction’ (Sunday Times). When the world’s greatest criminal masterminds target a supernatural statue, it’s up to Ruby – code-breaker, special agent and 13-year-old girl – to crack the case. This quirky, hilarious spy thriller takes us into a world of terrifying villains, cutting-edge gadgets and death-defying escapes, in a race to prove that being a spy is actually child’s play.

When?

3rd – 28th August (not 14th or 21st), 11am

Where?

The Box, Assembly George Square Theatre (Venue 8)

How much?

£9

 

Sex Education

What?

In their own words: The teenagers in this class think they know it all when it comes to sex. So why are they so frustrated? Their teacher thinks a new and daring approach could blast away their misconceptions and help them have happier, healthier relationships. But is it already too late?

When?

21st – 27th August, 17:50

Where?

Paradise in the Vault (Venue 29)

How much?

£7-9

 

The Marriage of Kim K

What?

In their own words: What do Mozart and Kim Kardashian have in common? Kim’s marriage to NBA star Kris Humphries began with a televised fairytale wedding. It ended 72 days later with a mysterious divorce. This epic failure of love is one of three marriages at the heart of this hilarious and vaultingly ambitious rewrite of Mozart’s Marriage of Figaro. Three squabbling couples. Three styles of music. One big problem: how to love in a world of differences? Bitingly satirical romp through Mozart’s masterpiece. A reminder of the power of love in a divided era. A musical without boundaries.

When?

2nd – 28th August, 21:50

Where?

C Venues (Venue 34)

How much?

£11.50 – £13.50

 

Cherwell would like to wish good luck to all the Oxford shows appearing at the Fringe, and we feel proud to be part of a university that has produced such a diverse range of talented acts.

Somerville College employee wanted for murder

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A US-wide manhunt has been launched for a Somerville College employee accused of stabbing to death a hairstylist in Chicago.

Police in Chicago issued arrest warrants on Monday for Andrew Warren, 56, a senior treasurer assistant at Somerville, and another suspect, on the count of first-degree murder.

Because the alleged crime is of a violent nature the pair are considered “armed and dangerous”, police said.

The second suspect hunted by police is Wyndham Lathem, 42, an associate professor of microbiology-immunology at Northwestern University.

Last night, Andrew Warren’s web page was removed from the Somerville website, as Oxford University said it would work with police to help with their investigation.

According to reports, Trenton Cornell-Duranleau, 26, was found dead by police in Lathem’s tenth floor apartment in Chicago at 10.35pm on Thursday. Police were responding to an anonymous call by a maintenance worker who said a crime had been committed there,  the Chicago Tribune reports.

Cornell-Duranleau died of multiple lacerations to the body, medical examiners said.

Oxford University released a statement on Tuesday saying it was “not aware of this case, which is clearly extremely concerning. We will liaise with the relevant investigating authorities and provide any assistance that is required.”

In his job at Somerville, Warren is understood to have dealt with the payroll and pensions of college staff. Older college documents suggest Warren was also involved in collecting students’ battels payments.

Somerville said it was in contact with police in the UK and was ready to work with US authorities to help their investigation.

In an email sent to Somerville staff and students on Tuesday morning, the college Principal, Alice Prochaska said: There is a tragic news story in today’s press and media, and on many web sites, which many of you will have seen already. It tells us that there is a warrant out for the arrest of our colleague Andrew Warren in the Treasury, on a charge of murder in Chicago.

“Neither the College nor the university were aware of the case, which is clearly extremely worrying. We and the university authorities will liaise with the investigating authorities and provide any assistance that is required.

“This comes as upsetting news to all of us. Counselling support can be made available to anyone who needs it.”

In a statement, Northwestern University said Wyndham Lathem had been placed on administrative leave and was banned from entering the university.

“Lathem has been a faculty member in the department of microbiology-immunology since 2007,” the statement said.

“This is now a criminal matter under investigation by the appropriate authorities, and Northwestern University is cooperating in that investigation.”

Mischelle Duranleau, the victim’s mother, wrote on Facebook: “Throughout his life he loved music and animals. His enthusiasm for life was infectious.

“Trenton was a caregiver and loved to help others. His youthful free-spirit fueled his love of cars, video games and cartoons.”

A Taste of the Incas

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When conquistador Francisco Pizarro stepped upon Peruvian soil in the 1500s, it was riches, slaves and plunder he sought, not grilled guinea pig. However, whilst the Spanish forces succeeded in looting the treasures of Inca Peru, the culture of the Incas thankfully resisted suppression. Almost 500 years later, the fusion of indigenous flavours and Spanish influences have formed a unique Peruvian cuisine – where else in the world can you eat guinea pig?

Perhaps you’re asking why Peruvian food should be drawing in the masses (and you)? The simple answer – it’s healthy. The main staples of Peruvian cuisine (potatoes, corn, quinoa) have remained consistent for hundreds of years, and the introduction of some European sofisticación through the medium of rice, wheat and meats form a deliciously well rounded diet. Add to the mix the prevalence of local ingredients such as fruits and peppers, and each plate tastes fantastic (and looks Instagram-worthy). So, faced with an unfamiliar menu, what should you try?

Pisco Sours cocktail. Source: Wikimedia Commons

The best place to dip one’s tongue in the water is ceviche, the national dish of Peru, and a perfect example of Peru’s fusion of cultures. The dish consists of raw fish in a marinade of citrus fruit, onion and chilli, which has evoked comparisons to the preparation of sushi. This is no coincidence. For thousands of years, Peruvian fishermen had used local fruit to marinate their catches before consumption, but Japanese immigrants in the 1800s carved the fish and added ingredients such as soy sauce, creating a unique dish that can be found nowhere else.

The perfect accompaniment is a refreshing Peruvian Pisco Sour. Locally brewed brandy developed by the Spanish is flavoured with freshly squeezed lime juice, egg white, syrup and Angostura bitters. The resulting concoction is more than strong enough to make one splutter, but is an excellent way of keeping warm during the cold Peruvian nights.

With the starter finished, any Peruvian will assure you that there is only one choice for the main: guinea pig, or cuy as the locals know it. The importance of cuy to Peruvian culture is such that the portrayal of The Last Supper that hangs in the Cathedral of Santa Domingo at Cusco, the ancient capital of the Incas, depicts Jesus and his disciples consuming the dish. Cuy is served much as it appears in the painting, with the whole animal marinated and then grilled or spit-roasted. The meat itself is bony, and has a somewhat gamey taste reminiscent of guinea fowl that is definitely worth experiencing. For those wishing to avoid cuy, rest assured that rodent is not the only traditional meat on the menu: alpaca is an equally popular offering that can be prepared as a stew or cooked as a steak, while the less adventurous can safely order chicken or beef.

“The Last Supper” by Marcos Zapata displays Jesus and the disciples eating cuy, and hangs in the main Cathedral of Cusco, the ancient capital city of the Incas.

After a big meal, the best way to end an evening is a wander through the busy streets of Lima, Cusco or Arequipa. Straying only a block or two away from the tourist areas uncovers a positive plethora of street vendors, all urging passers-by to purchase their variant of the churro. Whilst the fried, dough-based pastry is also popular in Spain, the Peruvian variety is usually filled with cajeta, a sweetened caramelised goat’s milk, and is coated in a sugar-cinnamon mixture with a chocolate sauce – it tastes fantastic.

Peruvian cuisine is light, healthy, and, most important of all, immensely tasty. It’s also fast gaining in popularity – trendy establishments serving ceviche are already commonplace in Soho.  With the closure of Las Iguanas last month, Oxford residents might have to wait slightly longer for a taste of South American cuisine, but there’s no doubt that Peruvian food is on the rise and is well worth a try. We’re still far from ordering a Pisco Sours at a local pub, but with the Peruvian food movement well underway, the idea is not as far-fetched as it once might have seemed.

Saïd Business School head becomes private secretary to Kate Middleton

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The present Chief Operating Officer and Associate Dean at the Saïd Business School, Catherine Quinn, has been appointed as the Duchess of Cambridge’s new private secretary.

Ms Quinn, who will leave her present role in October 2017, joined the Saïd Business school following leadership roles at The Middle Temple and the Wellcome Trust. Her new role will include organising the Duchess’ private diary and working with her on official visits.

She will replace Rebecca Priestly, who has held the position since 2012 and was Kate’s first private secretary.

Ms Quinn, who also has an MBA from the Saïd and is on the board of the Charity commission for England and Wales, brings extensive experience in the business and charitable sectors to the job. There has been speculation that her appointment, and her interests, reflect a shift in the Duchess’ interpretation of her role.

Quinn’s Salary for the role has not been released, but it is expected to be in the six-figures with the bill being payed by Prince Charles’ income from the Duchy of Cornwall, which he inherited as the eldest son of the reigning monarch.

Peter Tufuno, the Peter Moores Dean at the Saïd, said that: “All of us at Saïd Business School have a huge amount of pride and excitement for Catherine and her exciting new role.

At the same time, we will miss her greatly. She has contributed hugely to the growth and success of the school. She has been a very valued colleague and a professional, principled, and inspirational leader. We wish her every success in the next stage of her career.”

Oxford scientists express anger at death of Cecil the Lion’s son

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Oxford University scientists have responded angrily to the killing of Xanda, the oldest son of Cecil the Lion, whose death in 2015 prompted international outrage.

The scientists had been monitoring the six year old lion, who was shot dead by a professional trophy hunter 7 July.

He was killed outside the boundaries of Hwange National Park in Zimbabwe, close to where his father was killed by American dentist Walter Parmer almost two years ago.

Xanda, the pride male of a group of lions, was being tracked using a GPS collar by a team of Oxford researchers, including Prof David Macdonald and Dr Andrew Loveridge.

Dr Loveridge, a Senior Research Fellow at Oxford’s Department of Zoology, told the Guardian: “Xanda was one of these gorgeous Kalahari lions, with a big mane, big body, beautiful condition – a very, very lovely animal.

“Personally, I think it is sad that anyone wants to shoot a lion, but there are people who will pay money to do that.”

Loveridge had initially told the Telegraph that Cooke, Xanda’s hunter, was “one of the good guys”, who had acted ethically. He added that the hunter had returned the lion’s tracking collar to the Oxford Scientists.

However, Loveridge has since reversed his initial support of Cooke’s behaviour, and stated that his staff had previously warned Cooke that killing Xanda would harm the lion population.

He wrote in a letter to James Rosenfels, the hunters’ associate chairman, that: “Ethics is about not just adhering to the letter of the law, but also making informed ethical choices to limit the detrimental impacts of hunting activities.”

“There is no question that Mr Cooke was fully aware that this animal was a pride male,” Dr Loveridge said.

The Oxford team are now calling for a wider 5km ‘no-hunting zone’ around the National Park.

Xanda’s hunters defended the killing by describing the deceased lion as a lone male with no dependent cubs, who had been rejected from his pride and was therefore unlikely to have children in future.

They also stated that Xanda’s killing was legal as he was not in the park, where hunting lions is banned, but in a nearby forest reserve where hunters are permitted to kill one lion per year.

However, Oxford University’s Wildlife Research Conservation Unit (WildCRU) disputed these claims, and accused the Zimbabwe Professional Hunters and Guides Association of misrepresenting information.

Professor Macdonald, Director of WildCRU, said: “Xanda’s death was almost two years to the day after Cecil’s, but I hope our sadness at this eerie coincidence can be balanced if this reinforces the global attention on lion conservation.

“And the Cecil Movement is, of course, not just about lions – lions are a metaphor for how humanity will live alongside all biodiversity in the 21st century: this is a huge question for our age”.

Priest condemns selfie-taking tourists ruining ‘sacred space’ in University Church

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The University Church of St Mary the Virgin on the Oxford High Street is facing a very 21st century problem: too many tourists taking selfies when they come to visit.

The church, the site of the 1555 trial of the Oxford martyrs and with a 13th century tower with a view of the city, is a popular destination, with over 400,000 visitors each year, but for associate priest Rev Charlotte Bannister-Parker, these visits are a little too disruptive.

She penned her concerns in a recent newsletter, writing: “I am not usually a grumpy person but I have been overwhelmed by the numbers of tourists coming through the church and the fact that so many of them seem unaware that this is a sacred space.

“Not only is the whole experience of visiting St Mary’s so often seen through a camera lens but also some visitors seem completely unaware of the difference between this space as ‘the House of God’ and, say, that of the Sheldonian.”

She added that the “sizeable footfall” of visitors was making it more difficult for those worshipping in the church to do so in peace and quiet.

St. Mary University Church, Oxford, England. Flickr/F Mira.

The church Vicar, the Rev Dr William Lamb, echoed Bannister-Parker’s words, stressing the importance that tourist crowds were “well controlled”, although adding that everyone was welcome at the church.

He said: “This ministry of hospitality is an important part of our mission as a church.

“At the same time, we are also aware that the sheer volume of visitors and tourists sometimes detracts from the peace and tranquillity offered by the University Church.”

The Reverends are considering playing background music quietly and inviting visitors to join in with prayers, or reserving parts of the building for private prayer, while encouraging tour groups in controlled numbers to visit the rest of the church.

Rev Dr Lamb explained: “With this subtle approach, we are convinced that we will improve the experience of visitors and tourists.

“We want people to feel welcome at St Mary’s and we want to make sure that a visit to St Mary’s is a positive experience for everybody.”

But both Reverends discouraged the number of pictures being taken, with Rev Bannister-Parker urging staff and welcomers to “challenge the mentality that ‘if you don’t take a photo it did not happen’”.

Bucking the trend and defying Britishness: a preview of STOP

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One of the latest articles about mental health on the BBC website declares that the number of people waiting for mental health treatment in Wales has doubled over the past six years. It is into this crisis, and more, that STOP will speak this summer.

The play proved to be something really special by causing a stir among Oxford University students after its run at the Burton Taylor Studio earlier this year. Now the show has been fully workshopped with Claude Michel-Schonberg (composer of Les Mis), the cast and team seek to pop the student bubble and assert the production in an industry where new musicals are struggling to make a meaningful impact. STOP explores the artless question: what happens if we simply stop, listen, and learn from each other?

Yet, when I sat watching the stripped-back rehearsal in a bare college boathouse, it struck me just how painfully relevant the script is; Annabel Mutale Reed, lyricist and writer, combines contemporary cultural references with sensitive but unashamed characterisation to tell the stories of Justin, Chloe, Martha and Lewis. Their overlapping stories, set to Leo Munby’s impossible score, uncover the reality of four different mental illnesses: alcoholism, bulimia, bipolar type 2, and panic disorder.

These important labels, however, might betray the universality of the experiences in the show. Producer, Naomi Chapman, assures me that the most endearing quality of STOP is that everyone can identify with the experiences of the characters, or may have seen them in others if not in themselves. By putting these stories under the spotlight, the writers seek to thwart the awkward Britishness surrounding conversation about mental health in a production that is altogether funny, exciting, and profoundly moving.

If the team play their cards right, this show is sure to “stop” people in their tracks and challenge a generation struggling to stay afloat in a world that just keeps on moving. I can’t wait to see how the show has developed on opening night later this week.

STOP will start its stint as the OUDS tour at the Pegasus Theatre on 28th/29th July 2017 before a full run at the Edinburgh Fringe, and a week at the Cockpit in London. For the performances in Oxford the team also invite you to workshops with the mental health charity SANE which will take place at 6:45pm both Friday and Saturday. For more information about how to book tickets go to: www.stopthemusical.com and www.facebook.com/stopmusical

We’ve all been mugged off for someone who looks better in a bikini

The first few days after a break up are hard. One minute you have someone waiting for you every night, ready to make you laugh and cry all at the same time. The next, they’re gone out of your life forever. Or at least until next summer, which is when ITV has confirmed the show will return. But in the meantime, Love Island, it’s over. And what will I do without you?

Well, for starters, let’s fill some time working out why I liked you so much in the first place. On the surface, Love Island is not a show that any reasonable person would have expected to have dominated Twitter, summer, and our emotional lives for two whole months, and finally to have broken ITV records, clocking up the channel’s biggest ever Monday night audience for the final episode. The concept is ludicrous: at the beginning of June, a bunch of aesthetically pleasing singletons were voluntarily imprisoned in a camera-filled Spanish villa, with nothing to entertain them but some seriously revealing swimwear and their own questionable conversational skills, to entertain the grateful public for an hour every night. The aim – to find love. The incentive – £50, 000. So far, so bizarre.

But, as the weeks went by, the show built on its 2016 success and began to attract a cult following, pulling in over a million viewers each night. All my friends were talking about it. My newsfeed was clogged with it. I tried to take an intellectual stand against trashy TV, to rise loftily above the masses jabbering about ‘cracking on’ and ‘muggy Mike’, and instead fill my evenings with long and improving books. I really tried.

But then, obviously, I started watching it. And, obviously, I enjoyed it. A lot. And I have spent the last few weeks asking myself why. So, as under-35s across the country crack open the Ben & Jerry’s and struggle to see a future without Love Island, this is what I have concluded. This is why Love Island gets me every time. And, I suspect, why it gets you.

Love Island takes two hugely successful television formats – competition and reality – and combines them. The result is that viewers get to enjoy the structure, purpose and tension of shows like The X Factor, and the human-interest stories offered by Made in Chelsea. So all those deeply enjoyable but utterly pointless conversations you get on reality TV shows, in which people discuss their feelings towards for each other at agonizing length, are given a real and vital purpose. Does Camilla actually have feelings for Craig, or is she just vulnerable after being dumped by Jonny? If she gets the answer wrong, she risks entering a relationship that will see her ‘dumped’ from the show, or lose the opportunity to start something that might take her all the way to the final. Never has that chat with your friends – you know, the one in the smoking area, when you analyze the pros and cons of your chirpse – felt so important.

True, the combination of the two formats does have it risks. The gamification of human emotion can seem absolutely ludicrous. People won’t just fall in love because some TV producers are telling them too, even with a £50,000 incentive. Except, of course – and this is the genius of the show – they will, because that’s exactly what happens in real life. In any given society, attractive individuals are constantly competing to find their most compatible partner. From the purpose of chivalry in Arthurian romance, through the driving force of every Jane Austen novel, right up to Bridget Jones and her ever disappointed mother, the never ending popularity of the ‘love plot’ tells us all we need to know about what society wants and expects from its individuals. Sure, most of our communities aren’t confined to a few thousand square feet of Spanish real estate, and yes, mostly our prizes come in the more abstract forms of social affirmation, security, and indeed, happiness, than £50, 000 in cash, but, fundamentally, the game is exactly the same.

Love Island is like real life on crack, and the producers never forgot this, proving fantastically adept at creating situations that mirrored the obstacles faced by real relationships. There was separation: see Dom breaking down after Jess was sent home, and tearfully assuring the cameras that they, ‘can send me on whatever dates they want to send me on’, he will remain true. Nawwww. There was temptation: after being separated into two villas and each given a new group of girls or guys, the couples were asked to decide whether to remain with their original partner, or opt for some new eye candy. Tearful reunions and frosty face offs followed. There was that photo: caught in a club by a well meaning friend, or glimpsed on a blurry snap story, that makes you doubt everything you thought you knew about someone, and on the show recreated through compromising photos from one villa slipped under the front door of the other.

In two surreal, vaguely misogynistic, and satisfyingly sunscreen fueled months, Love Island blasted its viewers through the highs and lows of twenty-first century relationships.

I still think it’s totally ludicrous. I still take issue with that balloon-popping, slut dropping competition, and, just, well, a lot of the weird stuff they say…

But I’ll be tuning back in next year with everyone else. I wouldn’t give up Love Island. Not while it plays our own lives back to us from a poolside in Majorca.

 

Simian Success, or Weird Monkey Movie?

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Why do people so rarely talk about how great the rebooted Planet of the Apes movies are? Rise and Dawn are two of the greatest, intelligently made blockbusters of recent times. Laymen and critics alike write them off as being ‘weird monkey movies’, but no film series so consistently combines earnest, character-driven drama with incredible spectacle quite like these modern day classics of the sci-fi genre. Do not underestimate the following statement: War for the Planet of the Apes is one of the best films of the year, and one of the best conclusions to one of the greatest cinematic trilogies in recent memory.

This review will make a lot less sense if you haven’t seen the other Apes movies in this series, so go back and watch those if you haven’t already. Seriously, they are brilliant. After Koba incited war between the apes and the humans in the last time out, Caesar finds himself here dealing with the fallout of a conflict he didn’t ask for, and finding out the far-reaching consequences every aspect of this conflict has on him and those he loves.

The trailers for this movie show an awful lot of propulsive, large-scale action sequences, and make it look like this film is going to be an out-and-out action thriller. While such sequences are certainly enormous and incredible, they’re not really the main focus of the movie. This is less a war movie than it is a prisoner-of-war movie, with most of the action in the second and third acts of the movie taking place in a monkey POW camp under the command of a brilliantly antagonistic Woody Harrelson as ‘The Colonel’. These sections are eerily reminiscent of The Bridge On The River Kwai, as Caesar’s confrontations with The Colonel crackle with an intensity that belies the fact that Andy Serkis, giving the performance of his career, is actually wearing a funky grey leotard.

The sombre, self-serious tone of the film would be somewhat alleviated without the incredible motion-capture techniques and CGI that turns these spandex-wearing actors into genuinely photo-realistic, emotionally convincing apes who carry the narrative. When Caesar emotes, you can see Andy Serkis in the performance; the apes never feel anything less than completely present and convincing. It’s astonishing how far this technology has come even since the first Apes film 6 years ago, and it’s somehow both enormously impressive within the film itself, while never distracting from the story.

The way the filmmakers revel in the moral complexities of war is what makes War for the Planet of the Apes so compelling. Caesar is a morally complex character, trying to find the right responses to impossible situations, and attempting to act virtuously even when motivated by guilt and revenge. Serkis’s performance is stellar, and the scenes he shares with Harrelson are of particular note, especially given that The Colonel is driven by a sympathetic backstory to some abhorrent actions. Elsewhere, Steve Zahn’s comic character ‘Bad Ape’ provides welcome relief from the almost overwhelming bleak intensity of the rest of the movie.

Trying to find flaws in this film is actually rather difficult; the only noticeable issue is Michael Giacchino’s score, which is mostly haunting and tense, but in a couple of places is overbearingly grim. Otherwise, everything from the writing to the performances, from the camerawork to the editing, is very clearly a product of a cohesive creative vision. After his incredible work on Dawn, director Matt Reeves has once again produced a stunning piece of cinema, managing to maintain a simmering intensity from the very first frame to the very final heartbreaking shot. His upcoming take on The Barman (a film with less monkey and more man, and unrelated to this franchise) promises to be well worth watching.

This is the third entry this trilogy deserved: equal parts exciting, heartbreaking, mesmerising and thought-provoking. It deserves your attention, it commands your respect, and it’ll stay with you long after the lights have come up.

Academic achievement is an important metric for admissions

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Before making an application to Oxford or Cambridge virtually all students are aware that in order to secure a place they will be expected to have attained some of the highest grades in the country.

So notorious is this focus on academic achievement in the admissions process that the Higher Education Policy Institute (HEPI) concluded last week that many students are put off applying to the UK’s elite universities, thereby limiting the effectiveness of university outreach programmes and hindering social mobility. This insistence on a strong academic record has resulted in a world of “snobbery and discrimination”, argues the report, which leads students to overlook any “systematic differences in teaching quality” between universities, and ultimately form an application based on their individual likelihood of securing a place.

What the report highlighted was the difficulty experienced by many universities in combating the perception of exclusivity which accompanies high entry requirements, whilst still insisting on a basic standard of entry needed to maintain both quality and reputation. This problem is further exacerbated if academic ability is seen as the product of previous educational opportunities, rather than naturally-endowed talent.

Yet the solution to perceptions of elitism at top universities cannot be a recalibration of focus away from academic merit. To do so not only exposes UK universities to renewed accusations of ‘dumbing-down’, but also, critically, it runs the risk of misleading applicants about the pressures they can expect to face as an undergraduate at an internationally-recognised institution. Study at Oxbridge is hard, and for the most part, attainment is assessed through pure academic achievement. It is only fair to prospective applicants that this reality is reflected in university admissions policy.

This is not to deny that the fearsome reputation of the much-mythologised Oxbridge admissions process is enough to deter some suitable students from applying. Professor Tim Blackman, the report’s author, certainly has a point that elite universities suffer from an ‘image problem’ – though he makes an unhelpful assertion that insistence on high academic standards amounts to snobbery. If anything, this only reinforces the false perception that access to an Oxbridge education is limited to those identified at a young age as conventionally clever, impeding the commendable efforts made by colleges to expand their outreach projects.

Blackman’s comments raise another issue. Clearly, from Oxbridge’s perspective, there is a problem in the way that elite universities are perceived, particularly by students who might not consider themselves suitable for study at places famed for their gruelling admissions processes. But the implication behind the HEPI’s report is that students looking to apply to elite universities instinctively avoid those with lower entry requirements, regardless of teaching quality or potential future career prospects.

If this is the case (and there is no reason to presuppose that it is – the nature of the UCAS admissions system encourages students to temper their ambitions with a more realistic ‘insurance’ choice), then perhaps a more constructive conclusion is that we must seek a different metric by which to judge the quality of educational institutions. Challenging the assumption that tougher entry requirements equate to a better overall education would encourage students to focus instead on the quality of teaching or the likelihood of obtaining a good degree – all the more important factors in a world where tuition fees look set to rise even further.

Undoubtedly, elite universities need to be honest about the effect that their high admissions expectations have on dissuading credible potential candidates. Equally, it is important to recognise that this results as much from individual confidence and disparities in external encouragement and assistance offered to students during the admissions process, as from the actual suitability of a student to study at Oxbridge.

No-one would suggest that current university outreach projects have been unsuccessful – in 2015, 20.3 per cent of undergraduate places at Oxford were filled by students from target schools identified by the university’s Access Agreement (schools with little or no tradition of sending students to Oxford). Still, there is considerable room for improvement.

There is scant evidence that reducing focus on academic achievement in admissions policies encourages a diversity of applications, but doing so runs the real risk of misleading students over the intensely academic environment at the UK’s world-class leading institutions.

Instead, the solution lies in inspiring confidence in students who might not otherwise consider making an application, not in misrepresenting to students what it is they are actually applying for.