Blog Page 951

‘Road’ review – ‘A formidable fusion of poetry, movement and humour’

Lucy Miles
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‘Road’ review – ‘A formidable fusion of poetry, movement and humour’

Road begins with the crescendo of Judy Garland’s enduring song of hope and desperation: “birds fly over the rainbow, why then oh why can’t I.” This sense of escapism and desire for a better life predominates throughout Jim Cartwright’s gritty yet lyrical portrait of economic hardship.

Set in Lancashire at the height of Thatcher’s Britain, Road gives us an insight into the lives of the residents of an undefined road over the course of one night. It debuted at the Royal Court in 1986 to great acclaim. Bringing it back now to austerity Britain is an unusual move for a theatre that celebrates new writing and rarely revives plays. But it works. If you look beyond the shoulder pads, elaborate hairstyles and 80s hits, the depth of disenchantment resonates today. In fact director John Tiffany (of Harry Potter and the Cursed Child fame) cites this stagnancy as a key driver for the revival “It was written from a place where it didn’t feel like it could get any worse…and actually it’s got worse for people.”

But for all the frank despair – “fucking long life in’it” is a common refrain – the lyricism of the writing and the pervasive music conflate to affirm a latent sense of hope and striving for better – not accepting that this is ‘it’. In one particularly potent moment, the drunken narrator Scullery (Lemn Sissay) takes a shopping trolley as his dancing partner to Tchaikovsky’s Swan Lake. Although the 80s dance routines between scenes sometimes lacked crescendo, music is used skillfully throughout the play, bringing a sense of denouement at the end of the piece. A cringingly awkward drunken double-date was revolutionized by the playing of the entirety of Otis Redding’s ‘Try a Little Tenderness’ as though this was all that was needed to lessen the burden of trying times.

Chloe Lamford’s design adds to this sense of isolation in the characters’ lives – they are delivered up through the floor to tell their story in a grungy glass box; a display-case prison acting as an echo chamber for their thoughts. Sometimes moments of overly chummy audience interaction detract from this voyeuristic feeling. The original production’s promenade format would have lent itself better to this attempt at interactive theatre but as it stands I would have preferred that the seclusion be maintained.

Faye Marsay and Shane Zaza are convincing and arresting as Joey and Clare – a couple on a suicidal hunger strike, portraying the innate human desire for more than “work, work, small wages, Death”. They emphatically admonish our trepidation in confronting this: being “frightened to sniff the wind for fear it’ll blow your brain upside down.” The detail of Mark Hadfield’s performance is captivating in his portrayal of a lonely man evoking his earlier life when there “were so many jobs”. Game of Thrones’ fans will be unsurprised by Michelle Fairley’s incredible abilities, showcased best through her tragic portrait of Brenda, the withered alcoholic scrounging for a pound from her daughter and the poignantly hilarious Helen seducing a paralytic soldier who proceeds to unceremoniously vomit into a plate of chips.

Road is an outstanding fusion of excellent poetry, movement and humour which, together, offer a portrait of life beset by escapism and economic difficulty. If the transitions between vignettes seem clunky at times this can be primarily put down to their juxtaposition with the depth of emotion conveyed as each individual character tells their story. It is a formidable play which sharply portrays the struggles of ordinary people as accurately now as it did when it was first written. I can only hope that its bleak relevance diminishes over time.

Road, Royal Court, London, until 19 September.

‘STOP’ at the Fringe review – “it deserves an award for excellence in storytelling”

James Tibbles
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‘STOP’ at the Fringe review – “it deserves an award for excellence in storytelling”

According to Andrew Lloyd Webber, musical theatre is losing its momentum in the UK, but STOP could just be about to buck that trend. The recently-graduated duo of Annabel Mutale Reed (book and lyrics) and Leo Munby (music) has found an impressive sweet spot by writing a concept musical that deals with one of the most pressing and universal issues of our time: a crisis of mental illness.

Waiting together at a magical bus stop, a lawyer, personal trainer, dancer, and student are forced to stop and face their internal battles. Their circumstantial relationships tease out each unique story through a series of monologues and musical numbers that are sensitively performed by an ensemble of just four actors. The unashamedly British wit of the script lures audiences into a false comfort which is then thwarted by a powerfully emotional final quarter.

Although sometimes lacking in sustained physical characterisation, all the actors give competent individual performances, as well as pulling together for exquisitely harmonised group numbers. Martha, a black lawyer played by Mutale Reed, is perhaps the most complex character of all. Her struggle to come to terms with her husband’s depression, her pregnancy, her alcoholism, and everyday racism culminates in a truly heart-wrenching performance of You Matter Today. The song verges on breaking the fourth wall by offering a message of hope and encouragement, however the show’s direction and writing evades over-egging the sentiment by maintaining an entirely naturalistic portrayal of a mother empowering her child. Poignant moments like this are plentiful in every character.

Credit must also go to Gemma Lowcock, the only non-original cast member, who stepped into the role of Chloe with marked ease. In the new version, Lowcock not only conveys Chloe’s bipolar type two more clearly and sensitively, but exploits Munby and Reed’s intelligent structure. Chloe, with her colour-coded revision cards, glues the hard-hitting stories together through endearing friendliness and unassuming humour, all while exhibiting the versatility of Munby’s incredible, infectious score.

Advice, however, from an out-of-date composer whose ego could fill all 1,200 pages of Les Miserables should be consumed with caution; Claude-Michel Schönberg, with whom the show has been workshopped, has done the show few favours since January. If this was a plot-driven, lengthy epic I could understand why Munby would use a recitative “inspired by the theatrical language of Les Mis and Miss Saigon”, but the additional underscore in the first half and the recitative were ill-fitted to the subtlety of the script, and became tiresome by the end. In what is also quite static staging, the underscore distracts from the compelling story-telling of the script. I can’t help feeling the show could be even better if Munby and Reed stuck to their original instincts and trusted their remarkable talent.

The production also needs ironing out, with unnatural direction of movement and incomplete sound design (a soundscape, for example, would really enhance the setting), but this was likely down to unfamiliarity with the space. The simplicity should nonetheless be commended. A minimalist set and production assures that the characters and their stories remain at the forefront. And that is really where this production excels; STOP is a show that creates conversation and reinstates stories as the currency of human exchange. “Excellence isn’t a duty”, but boy, STOP deserves an award for excellence in story-telling.

 

STOP, Venue 58, until 28 August.

New College bursar slams Louise Richardson’s “grossly excessive” pay

Fred Dimbleby
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New College bursar slams Louise Richardson’s “grossly excessive” pay

The New College bursar has launched an attack on the “grossly excessive” pay of Oxford’s Vice Chancellor, Louise Richardson, and that of the University’s senior management team.

In a letter to the Financial Times, David Palfreyman stated that it was difficult to find “value for money in return” for the increasing pay of Oxford’s senior academics, when it had entailed little “improvement in governance”.

Palfreyman levelled much of his criticism against the salary of the Vice Chancellor (VC), Louise Richardson, who is paid a salary of £350,000 per year, rising to £410,000 if pensions are included.

Palfreyman, who has been he New bursar since 1988, stated that Oxford’s VC had once been the “cheapest…in the land” until about 2000.

David Palfreyman, New College bursar (Image: New College)

He dismissed comparisons between the wages of university VCs and those working in banking as “silly”.

“No sane person could dispute that top bankers are egregiously overpaid, but their daft pay is no reason for VCs to be put on the same gravy train, albeit in a third-class compartment,” the bursar wrote.

Figures released in January showed Louise Richardson was the third highest-paid VC in the UK, and that on average, the VCs of Russell Group universities took home six per cent more than they did two years ago.

It was also revealed in March that Oxford had the highest number of staff earning over £100,000 per year.

A spokesperson for the University said: “Oxford is the world’s highest-ranked university” and that “the remuneration of the vice-chancellor reflects this.”

Has football finally sold its soul to money?

Jack Allsopp
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Has football finally sold its soul to money?

For the £198 million that Paris Saint-Germain parted with to meet Neymar’s release clause, you could purchase thirteen Alan Shearers, over a trillion Freddos or one-tenth of a British parliamentary majority. £198 million is also the cost of covering the entire city of Barcelona in spaghetti. For Neymar to be worth his weight in a commodity, gold would not do; instead he would have to be made out of plutonium, which costs $4,000 per gram.

But the face value price is not the whole story: when agent fees, the contract’s value and other expenses are considered, the cost of this 25-year-old footballer’s transfer from Barcelona is closer to half a billion pounds sterling. This leads anyone to question whether the beautiful game has finally gone mad, whether this sort of spending is sustainable, and how any human being in any profession could be worth such an eye-wateringly gigantic sum of money.

But in the context of this summer transfer window, Neymar is worth it. Romelu Lukaku, a Chelsea reject who has had two fruitful seasons at Everton, is valued at £75 million by Manchester United. Goalkeepers Jordan Pickford and Ederson have been snapped up this summer for fees equal to or in excess of £30 million; both have never represented their countries at a senior level. Is Neymar two-and-a-half times as good as Lukaku, or seven times as good as Pickford or Ederson? Undoubtedly.

The reputable CIES football observatory rates Neymar as the most valuable footballer on the planet: they have his market cost at €210.7 million, which is almost the same as Neymar’s release clause (€222 million). He is an incredibly prolific goal scorer and supremely skilful footballer with pace, creativity and intelligence. In his short career he has already won La Liga twice, the Champions League once, and established himself as the best Brazilian footballer on the planet (no mean feat, if history is anything to go by). He is also a commercial godsend for the club, with his easy media style, virtuoso performances on the pitch and well-known name meaning that he is practically a brand; he will generate revenue for PSG as soon as he arrives in France.

Yet all this talk of numbers makes one question whether football has become simply a data-driven sport. Today, footballers are judged by their coaches, ex-footballers on the television and the armchair pundits at home by how many metres they run during 90 minutes, how many chances they create, the number of interceptions they make, and so forth. The transfer window itself has become a tournament, presided over by the effervescent Jim White and capturing as much interest as any ordinary Premier League weekend. Ordinary fans are priced out of the game, where a season ticket at the Emirates Stadium costs around £1000, and where you cannot watch Champions League football for free. In the last few years, the big wigs of the sport, Sepp Blatter and all his cronies, have been rumbled for corruption on a frankly disgusting level.

It’s starkly clear that there is too much money in football. It has become, whether us fans like it or not, a multi-trillion pound business, a market with a life of its own, where a pre-game pint and pie costs more than a match-day ticket should be sold at. It is no longer the working man’s game. This is what Neymar represents, and whilst he might be worth it when you run the numbers, the soul of football was sold long before Neymar traded the best club in the world for a Parisian upstart outfit to line his wallet and soothe his ego.

Fringe 2017: ‘Radio’ review – “yet another gleaming success for Sunscreen Productions”

Christian Bell
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Fringe 2017: ‘Radio’ review – “yet another gleaming success for Sunscreen Productions”

What did you do last night? Six students sit in their kitchen after a boozy house dinner on their last day of university and piece together what they can remember from the night before. Their hazy memories allow them to recall some events, but no one can remember why exactly the police are imminently due to arrive, or who called them. As the play progresses, the radio in the background becomes more and more prominent, manipulating the characters’ discussions almost to the point where it seems to be contributing to events. Friendships and romances become more and more strained in lieu of this uncertainty, and the rising tension culminates in the discovery of an incident from the night before… and the police knocking at the door.

Archie Thomson’s debut play is wickedly funny, punctured with engaging dialogue and witty comments throughout. He light-heartedly explores many of the insecurities and fears that all students face at the end of university, ranging from relationship dilemmas to career uncertainty, and the huge variety of paths available for young people to go down is reflected in the range of different characters. Thomson is critical of all his characters – be that Tom, with his economics degree, or Sam, who has spent the last 3 years working in a pub. At the end of the play you are left with the nostalgic feeling that the only thing holding the group together was university itself.

The characters are all based on exaggerated student archetypes that are immediately recognisable to anyone who has ever shared a house. Steph is the hilariously socially awkward software engineer, Paul is the laid-back Mancunian, and Bee is the left-wing feminist to name just three. It’s clear the cast worked together closely to develop these characters as each one has a flair of originality that is often missing from other plays: Steph’s mannerisms, Tom’s arrogance, and Paul’s charm all heighten the interactions of the group, and prevent the archetypes becoming hackneyed. The viewer is left with a great sense of familiarity with each of the characters, despite the performance lasting under an hour.

Radio proves to be yet another gleaming success for Sunscreen Productions who have consistently put on critically acclaimed performances over the last couple of years. After selling out the Chelsea Theatre, I am excited to see how the next few performances at Paradise Studios go, and am looking forward to seeing what they will produce next.

Radio, Paradise in Augustine (venue 152), 9.05pm, until 19th August (except 13th).

Life Divided: Summer Clothing

Aidan Balfe and Rachel Craig-McFeely
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Life Divided: Summer Clothing

For: Aidan Balfe

The introduction of summer in 1873 paved the way for a number of innovations in Victorian Britain. Like all things that make Britain great (or just okay, depending on your standpoint) summer was stolen from the colonies. Beforehand, life on this tiny island was simple and predictable, but chaos and panic kicked in during the first ‘British summer’, with temperatures in some parts of England reaching the soaring heights of 26 or even 27 degrees.

It was a battle between those of a traditional conservative sensibility, and new revolutionary thinkers who believed that women should have the right to expose their ankles in public. The randy bastards. A parliamentary debate on mandatory seaside regulations that required bathers to don no fewer than seven layers of clothing ended with the Liberal MP for Dewsbury pleading to his Conservative rivals: “Come on chaps, it’s fucking boiling. I’m sweating my bollocks off in here, let alone on the beach.”

As public morality began to give way to considerations of comfort, summer clothing began to emerge as one of the most important developments in British society since the invention of the letter ‘p’. Originally designed as trousers for very short people – hence the name – shorts were a truly revolutionary breakthrough.

It’s easy to sit here today, in your one-piece swimsuit, or Adidas sliders, and forget the brave men and women who went before us – the pioneers of summer clothing – and the sacrifices they made. It’s because of them that a man like me can wear white linen trousers. Or why any one of us can saunter into Tesco wearing shorts, flip-flops, and a leopard print tank top, pick up a 16-pack of Bière d’Or, and sit around in a park eating watermelon and turning pink.

Some may see this as a poor reflection on British society – as somehow not in fact the greatest achievement of all of modernity and civilisation itself. Maybe they think that people flash too much skin these days, or that we have no public modesty or respect for one another. But what I would say to those people is this: how long has it been since they last went to the beach, took off their shoes, took off their shirt, took off their shorts, and took off their underwear. Probably never, right? No-one’s about to start walking around stark naked anytime soon. It’s a separate question of whether that would be a bad thing, but I suppose I’ll save that for another Life Divided. The point here is that summer clothes are to be enjoyed and appreciated.

Against: Rachel Craig-McFeely

Scrolling through #summerclothing on Instagram, it is easy to be lulled into a fantasy of a summer spent strolling, perfectly tanned, through sun-drenched streets in shorts, sandals, and sunglasses. Yet these dreams are quickly shattered by a glance out of my rain-spattered window. Summer clothes may be the perfect attire for those who happen to live in Greece, yet sadly splitting my time between Oxford and rural Wiltshire doesn’t exactly provide many sunbathing opportunities. No matter how glorious the sunshine seems in the morning, grey clouds and rain invariably reappear, and too soon any hopes of a tan are crushed as, goose-pimpled and shivering, I search desperately for a warm jumper. Call me melodramatic, but summer clothes in England are about as useful as my English degree is for a future career.

Of course, there are those rare days when the sun does deign to shine – or, far more likely, you go on holiday. However, the scarcity of such occasions hardly justifies splashing out on a whole new summer wardrobe, particularly as shops appear to operate on the rule that the smaller the piece of fabric, the higher the price. It may be just me, but paying £20 for a top scarcely larger than a flannel is almost as painful an experience as the sunburn its lack of coverage will result in.

In fact, the main component in my summer wardrobe is sun cream, which I wear liberally as a greasy, wasp-attracting second skin over the areas that my summer clothes fail to cover – that is, 90% of my body. The ease apparently offered by summer clothing is somewhat undermined by the hours needed to apply and reapply sun cream throughout the day – an arduous two-man job which skincancer.org recommends undertaking every couple of hours. Caught in the paradox between wanting a tan and the fear of skin cancer, a day on the beach descends from carefree relaxation into anxiety, in which the words “you look a bit red” are enough to strike mortal panic into any heart.

And don’t get me started on sweat. Heat combined with thin, light-coloured clothing leads to less than glamorous sweat patches, which only severe editing can hide from holiday snaps. Even the solution of wearing a light, loose dress quickly becomes a problem in itself as any breeze is a constant threat of indecent exposure – think less sexy Marilyn Monroe and more desperate clutching at handfuls of fabric.

Yet although the abandonment of summer clothing is highly tempting, any form of clothing is more appealing than walking to Summertown in sub:fusc during a heatwave (one of my personal highlights of Prelims). With this in mind, I will grin and bear the sun cream and sweat for the sake of my social life – but roll on autumn, when it is once more socially acceptable to live in jeans and a jumper. I can’t wait.

Somerville urges employee to turn himself in over stabbing murder

Cherwell News
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Somerville urges employee to turn himself in over stabbing murder

Somerville College have urged their employee accused of stabbing to death a hairstylist in Chicago to turn himself in to US authorities as police in Chicago said they were “closing in” on him and a US academic.

Police in the city said they “have an idea” of the whereabouts of Andrew Warren, a senior treasurer assistant at Oxford’s Somerville College and Wyndham Lathem, a professor at Northwestern University. The pair are accused of stabbing to death a 26-year-old-man, Trenton Cornell-Duranleau, in Lathem’s Chicago apartment.

Oxford University said it would help police with their investigation as Somerville College urged Warren to turn himself in.

“Andrew Warren’s colleagues at Somerville College have now all been informed and are shocked to learn of the case,” a college spokesperson said.

“Whatever the circumstances, we would urge him to contact the US authorities as soon as possible, in the best interests of everyone concerned.”

Officers in Chicago said their hunt for the Warren, 56, and Lathem, 42, a microbiology professor, was “intensifying”.

“We do have an idea of their whereabouts and efforts to locate them are only intensifying from here on in,” a spokesperson said.

“Our primary focus is to facilitate a safe surrender and we strongly encourage Professor Lathem and Mr Warren to do the right thing.”

Officers found the victim with multiple stab wounds in Lathem’s 10th floor apartment on 27 July. The attack was so violent that the blade of the knife believed to have been used to stab Cornell-Duranleau had broken, Chicago police said.

US police warned members of the public that the because of the violent nature of their alleged crime, the pair were believed to be “armed and dangerous”.

Warren, 56, oversaw pensions and payrolls at Somerville. According to police and media reports, he is believed to have flown to the US days before the murder took place, after allegedly meeting Lathem online.

Court files give Warren’s address as Somerville but his Facebook profile says he lives in Swindon, Wiltshire and is a former cashier and Stagecoach bus driver.

In an email sent to Somerville staff and students on Tuesday morning, the college Principal, Alice Prochaska said: “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 on Thursday, Oxford University said it had been in contact with police in the UK about Warren and was “ready to help the US investigating authorities in any way they need”.

His alleged accomplice, Wyndham Lathem, had worked as a scientist at Northwestern University since 2007, specialising in the bubonic plague.

Northwestern said Lathem had been placed on leave and was banned from entering the campus.

OUSU calls on city council to “stop targeting Oxford’s rough sleepers”

Henry Straughan
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OUSU calls on city council to “stop targeting Oxford’s rough sleepers”

On Your Doorstep, OUSU’s official homelessness campaign, has launched a petition calling for Oxford city council to end the use of anti-social behaviour legislation to target rough sleepers.

The petition comes in response to news that the city council is issuing Community Protection Notices requiring rough sleepers to remove their belongings from the city centre and threatening them with fines of up to £2,500 for non-compliance.

In a response to the petition the council stated that it was a “fire safety issue”, and claimed that after “two days the owners removed all their belongings … No one was fined, and the fire escape is no longer blocked.”

The council further responded that: “We take this national homelessness tragedy that is playing out on the streets of our city very seriously… On this occasion we had to balance the desire for people to leave their possessions in a fire escape with the risk this posed to the people working in the building.”

However, the petition points to the fact that Community Protection Notices are typically used for anti-social behaviour, such as graffiti and dog fouling. The petition further claims that: “By issuing [the notices] to rough sleepers, the city council is classing rough sleeping as an anti-social “choice”, when in fact it is those with no remaining options who end up on the streets.”

Under the 2014 Anti-Social Behaviour, Crime and Policing Act, Community Protection Notices may be issued to an individual when their conduct “is having a detrimental effect, of a persistent or continuing nature, on the quality of life of those in the locality, and the conduct is unreasonable.”

Criticising the council’s actions, On Your Doorstep said: “The homeless are often ignored or treated as an “eyesore”, especially in a rich city such as Oxford. Criminalising them just makes their lives harder, and they eventually are issued fines they cannot afford to pay, which will merely increase the behaviour of “aggressive begging” which the council seeks to end.”

The campaign further suggested that in targeting rough sleepers through Community Protection Notices, the council is failing to recognise the “wider issue of Oxford’s housing crisis and the lack of adequate provision from homelessness services”. Noting that Oxford’s budget for homelessness services was recently cut by 65%, resulting in the closure of two homelessness projects, Simon House and Julian Housing which are set be decommissioned in April 2018, and the reduction of the number of beds from 286 to 141.

Jeevan Ravindran, chair of On Your Doorstep, told Cherwell: “We at On Your Doorstep started this petition because the homeless shouldn’t be classed as behaving ‘antisocially’, which is what community protection notices suggest.

“Although the city council does great work for the homeless, this isn’t the first time we’ve seen them take the wrong measures – in 2015, they tried to illegalise rough sleeping [through Public Space Protection Orders], a move which we managed to successfully prevent.

“Although they’ve responded saying that this is a fire safety issue, there’s a wider problem of using anti-social behaviour legislation to deal with rough sleepers and we won’t back down until we receive a commitment from them confirming that they will no longer do this.”

The petition had 613 supporters at the time of writing. It can be found here: https://www.change.org/p/oxford-city-council-stop-targeting-oxford-s-rough-sleepers

 

Oxford Takes The Fringe

Katie Sayer
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Oxford Takes The Fringe

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

Jack Hunter
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0
Somerville College employee wanted for murder

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.”

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