Monday 13th July 2026
Blog Page 1230

Cherwell’s Pre-drink of the Week: Sangria

Missing the balmy days of your Spanish summer holidays already? Want to create a frugal continental fiesta in your soulless college kitchen? Look no further than the £3.50 litre bottles of ready-made sangria on offer in Tesco! A deliciously potent blend of red wine, brandy and sweetener, topped with chopped oranges, this nectar-like beverage is so sumptuous it will convince even the most indie pipe-smoking English Lit student that a night a Park End will be good banter.It’s a community-spirited drink ideal for sharing with all your new fresher ‘friends’.

For an extra kick, add a dash of gin and tonic (or fanta) to your basic blend. Sangria is perfect paired with platters of tapas for the classiest of evenings, though if you can’t get your hands on any authentic patatas bravas, Walker’s Sensations will do. For extra refreshing sangria (read: if you want to drink in the afternoon), add some cucumbers and mint to give it that Pimm’s-esque summertime feel. Word of warning: The toxic mix of port and wine will give you a hangover so bad it will feel like you just raced against a bull in 

Profile: Ingrid Betancourt

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Last Friday, a queuing throng beset the Union’s Goodman Room. The overflowing crowds were pushed into the lobby with an advance on the bar looking imminent. Given the individual standing at the other end, the numbers were not surprising. But nobody anticipated that the crowds would continue, a full two hours in excess of their allotted twenty minutes.

Ingrid Betancourt did not deny a single person a joke, a photo, a conversation or an embrace. It wasn’t the volume of people that was endangering the members’ bar; it was Betancourt’s generosity. When my turn came, I discovered the openness and humanity that perhaps goes a little way to explaining why she gave so much time.

In February 2002, the militant branch of the Columbian Communist party, the FARC, kidnapped her. The FARC were and partially still are what is classed as a violent non-government actor. Their liminal status had led to a partial recognition by certain members of the international community – notably Chavez’s Venezuela. It is an important point to note, for the FARC sees itself not merely as a terrorist group, but as a political entity with aspirations of creating a state. This at any rate has been the official line and the agenda, which has been publicly declared since the 1960s. In these terms, the kidnapping of Betancourt was claimed to be a justifiable political act.

This clarification is important, because a political settlement has not yet been reached in Colombia; there is perhaps still not a clear consensus about who the bad guys are. The corrupt politicians in government? The drug traffickers? The peasant guerillas? Their commanders? The young women for whom “being a guerilla is an upgrade” from what would otherwise be a life of prostitution? Perhaps for this reason, even after her ordeal, when Betancourt was asked on how justice should be served, she hesitated on pronouncing any one approach; saying instead that the justice process “has to be taken case by case”.

After Betancourt’s address I talked to two Colombian gentlemen about their thoughts on what she had said. While they agreed that the treatment she suffered was deplorable, they seemed more hesitant to comment on whether they thought the FARC was an illegitimate political movement or not.

The wounds have clearly not healed, and in describing the conditions of Betancourt’s capture we should remember that we are not talking about a country where one can easily impose binary distinctions. Coming myself from South America, I know how incommensurable a European understanding of politics can be with the reality of Latin America.

In spite of this ambiguity, across several decades in politics Betancourt career witnessed the supposed ideological mandate of the FARC become increasingly murky, mainly due to its affiliation with organized crime. As Betancourt explained, “FARC deviated from a dream to a cartel.” Kidnappings, assassination and improvised explosive devices were (and to a lesser degree still are) the modus operandi. When Betancourt herself was captured, she says the most dangerous moment was minutes after her capture when one of her captors stood on a landmine. The man’s legs were blown to pieces and when he fell to the ground, it was only because of the blood and horror on everybody’s faces that he realised what had just happened.

On the 23 February 2002, Betancourt was running as a candidate for the presidency of Colombia. She had recently formed the Oxygen Green Party – an alternative to the traditional parties. On the campaign trail she decided to visit a mayor who was supporting her party in the demilitarised zone.

The peace process had once again collapsed and President Pastrana had decided to re-engage in military operations. Betancourt and her security escort was therefore told to abort their mission and turn back. On February 23rd 2002, against this backdrop of violence, narco trafficking and revolutionary politics, Betancourt ventured into the jungle.

In the six and half years of captivity that followed, it was a lack of recognition by her captors that set the stage for the psychological ordeal recounted in her memoir Even Silence Has an End. She was, for example, chained to a tree by the neck and then forced to relieve herself in front of a guard when in need of the bathroom. On Friday night, she looked directly into the crowd and said simply, “I could have killed that guy right there”.

Her story is so extraordinary because of how she coped with her situation, but it is not only a story of defiance (although she attempted to escape many times). She speaks of initially being “too overwhelmed to make sense of it”. Consequently, she now wants to “systematise experience into knowledge” and has undertaken a D. Phil in Theology. It struck me that to understand what she was saying about her ordeal, one had to understand what she decided to do after it.

Metaphysics cropped up. She drily noted that in her situation, one understood freedom in the same way you understand oxygen “when your head is in a bucket of water.” She thus defined freedom as “confrontation not reaction” in light of circumstances you cannot

change. Liberation for her came not only in confrontation withher captors, but also herself. Her guards were “trained in being cruel”, to create dehumanising humiliations. She remembered,

“I thought, I don’t want to feel that hate…not to allow myself to hate these people.” This refusal became a way of reclaiming agency under imposed conditions: “liberation through forgiveness.”

But from where did she draw the strength to rise above the cruelty? Betancourt’s paradoxical battle was that she had to resist the attempts to reduce her self-identity (being identified by a number for example) and yet also maintain the power to forgive – precisely so that she might maintain her threatened sense of self. Something prevailed in spite of the dehumanisation, so that she might then regain herself through forgiveness.

This something was what she claims “transcended” her captors. Staring into the abyss, she contemplated death as a form of freedom. Seemingly, however, the abyss did not stare back – “There is something in us, you are driven by this – the certainty you will make it…the light at the end of the tunnel was myself.”

Speaking about the troubles in Colombia, I couldn’t help but notice that the notion of recognition recurred in different forms. Concerning the victims of the civil war, she says, “We need to understand the pain of others.” Of the young men and women who join the FARC, she thinks “[they] are struggling to have a purpose…in a country that has no place for them.” Having suffered the horror of being denied her identity and yet responding by affirming it over and against those who threatened it, she of all people knows the significance of being recognised and recognising others.

In 2008, Betancourt and her fellow hostages were escorted onto a helicopter by their guards. They were told that they were being moved as part of negotiations with the government. In fact the Colombian secret service had infiltrated the FARC’s command structure and had arranged a fake transportation. Once on board they were told “Estan libres.

One of the first things she did after liberation was claim compensation from the Colombian government. In Colombia, this move produced an outcry, with politicians denouncing her “ingratitude.” Yet this appears shortsighted in light of her explanation – “We needed to feel they understood the pain.” A form of recognition was required.

Betancourt has not since returned to politics and she seemed unclear when I pressed her about whether she wanted to return to the fray. But her comments on recognition make a lot of sense, in light of the other things she had to say about politics. When asked, in reference to politics, “What hope is there for us?” Betancourt answered that politics is everything; politics is “on which side you lay your toothbrush” and that it is something in which “we have to participate ourselves.” There was a real sense from her that one cannot be passive, one must take a part in determining the change one wants – “We have to be consistent with what we want.”

Yet neither did Betancourt talk about politics as being necessarily combative or aggressive in saying, “We have to make politics a dignifying experience.” It was very humbling to see a person who, having once been denied some very basic dignities, now advocates them wholeheartedly for her political opponents.

Indeed when someone like Betancourt says “people who oppose your views are the ones who improve your thought,” the importance of showing respect, openness and humility take on a whole new meaning and significance. Someone who had to fight so dearly for her own dignity and self-worth perhaps knows better than most why we should extend these values to others, even those with whom we disagree. Once again, the importance of recognition seems key.

“The eye does not discourse itself, except by reflection”, Brutus says to Cassius. Deprived of a mirror and presented with death, Betancourt found an exception to discourse her identity – her existence. On Friday night, she took the time to chat with everyone, recognising and engaging everybody who came to her.

If an interview is a discourse of reflection, Betancourt is Brutus’s exception; it was hard to know what she wanted written about her. Though she was reflecting for others, it was not to seek her own image. This selflessness after her fight for a sense of self was what made her a truly admirable figure. Her patience, graciousness and respect for others is difficult to adequately reflect in writing, but it is perhaps what we should all try to mirror 

Recipe of the week: Chicken and Cheese Surprise

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This is one of my absolute favourites. I discovered it on my year abroad, because I was desperate to spice up a tomato stew which had seemingly become my only recipe as I was taking care of the pennies (so that the pounds etc etc).

Ingredients:

1 can chopped tomatoes

1 chicken breast (per person), diced

1 mozzarella ball

1 red pepper, chopped

1 onion, finely chopped

6 cloves garlic, crushed

1 tbsp paprika

Salt and pepper for seasoning

Begin by frying off the onion in some olive oil. When the onion has become translucent, as it always does after about 3 minutes of frying, add the red pepper and garlic and continue to fry on a medium heat until the whole has become soft. Remove from the pan. Add the chicken and some more oil and fry until each of the sides of the diced cubes of chicken has turned white. This seals the meat and allows it to cook in the stew without giving off any of those noxious raw chicken germs. At this point, pop the pepper, garlic and onion back in the pan and add the paprika, stirring to prevent anything from catching on the bottom. Add the tomato to the pot. If you want to use fresh tomatoes, then chop up four or five big tomatoes that smell very ripe. It is important to convey plenty of flavour, for which you need good ingredients. Lower the heat and place a lid on your pan, keeping it cooking for about 25-30 minutes, or until the chicken is ready and the sauce is liquidous. At this point, put the heat on its lowest setting (if it wasn’t already) and place some chunks of mozzarella on top, roughly spacing them so there is room to expand. Put the lid back on and wait for approximately 4-5 minutes. Taking the lid off, the cheese should be just melted and extremely gooey. Ladle the sauce into a bowl, trying to get as much cheese as possible. 

Visions of Ooo: strange reflections of earth

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For a cartoon ostensibly created for children, Adventure Time remains uncompromisingly complex. The show employs elements of traditional fantasy and science fiction, video game culture and fast-paced, millennial dialogue to create an aesthetic project of enormous scope and ambition. The complex and often subversive nature of the show is not just apparent in the scope of its current and well-observed humour, but has its basis in the unconventional setting of the cartoon: the island of ‘Ooo’, a vast continent constituted of various kingdoms (‘the Fire Kingdom’, ‘the Candy Kingdom’ etc.), is in actuality a post-apocalyptic vision of Earth. 

The creation myth of ‘Ooo’ begins in the aftermath of ‘The Great Mushroom War’, the surprisingly cute retelling of what is implied throughout the show to be a global-scale nuclear event. Whilst much of Adventure Time’s core audience, both pre-adolescents and marijuana enthusiasts alike, might describe the shows premise as, “A little boy, Finn, and his magical dog, Jake, live in a giant tree house and have adventures”, it is important to remember the post-apocalyptic context when considering the show’s deeper appeal. The world that Adventure Time inhabits is a stranger version of our own, a Technicolor reflection of Earth in a deeper sense than geographical. 

The narratives presented in Adventure Time, despite often concerning anthropomorphic ‘Candy People’ or sentient games consoles, all have a specifically human focus, with enormous insight into the concerns of the audience. This is emphasised by the fact that the show utilises the ‘Harry Potter Effect’, whereby, unlike The Simpsons, in which the characters seem to have been stuck in an endless and terrifying Groundhog Day-style time loop, the primary characters in Adventure Time grow up alongside its cast of voice actors, and its audience. Finn, the protagonist of the show, is 12 in the first episode, ‘Slumber Party Panic’, in which he must act as bodyguard at a slumber party organised for the Candy People by their wise and occasionally despotic ruler, Princess Bubblegum. By the most recent episode, Finn is 16, and far from the localised concerns of the Candy Kingdom, prevents universal destruction at the hands (tentacles) of a cosmic deity named Orgalorg, by merging his spirit with that of an ancient and mystical comet. The show anticipates that its audience will inevitably grow up, and ensures that Adventure Time grows up with them. 

In this way, Adventure Time can provide an unnaturally pertinent social and cultural commentary of a world only once removed from our own. A good example of this is a plot thread that concerns Princess Bubblegum’s position as ruler of the Candy Kingdom, a position that is represented with all the complexity and difficulty of a legitimate position of political power. Indeed, Adventure Time, through Bonnibel Bubblegum – a 1,000-year- old being of sentient bubblegum – introduces its audience to the problems of leadership, statehood, and opens up a dialogue concerning the various attributes of democracy, dictatorship and feudalism. In one episode, ‘The Cooler’, relations break down between the Candy and Fire Kingdoms, due in part to Princess Bubblegum’s interference with the newly appointed Flame Princess’s method of leadership, a fiery democracy as opposed to a saccharine dictatorship. In the same episode, it is revealed that Bonnibel has resorted to nationwide surveillance in order to make her job easier, a fact presented to the audience by the show as inherently problematic. In an era where Edward Snowden has a Twitter account and the debate over the politics of information can be contributed to by anyone, anywhere, with a few swipes at their iPhone, how Adventure Time raises issues of data privacy and surveillance in an organic and penetrating way is undeniably impressive. This political expose comes to a head in the most recent story arc, where the citizens of the Candy Kingdom decide for the first time to mount a democratic vote, deposing the despotic rule of Bubblegum and placing the ‘King of Ooo’, an earwax person and conman, in power. The way Adventure Time presents this is complex and subtle, addressing the multifarious problems of statehood and the importance of surface popularity in contemporary politics. 

What most deeply appeals to me about the show, however, is its ruminations on more fundamental and ontological subjects, its discourse on love and death. I am happy to confess that Adventure Time is the only animated series that has had the power to cause me to both laugh and weep hysterically in the same ten-minute episode. This is perhaps best illustrated by the show’s antagonist Ice King, a former human, Simon Petrikov, corrupted by the power of a magical crown. Due to the anti-ageing properties of the crown, Simon is one of the only characters that predates the Mushroom War, allowing the audience to view in unflinching detail through flashback episodes the tragic progression of Simon as survivor of nuclear Armageddon, driven insane by the crown and disfigured into the series’ original villain. Many of the show’s most tragic moments come from Simon’s relationship with Marceline, an immortal vampire who as a child was taken in by Simon after the Mushroom Bombs fell. One of the effects of the magical crown on the Ice King is memory loss, setting up some troubling heartbreaking moments, with Simon, after a thousand years, unable to die and unable to recognise the closest thing he has to a daughter. 

Under the guise of screwball comedy, Adventure Time has a profoundly optimistic view of the most fundamental aspects of life on earth. Not a single one of the issues I have mentioned is presented in a histrionic way and there are very few cliffhangers or ‘NEXT TIME ON…’ moments. Instead, such issues are shown to be intrinsic to the world the show depicts, facts of life that are addressed and resolved in realistic and rational ways. 

In this way, Adventure Time is profoundly good-natured, willing only resolution to the problems it presents its audience but never settling for the conventional happy ending. It is, I believe, this aspect of the show that many viewers find so subversive. For a cartoon that prominently features characters that are literally made of candy, the show doesn’t sugar-coat any of the realistic issues the narratives presents us.

Bar Review: LMH

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Having made the Herculean hike, you’ll wonder why you left the comfort of your cosy Christ Church room overlooking Tom Quad. On entering the college, you feel so much like you have just intruded into a girls’ boarding school that you half-expect a matron to come out with a bag of laundry and tell you off for being late to bed.

You then have the ordeal of navigating yourself through the labyrinth of corridors. Taking multiple wrong turns along the dimly-lit forbidden passages of LMH, trying to avoid the housemistress, you eventually find signs leading you to the bar.

Once there, your suspicions will be confirmed and you’ll realize it really wasn’t worth the trek from the nicer end of Oxford. The powder-blue walls have an odd staff-room aesthetic, in keeping with the college’s boarding school vibe, and, true to form, it is absolutely freezing.

The artwork on the walls is terrible, and the mismatched armchairs clash offensively with the feeble rowing paraphernalia that litter the walls. The football table, a small mercy, is shoved in the corner, and there are a number of shady alcoves, which, depressingly empty, are akin to a 1950s high-class strip club.

The bar selection, pleasingly, is better than the draughty location and drab décor would lead you to believe. They have an average range of ciders and beers on tap, but the huge beer towers reminiscent of Oktoberfest are their best asset. Their tonic water is also top-notch, but sadly is wasted on a lukewarm G&T without ice or lime. I came on a Tuesday night and it was surprisingly busy. Perhaps they’ve somehow managed to capitalize on the fact that it’s a good 20-minute walk to any other watering hole.

There’s no college drink, which is ordinarily the benchmark of any good bar, although apparently there was one which was banned because it was too lethal for the delicate constitutions of the LMH-ers to hack. To add insult to injury, you can’t even pay for your mid-priced booze by card, so have to turn up with cash. Luckily, LMH has on-site cashpoints, another sign of its insularity. The atmosphere is that of a sports bar, although the silent football match playing on the plasma TV was largely being ignored.

Overall, the bar’s winning feature (apart from the beer towers) is the friendly student staff who run it, but it’s not really worth a trip unless you find yourself in that neck of the woods anyway, and why would you?

Dosa Park: Paneer to pray for

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Cripes! For months I have heard of the intricate delicacies of South Indian food. The dosa, the idli, the uthappam, they were all calling out for me, unable to try it in my small village in Wiltshire. Of course, I didn’t realise there was an opportunity here in Oxford to lay my hands on a South Indian spread at a reasonable price. How wrong I was.

Some friends of mine had been banging on about a curry house called Dosa Park for a while. Of course, once I understood that South Indian was the name of the game, I was a player. I was warned: the décor does have a 3AM-tragictrip-to-Kebab-Kid aesthetic. Off I went, fully prepared to experience restaurant hell.

Again, how wrong I was. This inveterate restaurant-goer was certainly surprised by the overall effect of the contrast between its decoration and its food.

Stark purple and white walls, sticky tables and a coke machine provide the only flash of vibrancy, other than the hypnotic neon lights outside that seem to entrance all the diners in a quiet rapture. Furthermore, the location was a shock. The Saïd Business School and the way to Botley are not famed on the Oxford foodie scene, but next to the Domino’s Pizza place is one of Oxford’s hidden treasures. Truly, eating at Dosa Park is the sort of experience Lonely Planet would call “living like a local” – yet it remains hardly known.

Paneer became the theme of the evening, as we all ordered curry variations on it. Paneer butter masala for me: bright and spicy orange curry with big chunks of paneer and tomato. The thick, ghee-filled sauce literally arrested my tastebuds – never have I eaten a more flavourful curry.

The Palak Paneer, which had the added advantage of mashed spinach, was equally fabulous. The slightly bittersweet taste of the spinach went incredibly well with the chewy and creamy paneer cheese, which, we were assured, was home-made.

My chilli naan quite figuratively set my mouth on fire. However, the tamarind rice, which was nutty and sweet whilst being simultaneously deep and rich, more than made up for any carbohydrate-related mistake I made with the breads.

Dosa Park may indeed look like a postnightclub, low-key treat. However, what awaits the curious curry-seeker on the inside is without description. Cherwell was warned off from reviewing this as-yet ungentrified spot on Oxford’s scene. Unfortunately, a gentrifying vulture I am and always will be: Dosa Park deserves more business, to be honest. Treat it.

Ready Steady Cook

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Co-op reduced section has triumphed once more and this rather posh pie (Higgidy Slow Roast Steak and Red Wine, to be exact) cost me just £1.95, reduced from £2.99, though taste-wise it was pie-celess. And I was eating it cold. The friendly folk at Higgidy Pie recommend 25 minutes in the oven, but to hell with that, I was very hungry. The pie looked very in-pie-ting, with an arbitrary sprinkling of some small anonymous berry, which I was sceptical about at first, but was indeed berry tasty. The flavours of the filling married pie-fectly. There was lots of juicy steak, and some truly yummy mushrooms. And indeed so much filling that there was not mush-room for anything else. In fact, I was so distracted by the quality of this damned pie that I only had one bite left before I remembered to take a photo. The photo above, unfortunately, is not even mine, but a chicken pie from Wikipedia. A useless visual aid, since this was a pie amongst pies. A pie-umph. I’d steak this pie home and show it a good pie-m.

Ruffian on the Stair

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I sat on a train with a script for Loot in one hand and a newspaper in the other, hoping I might shield the text from the eyes of the decent folk on the Northern Rail eleven-thirty service. This was my first brush with Joe Orton. That regard for public decency was accountable by the simple fact that Orton plays make you feel dirty; they make you laugh at things you shouldn’t laugh at. They are sadistic works; when you’ve realized the depths of depravity in which the story has made you complicit, Orton catches you out. By the end, the joke is on you the viewer, for not knowing how to react. Disgustedly, nihilistically, sympatheti- cally even?

Nervously crossing Gloucester Green, you can understand why I was half expecting to watch some sort of distastefully costumed orgy. The Ruffian on the Stair tells the story of Joyce, an ex-prostitute, and husband Mike, a zealously Catholic (hit)man with a van. One day a deeply troubled young man, Wilson, intimidates Joyce in her apartment and interrupts the domestic bliss. Mike, more concerned with a lapse by Joyce, disregards the stranger until Wilson eventually ingratiates himself and makes a terrible demand.

What follows combines the depravity, absurdity and hilarity for which Orton is infamous. The actors really understand the cruelty of Orton’s humor. Think of the elegant brutality in Flaubert’s or Proust’s mocking treatment of the petite bourgeoisie.

Like Proust, Orton understands that the best satire involves a very gentle exaggeration delivered in a totally deadpan way. This is indeed what the cast mastered; a very subtle almost ironic overplaying of their characters, executed with a mock sincerity. It created some very nervous laughter.

The issue of irony is, however, not without certain problems. Orton’s characters are offensively ridiculous and this presents a subtle but very problematic sense that his excessive characters are written with a belief in their truth. One asks oneself, for example, whether the presentation of Joyce as a neurotic, fussy and totally dominated character is a representation of how Orton sees women.

This is a point director Emily Dillistone and Rachel Evans (who plays Joyce) are keen to address. They have accordingly tried to give more agency to Joyce by making her a bit more resistant to Mike than the text suggests. If Orton did pen this reductionism, should a production be complicit with it? If he meant it all ironically, should a production carry this irony to the end, even if it might come of as offensive?

I think Dillistone and Evans walked the line very well in this regard, but ultimately there is no safe Orton. I found this out myself when my neighbour on the train hazarded a peak over my shoulder. Whether or not this shock value is a good thing is perhaps a question for another day, but it is undeniable that Orton plays can offer the most interesting train journeys and certainly the most interesting productions. 

 

A view from the Cheap Seat

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“Oh, so sorry, beg your pardon, sir.” “No, absolutely, very sorry.”
“Yes, sorry.”
“So you’re new here, are you?” “Yes.”

“Splendid. William Shakespeare – pleasure.” “THE William Shakespeare?”
“Yes yes, I get that a lot up here. Christ, you 
should have heard Kenneth yesterday.”

“Oh no, it is such an honour to meet you, sir. May I be so blunt as to introduce my humble self? Benedict Cumberbatch, a huge fan of yours!”

“Ah…one of them, are you? One of these so-called actors.”

“But Sir, watch this…” BC pulls out his iPhone and shows WS a scene from his 2015 production of Hamlet. “This is from my first big Shakespeare production on stage. Hamlet; it was a huge success in London!”

WS begins to grow angry. “Yeah, I remember that shambles. A huge success, true. But why? I tell you why – because of you! Your stupid cumberbitches unleashed the dogs of war on good taste.”

“But, Sir, don’t judge me by my fans, judge me by my acting.”

“Shut up boy! You know what the fucking problem is with you and your generation? You couldn’t write a decent play for shit. You can act out and re-invent my plays all you want, but I’m sorry sunshine, setting it in fucking Bosnia again isn’t gonna to do the bloody trick.”

“I’m not sure what to say, sir.”

“Yes, it’s not your fault, I know, I know…” He pauses and calms down from his rage, then continues: “So tell me, Mr Cumberbatch, why are you up here anyway?”

“I got this certificate, wait…” He pulls out a piece of parchment and reads out: “‘A place in heaven for Benedict Cumberbatch for giving humanity the greatest TV series ever.’”

“The greatest what? TV series? What on earth is that supposed to be?”

“It’s the future, sir, and it does the bloody trick.” 

Review: Hippolytus

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Euripides’ Hippolytus is the story of Phaedra’s unrequited love for her stepson Hippolytus, his own hubris, and the tragedy that befalls their house as a result; it is the story of two goddesses, Artemis and Aphrodite, and the terrible human cost of their conflict. The backdrop of the feud between the two godesses is Hippolytus’ refusal to honour Aphrodite, as he delights in chastity.

Katherine Hong’s production transposes Athens into an Oriel quad, but is put on in the original Greek; a bold effort that makes for an interesting and unique viewing experience. The play opens with Aphrodite (Mia Smith) behind the billows of a jauntily-placed and slightly superfluous smoke machine. This prologue sets out the tragedy to unfold in full, and the slighted goddess’ power and vengefulness is well conveyed.

Even by the standards of Greek drama, which is always rooted in one location with most major events happening off stage, Hippolytus is an uneventful play. For the first half, there are no real climactic moments, as the stage is merely set for the ever-looming conclusion. All the same, early scenes between Phaedra (Chloe Cheung) and the Nurse (Jasmine White) play well upon the tension between the two and their ever shifting power dynamics.

The fragile, manic Phaedra and her hard headed Nurse each alternate from grief to calm and back again in strong performances as truths are revealed, misfortunes lamented, plans made and then dashed to pieces. The Chorus, too, makes an impressive contribution to the production. Often, in translations of Greek tragedy, the Chorus is left awkwardly hanging somewhere between traditional, rhythmic sing-song and a more naturalistic approach – as if this group is no different to the other characters of the
play. Staying true to the original Greek, however, Hippolytus’s Chorus embraces a stylised role, their lines delivered in perfect and echoing unison, their bodies contorted into haunting dance – all creating a powerful atmosphere in the choral odes.

Hippolytus (Spencer Klavan) is fluent with the Ancient Greek and lends a certain smugness and swagger to the character, giving him subtlety beyond his almost unbelievable levels of piety. As the play nears its tragic conclusion, the late arrival of Theseus (Dominique David-Vincent) is an emotionally powerful scene, charged with all the regal grandeur you would expect from such an iconic hero. In the same way, the obligatory messenger scene is lifted above the ordinary by the rising intensity of its live backing music (composed by John Young) and the activity of the Chorus on stage to complement the words of the herald himself (Joe Hill). The play ends as it began, with a goddess – this time Artemis (Lydia Kanari-Naish) – leaving the sufferings of its mortal characters under the shadow of the divine.

In the end, this Hippolytus succeeds most in its ambiguity: it is no easy task to pick out an innocent victim. Hippolytus himself may be technically blameless, but his holier-than-thou attitude wins him little sympathy; Phaedra may be destructively vindictive in her scorned love, but it is hard not to pity her surrounded by barrage after barrage of Euripidean misogyny. There is no moral to this story beyond the absolute insignificance of man next to the gods. Imperfect humans err to fulfil the whims of equally imperfect deities. This production may itself have some flaws. For example, there was a technical mishap, which left the English surtitles out of action for one of the most engaging scenes. It nevertheless boasts solid performances, an exceptional live soundtrack, well-honed choreography, and the original Greek cannot help but bring an archaic charm of its own.