Friday 4th July 2025
Blog Page 168

“Fast-paced, witty and painfully relatable”: Review of Immaculate

Lily Berrell
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“Fast-paced, witty and painfully relatable”: Review of Immaculate

The Devil, complete with a set of black wings, is sat at the end of the row having a chat with an audience member as we arrive for the opening night of Oliver Lansley’s ‘Immaculate’. The intimate space of the Michael Pilch Studio has been put to effective use – the set is a mixture of camp and satanic: a red crucifix carpet contrasts purple glittery curtains, and a dominatrix whip finds itself in Mia’s cosy living room. The perfect balance is struck between these elements over the rest of the play, which is both ridiculous and witty, light-hearted and serious.

The play portrays a modern-day Second Coming in which Mia (played by Letty Hosie) is chosen to carry God’s child. Mia hasn’t had sex in eleven months and her confusion is only heightened when she is visited by both the angel Gabriel (Isaac Wighton) and Lucifer (Leah Aspden) in quick succession, each of whom claims the baby to be their own. Meanwhile, the narcissism and toxicity of Mia’s relationships with her ex-boyfriend Michael (Cosimo Asvisio) and her best friend Rebecca (Millie Deere) feel painfully relatable. The performance is fast-paced, witty and its self-aware humour offers something different to Oxford’s usual student productions. 

Mia stands over the angel Gabriel in a dominatrix Virgin Mary dress (complete with crucifix stockings, a halo and leather whip) as he politely and awkwardly acts as God’s advocate, trying to explain that Mia is carrying God’s baby. Gabriel’s role as a messenger was carried out brilliantly by Issac Wighton. Wighton’s one-liners were the perfect mixture of critical and entertaining, with his character helpfully pointing out that, in reality, proof of the Second Coming ‘negates the whole faith thing’. The dynamic between the cast members was refreshing and natural, which only made Gabriel and Lucifer’s back-and-forth comments and their ABBA-style dance routine funnier. 

The decision to use academic gowns embroidered with glittery crucifixes was a great touch, as was Mia’s casual transition into her demonic-cum-holy dominatrix outfit, with socks protruding through her t-shirt in a lumpy baby-bump. Each of the characters was warmly received by the audience and many of the jokes resonated with each person in some way: an older couple sitting in front of us particularly enjoyed the jokes about motherhood, and the petty arguments between Mia and Michael, which more closely resembled a mother sparring with her spoilt child than a pair of ex-lovers. The breaking of the fourth wall with Michael’s ‘Unreliable Narrator’ t-shirt and the cast’s indication of a flashback in the second act, repeating ‘this is a flashback, that happened in the past’ as they rearranged the set, did not detract from the overall humour. 

Jo Rich’s performance as Gary Goodman, a cringe and self-obsessed ex-classmate, was particularly hilarious. His (impressive) dance moves began the second act with a bang and his jarring comments and hand gestures made me physically cringe (in the best way possible). Millie Deere also brought a new dynamic to the stage. Her whining and melodramatic speech created the perfect dynamic with Michael, and Cosimo Avirisio never missed the mark with the character’s thickness and stupidity.  

Mia’s informal relationship with the audience was at its best when she talked more seriously about her situation, reflecting on the way in which her body had been used by a higher power against her will. At the end of the play, she reminds herself of her ability to make her own choice, ultimately deciding that the possibility of having a child, whether it be God’s, Satan’s or Gary Goodman’s, perhaps isn’t so bad after all.

Katie Peachey and Darcey Williams (co-directors) should be credited with the excellent cast dynamics and attention to detail in the set and costumes. In the words of Garry (Gazza) Goodman, I would like to ‘Spread the word!’ about how impressive and well-executed this performance was and would also be interested to know where I can get a matching cushion featuring Meryl Streep as the Virgin Mary. 

Straight-Laced and Spirited: Do Oxford Students Really Have Less Fun?

Sophie Magalhaes
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Straight-Laced and Spirited: Do Oxford Students Really Have Less Fun?

When I brought my childhood friend from London to a Christ Church black-tie dinner, I was stressed. It was Michaelmas term of my first year, and I feared that we would be sitting in silence whilst catching glimpses of the academic conversation circulating around us – not ideal when you’ve brought your friend up for a good time. In my early days at Oxford, it frustrated me that the go-to small talk consisted of intellectual discussions. ‘Is anyone capable of talking about nothing?’ I frequently asked myself. I found the atmosphere intense and, for a second, feared I would never make true friends. This was far from the case. With time, we all find our people and grow comfortable in this unusual institution. We have plenty of fun – more than enough to distract us from the impending essay crises. 

Yet as I write this article I have two essay deadlines in less than 48 hours. I’ve felt isolated sitting in the library pouring over books. I’ve felt my youth wasted, my life slipping away. Fearing I may be too dramatic, I decided to release an anonymous survey to see how others felt about how the Oxford workload might hinder social connection. And as it turns out, I’m not alone.

I was surprised to find that everyone responded similarly, the overwhelming theme being that Oxford life can be very insular. One person wrote, “days can be isolating if you don’t make an effort to plan stuff.” Within college, we’re all on our own schedules. Many reported that dinner is often the only time they get to socialise on a busy day. On the other hand, the biggest positive is that there is “always something to do”. We are constantly looking for the next big event, whether it be the next BOP or famous Union speakers. 

Lately, it has proved difficult for me to feel grounded in the present. The social calendar is filling up quickly with approaching balls and garden plays (Trinity, we love you). That being said, I don’t have exams this year. I remember the anxiety that plagued me last year as I remained shut inside stressing over my prelims portfolio, while the more organised sunbathed and floated around on punts in true Brideshead fashion. Many reported experiencing overwhelming FOMO due to the sheer amount of activities available at Oxford. We always feel like we should be doing something. Relaxation is a guilty pleasure.

The reactions to Oxford traditions were particularly divisive. Some responded that traditions like college families and weekly formals are unifying aspects of college life and can help you slot in easily. Others wrote that they can be isolating. Without the perfect college family or a friend to turn up to trash you, these traditions make you feel like you are missing out. To some, traditions are “cult-y and frivolous”. They provide sanctioned silly fun, and being silly with your friends is, in my experience, the best bonding experience out there. 

The academic structure of our degrees is another double-edged sword. If you’re lucky to have close friends within your college subject group then tutorials and lectures are opportunities for inside jokes and solidarity through stressful experiences. If your friends do different subjects, lectures might become solitary rituals that include having to strike up awkward conversation with people you barely know. One respondee shared that the Oxford academic structure on the whole strengthens your social skills, whether or not you are friends with those who do your subject. We are forced to engage in tutorial conversations on a weekly basis, we work closely with others, and we have to at least appear outgoing to be productive. I speak for everyone I know when I say that we are more comfortable (and keen) to strike up conversations with strangers now than we were before starting university. 

On the whole, the survey responses were relatable and refreshing. They affirmed that there is no single Oxford experience, despite the overwhelming subliminal messaging we receive as to what sort of friends we ought to have or what events we should be going to. Friends are friends, fun is fun. And there is plenty of fun to be had.

UK’s first professor of LGBTQ+ history appointed at Mansfield College

Jack Twyman
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UK’s first professor of LGBTQ+ history appointed at Mansfield College

The UK’s first professor of LGBTQ+ history has been appointed by Mansfield College. Renowned historian, Professor Matt Cook, will become the first Jonathan Cooper Chair of the History of Sexualities. 

This appointment was made possible by a £4.9 million gift to Mansfield College from Arcadia. It is the UK’s first permanently endowed Professorship in LGBTQ+ History and will be in association with the Faculty of History at the University. 

Both parties are seeking to build on the donation to attract further philanthropic support to facilitate the creation of a new Research Cluster in LGBTQ+ history at Oxford. This would  include graduate scholarships and a new Career Development Fellowship.

The aim of this project is to ensure that “recognising, recording, and understanding LGBTQ+ stories and lives becomes a central part of university history teaching and research, in Oxford and internationally.”

Professor Cook will take up his post in October after 18 years at Birkbeck College, University of London, where he led the Gender and Sexuality Studies MA programme, and directed the Raphael Samuel History Centre. 

Cook is a social and cultural historian with a strong interest in cross-disciplinary work and queer urban, public and community history. In 2017, Professor Cook co-authored the National Trust’s first LGBTQ guidebook, Prejudice and Pride. He has written extensively on queer urban life, the AIDS crisis and queer domesticity, and his most recent book, Queer Beyond London (2022), arose out of a collaborative project anchored in LGBTQ+ community and local history.

The Chair has been named in honour of the late Jonathan Cooper OBE, barrister and human rights campaigner, and a fierce advocate of LGBTQ+ rights, who passed away in 2021. In 2011 he established the Human Dignity Trust, a charity which aims to challenge laws that persecute LGBTQ+ people globally. 

Cooper was also involved in fighting the mistreatment of asylum seekers in Greece and worked with civil servants on the 1998 Human Rights Act. He was made OBE in 2007 for his services to human rights. Cooper was a prolific commentator on issues such as trans rights, conversion therapy and the rights of people living with HIV. 

Mansfield College Principal, Helen Mountfield KC, commenting on the announcement, said: 

“I know that Jonathan would have been so honoured and delighted to see his legacy commemorated by this Chair.”

Mountfield added that “Mansfield College is delighted to welcome Professor Matt Cook as the inaugural Jonathan Cooper Chair of the History of Sexualities. Matt will be a great fit in our proudly non-conformist college community which respects, protects and promotes a diverse range of voices and narratives.”

Rob Iliffe, History Faculty Board Chair, said the faculty is “thrilled” about the new Professorship. “Matt is an outstanding historian who has published a series of influential works on sexuality and gender in nineteenth- and twentieth-century Britain. Over the last two decades he has played a key role in making Birkbeck [College] a major centre for the study of queer history, and he will bring his unrivalled experience and energy to his post at Oxford.

“His presence will be a source of inspiration to students and colleagues alike, and it will enhance Oxford’s reputation as a leader in the field of LGBTQ history. The Faculty is very grateful to Arcadia, for their exceptional generosity in endowing a post that serves as a fitting tribute to the life and work of Jonathan Cooper.”

Commenting on his appointment, Professor Cook said: “It’s a huge honour to take up this new professorship in his name. I will be working hard to enhance our understanding of the LGBTQ past and to show how these histories matter now. I will be championing the strong, existing vein of queer historical work at Oxford and fostering debate with LGBTQ scholars, writers, and activists from around the world. 

“I’m tremendously excited to have this opportunity to help enlarge Oxford’s reputation for cutting edge work in this burgeoning field; I see it as a way of honouring and furthering Jonathan Cooper’s inspirational legacy.”

Barefoot Bakery — Cakes, bakes, and great values

Oliver Hall
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Barefoot Bakery — Cakes, bakes, and great values

Cakes, brownies, cruffins, pastries, croissants, Barefoot Bakery has just about everything that you could ask for from a café. What makes it even more special though is the ethos behind it and every single dish on offer. Fraser and his wife Emily started out as a market stall just under ten years ago and, ever since, locally sourced and high-quality ingredients have seen them become Oxford’s go-to place for cakes and bakes.

These days, Barefoot is spread across several locations. The main café is located on Walton Street and it is here that you’ll find all of the large slices of cakes and the widest selection of other options. Just a short walk away on North Parade, there’s the first bakery location where all the cakes are still made, as well as a smaller café with mini-cakes and brownies.

I sat down with Emily and Fraser in the Walton Street location to chat all things cakes and bakes, as well as, of course, sampling a selection of items. The pair explained first just how important locally sourced and high-quality ingredients are to them: with everything from eggs to butter, the business goes to great lengths to find the best products they can, just like Emily used to when she was baking for family and friends at home.

This focus on ingredients means that each and every cake tastes brilliantly strongly of its bases. We first saw this in the pumpkin and ginger slice: here, the ginger and vegetable flavours are complimented superbly by the cream cheese icing. That icing is a constant across all the other cakes too and really comes into its own when balancing sweeter options like the courgette and lime. So often, the sweetness of frosting is overpowering but at Barefoot the cake is given room to shine and is all the better for it.

Courgette and Lime Cake

The cakes on offer change with the seasons and by the day but an even wider selection can be found in ‘mini cake’ form on North Parade. These are great if you aren’t fancying a whole slice to yourself but are still in the mood for an indulgent treat. Perhaps the most unique thing about Barefoot is the high proportion of vegetable-based bakes. Emily described to me just how lengthy the testing progress can be with each and every cake tried and tested to perfection over the course of weeks and sometimes months before it reaches customers.

Even more indulgent are the cruffins. I’ve never seen these anywhere else but Emily makes the point that it is very hard to go wrong with croissant pastry, whatever form it’s in. Each one is more than generously filled with all manner of options from banoffee to chocolate ganache. Those were the two that I tried and although I’d recommend both, I do so with two provisos: prepare for a mess and maybe skip lunch first! These are a meal into of themselves and leave crumbs wherever they go…. The chocolate ganache followed on the theme of being rich rather than sweet and the banana dominated the banoffee.

Chocolate Cruffin

Brownies are most popular of all and, of course, are on offer in all manner of flavours. Plain and simple chocolate fudge was far from plain or simple and the centre managed to strike that perfect balance of being soft but still fudgy. I didn’t get a chance to try it but peanut butter stood out as an appealing alternative too.

Chocolate Fudge Brownie

Perhaps more than anything else, that pre-discussed focus on provenance, vegetable-based choices, and the fact that everything is made in house, leaves the bakery scope to provide more options for different dietary options than you will see almost anywhere else. Sticky-toffee apple cake is a gluten-free favourite but there are countless others too with vegan and dairy-free options across the board.

In terms of price-point, Barefoot makes no bones about the fact that their cakes aren’t cheap. That isn’t the point and in spite of recent inflation and energy bills, they have only raised their prices twice in their history. What you get is more than reasonably priced and worth what you pay. We still aren’t talking anything over £5.

As well as the cafés, Barefoot Bakery is renowned for its wholesale business. You can find everything from vegan almond croissants to brownies across the city and some, such as Peloton Espresso on Cowley Road, have even created special days to recognise their arrival. ‘Doughnut Thursday’ here was the first place I ever tried a Barefoot item and for a long time, I wasn’t even aware that they had a physical site! This has become a larger and larger aspect of the business and the bakery now hires multiple drivers alongside Fraser himself to deliver by bicycle and van.

Pumpkin and Ginger Cake

Whole cakes can be made to order too and this is available both online and in person with all manner of customisation options. A friend of mine recently did this and there is something that strikes me as extremely rewarding about going in, sampling a few options, and landing on the one you want. Aside from anything else, it’s a great excuse to eat cake (if you need one that is).

Barefoot hits the nail on the head in so many ways and speaks to me as yet another example of the values and care required to succeed in today’s market. Amid spiralling inflation across the board, reduced consumer spending, and the struggles of Brexit, the high street is seeing a boom in businesses focussed on ethically sourced and high-quality products. Barefoot falls firmly into that category and its continued success is richly deserved.

Captains Corner: OURFC

Jessica Cullen
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Captains Corner: OURFC

This week Cherwell spoke to the new women’s Blues captain for rugby union in Oxford, Sophie Shams.

When did you start playing rugby?

I started playing rugby when I was four – my mum used to play so she got all my siblings and me into it.  I played with the boy’s team until about under 13 when I had to get a special dispensation to keep playing with them. I grew up in Dubai where there wasn’t much women’s rugby, let alone girl’s rugby, so I went into playing women’s and I trained with people that my mum played with. That was really fun. Towards the end of my years in Dubai, we really started getting girls rugby up and going and that was amazing to watch and be a part of. I then came to the UK for my undergrad and played for Durham University, played county-level rugby, played club premiership rugby, and also played some international rugby. 

What made you want to get involved with rugby at Oxford?

Well, as I am a postgrad, I’m old, and I know that I need a group of people around me. Rugby clubs are quite good at giving you a sisterhood and a family that you can be around. The Varsity was a big enticer for me and it really drew me towards Oxford because I thought if I’m gonna study I might as well go somewhere that has a rugby scene. I’m really happy that I did because so many of the people that I spend time with are from rugby.

In your opinion, what makes rugby the best sport?

After a long day of sitting at a desk, getting frustrated that your code isn’t working, the best thing is running around on a pitch with your friends where you can just tackle, make your mark, let some frustration out, and just have some fun. With rugby, it’s just so inclusive, like any shape, any size, anyone can play, and you just meet so many different people.

What position do you play?

This season I played 12 – inside centre. I’m a bank, which means that I distribute the ball and pass it to forwards who usually crash it up as a 12. I also carry it forward and I’m quite a strong ball carrier. But I just like to make people look good, especially the fast ones.

How did this past season go for you?

I think it went better than everyone expected. We got new coaches in and the past Captain, Lauren, did such a great job in all of our success. So it’s quite a big task to fill those boots. We won the most games that we ever had since 2011, and that’s the earliest record we have, so it might have been the best season that we’ve ever had. It was the first time that we’ve won varsity at Twickenham since 2016, and we had such a great scoreline compared to all the other years. It was such a huge margin that it really put down our mark and stated we are Oxford Rugby and this is what we can do.

What is playing a varsity game like – is it exciting, nerve-racking or is it the same mentality as every other game?

I wanted it to be like every other game, but the fact that we spent so long preparing for it, by the time it came around, I just wanted it to be over. I was like I just want to play this game, get it done, and stop stressing about it. I think everyone was nervous, and I tried to not focus on it. Sometimes like in the first half, we got caught sleeping but in the second half, we really showed off.

What has been the biggest setback and success for your team this year? Is there something you want to continue as a captain or something that you would want to change?

We are lucky this year in that we don’t have many players that are graduating. With all university sports, the turnover is so high and you’re always recruiting, always training people to be the best they can be for their time at university. But when a good core of the team stays that means we already have a foundation that we can build upon. This season we can really focus on growing the new blues, and the new generation of OURFC. I think a new mindset which I’m quite excited to implement is that competition mindset, and working hard every week to start the game wearing that playing shirt. I want people to want to be starting this week, and to encourage a  drive for people to improve.

How does it feel to be named as captain for this season?

It feels amazing to be awarded the captaincy. I have a few ideas on how to pull in parts from my premiership, from my international experiences and just being with teams and with different groups of people, using things that I like, and avoiding what I don’t. And it’s not just rugby; there are things I want to introduce from touch and rowing things that will ensure a bit more team cohesion. I feel that a lot of the players respect me and they come to me, and in turn, I respect and look up to them just in general for things. I’m always learning from them, which is rewarding. I’ve got quite a good relationship with the coaches and I feel that I can bring us all together.

What’s your best sporting moment?

The first time I played at Twickenham. I was at the BUCS final for Durham University, which is where I did my undergrad. It was my second game at fullback, which is the player that’s left and very back and the last line of defence who catches the high balls. I caught the ball just outside the 50-meter 60-meter line and I looked up and pulled across the middle of the field. Then I just weaved through everyone and did a step at the end where the girl fell over, and scored. There’s a photo of that that shows my reaction and it’s made me into a poster girl but I think that was just such an amazing moment because I wasn’t focused on what everyone else was thinking I was just focused on playing rugby and enjoying it. That’s when I really felt the spirit of rugby just take over me.

What was your most embarrassing moment?

Oh, probably just before that happened. I dropped the ball just off the highway. Best and Worst at the same time. 

What would you say was your worst defeat with Oxford?

Cardiff away this season. The whole day just did not work out. The bus was late so we were rushed into the changing rooms, we weren’t set up for the game, we had a weird warm up and everyone was just stressing out a lot. We had some really big injuries in that game but we really gave it all we could. Even though we did lose, we learnt a lot. But oh my goodness, any player that you ask will say that game was tragic.

And your best victory?

Probably varsity. It is the highlight of our season, but also I don’t want it to overshadow all of our success in other games. We went from the bottom of the league all the way to the top two. That’s the highest we’ve been in a BUCS table and I think that’s also a victory in itself. I found that we’re not a one-match performing team – our success has been shown throughout the season, which I’m really happy about. 

Where can we watch you guys play?

Get down to the Iffley rugby club, matches are free to attend. If you want to know where we’ll be or what teams will be playing just search up a @ourfc_blues on Instagram.

Image Credit:[Sophie Shams] Oxford University Rugby Football Club

Oxford joins partnership to explore a new method for creating fusion power

Jakub Trybull
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Oxford joins partnership to explore a new method for creating fusion power

The University of Oxford has joined Imperial College London and the University of York in a £12 million industry partnership to explore a new method for creating fusion power.


The project, funded by First Light Fusion, a company behind the new approach, and UK Research and Innovation’s Prosperity Partnership scheme, will see researchers from the three universities work together to develop a new type of fusion reactor.


Fusion power is a promising source of clean, safe, and abundant energy. However, it has been difficult to achieve fusion reactions that produce more energy than they consume.


First Light Fusion’s approach to fusion is based on using high-power lasers to compress small pellets of hydrogen to the point where they fuse. The company believes that this approach could be more efficient and cost-effective than traditional fusion methods.


The Oxford team will contribute expertise in areas such as materials science, computational modeling, and experimental physics. The team will also work to develop new methods for measuring the performance of fusion reactions.


“This partnership brings together the expertise needed to address this grand challenge,” said Dr. Nick Hawker, Engineering Science alumni and co-founder and CEO of First Light Fusion. “We are excited to work with the world-class researchers at Oxford and York to develop a new type of fusion reactor that could one day provide clean, safe, and abundant energy for the world.”


The project is expected to last for three years. If successful, it could lead to the development of a new generation of fusion reactors that could be deployed to generate electricity on a commercial scale.


The project is one of a number of initiatives that are underway in the UK to develop fusion power. In 2022, the UK government announced a £222 million investment in fusion research and development. This investment is part of the government’s commitment to making the UK a global leader in fusion power.


The development of fusion power has the potential to revolutionize the global energy landscape. Fusion could help to reduce our reliance on fossil fuels, especially in light of the Ukraine war which saw a blockade on Russian gas raising household energy prices in Europe. If successful, this could be a major step towards making fusion power a reality.

Famous Lewis Carroll boat ride re-created

Martha Smith
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Famous Lewis Carroll boat ride re-created

The famous boat ride on which Lewis Carroll is said to have first shared the story of Alice’s Adventures in Wonderland was re-created this past week. Multiple cruises took place with participants including the Lord Mayor of Oxford, Lubna Arshad; broadcaster, Gyles Brandreth; members of the official Lewis Carroll society; and two of Lewis Carroll’s great great great nieces.  

The day started at 12 noon as the passengers met at Folly Bridge, followed by two hours of sight-seeing along the Thames. To finish the day of festivities the Lewis Carroll Society installed the first Lewis Carroll plaque in Oxford. The plaque reads “on the 4th July 1862 Charles Lutwidge Dodgson [Lewis Carroll] first told the story of Alice’s Adventures in Wonderland on a boat trip that began near here [near Folly Bridge]”. 

Carroll’s inspiration for the story is said to have come from his time working as a mathematics professor at Christ Church college. This is where he met the daughter of fellow professor, Alic Liddell. Liddell would go on to inspire Carroll’s own Alice. Carroll along with Reverend Robinson Duckworth and the three young Liddell sisters went out on what was described by Carol in a poem in the preface of the novel  as the “golden afternoon” on which he first told Alice’s tale. 

The boat ride was intended to honour this “golden afternoon”. Oxford River Cruises offer the ‘Golden Afternoon’ Tea River Cruise package upon request. The afternoon tea remains on theme with treats decorated with ‘eat me’ labels like the ones Alice encounters in Wonderland. The cruise is said to trace the very journey which Carroll, Duckworth and the Liddell girls took.  

The impetus and organisation of the commemorative trip came primarily from the Lewis Carroll Society. A society of volunteers founded in 1969 which, according to their website, is committed to “encouraging research into the life and works of Lewis Carroll (Charles Lutwidge Dodgson)”.   

Vanessa Tait, great-granddaughter of Alice Liddell, took to Twitter, writing, “amazing that Lewis Carroll has not been commemorated with a plaque before in Oxford. Here I am with [Gyles Brandreth], the Lord Mayor and relatives of LC himself” 

Brandreth also expressed his excitement on Twitter: “I had lunch with the great-granddaughter of the original Alice in Wonderland and the great-great-niece of Lewis Carroll… I know how lucky I am!”

The F1 cartel: do the Big Three have too much power in Formula 1?

Jacob Reid
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The F1 cartel: do the Big Three have too much power in Formula 1?

CW: strong language

Last year, Mercedes Formula 1 team boss Toto Wolff wanted a rule change to stop drivers’ backs hurting from high-speed bouncing. But Christian Horner, his Red Bull counterpart, told him, “If you’ve got a problem, change your fucking car then.” Without his consent, the rules did not change. 

F1 is a cartel, which is bad for smaller teams and fans, as it makes the racing less competitive and more predictable. Not only have the Big Three teams – Red Bull, Mercedes and Ferrari – won 198 of the 201 races in the last 10 seasons, but they control what happens off the track as well. They have the power to veto the both decadal Concorde Agreement, which sets the terms of competition between teams and F1 management, and the entry of new teams (who must then pay a $200 million entry fee). Some rule changes only need five of 10 to consent, but smaller teams often “vote against their own interests to satisfy the agenda of their A team,” according to Zak Brown, CEO of McLaren, a mid-ranking team. Red Bull, for example, owns the AlphaTauri team (previously named Toro Rosso, Italian for “Red Bull”); Mercedes provides engines to three competitors. “To protect their own competitive advantage, [the Big Three] are effectively holding the sport hostage from what’s best for the fans and therefore the sport at large,” Mr Brown argues. 

The Big Three’s power has been especially evident lately. Ferrari opposed introducing more sprint races, a new format that adds excitement to race weekends. Red Bull resisted harsher, sporting penalties for exceeding the budget cap, a limit on how much teams can spend each season (which they then exceeded). Now, Mercedes is blocking Andretti Motorsport’s bid to enter F1. They would improve the competition (Andretti is successful in the American IndyCar series), give young drivers more opportunities (with only 20 spaces, talented youngsters often miss out) and increase the sport’s American appeal (where it has long struggled). Yet Mr Wolff claims they might not “bring in more money than it’s actually costing”.

Sauber and Force India, two smaller teams, formally complained to the EU in 2015, describing the sport’s division of revenues and rule-creation as “unfair and unlawful”. But they withdrew the complaint after it made little progress. Contrastingly, Britain’s government promised to “put everything on the table” – including competition law – to stop the footballing European Super League proposed last summer. Regulators seem disinterested in people who they think simply drive around in circles.

Nevertheless, F1 has tried to reform itself. Ferrari no longer gets $100 million for simply showing up. And persuading the Big Three to accept a cost cap – cutting their budgets by two-thirds – was a coup by Liberty Media, the sport’s new owners. But they should go further. Secret ballots would free smaller teams to vote against their technical partners; such collaboration could be outlawed entirely, perhaps in favour of standardised components like engines.

However, people rarely replace the system that brought them to power. If smaller teams want to win, changing the sport’s governance will be slow going. As Mr Horner taunted, they will just have to improve their cars.

Image Credits: RickDikeman //CC BY-SA 3.0 via Wikimedia Commons

“Heartwarming, enjoyable, and refreshingly different”: A Review of Sisyphus House

Katie Peachey
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“Heartwarming, enjoyable, and refreshingly different”: A Review of Sisyphus House

‘Sisyphus House’ is an original rom-com by students Abbie Nott and Megan Bruton. The show intersperses scenes following two different relationships (which take place in the same house); one set in the Tudor times between two noblemen, and the other in 2023 between a university student and a young council employee. In both eras, the would-be romantic interest attempts to make a claim on the house (for ownership in the Tudor era, and to seize it for the council in the modern day), which is emphatically opposed by the respective protagonists. Predictably trope-y? Yes. But this is fair enough given the writers made it clear the story should emulate YA fiction: and it certainly did so. 

The charm of the production was in the idea that the titular house had been witness to all sorts of burgeoning relationships throughout its tenure, and this was sweetly conveyed through Nott and Bruton’s writing. Particularly impressive was the dialogue between Arthur (Joshua Gray) and Francis (Alex Bridges), which felt very period-appropriate. Rowena Sears’ costumes for the two tudor leads were delightful, yet the all-black (and very modern) costumes of the ensemble were slightly jarring at times. Eliana Kwok’s set design was minimal but effective, with the entire story set around a table in a particular room of the house. At times I was left wondering if the tube of pringles were intentionally left on stage during a scene between two tudor nobles, but I suppose this added to the ‘time-bending’ nature of the production. 

Special mention must go to Carys Howell, whose performance as Kit injected a livening burst of energy into the show. Howell’s performance was believable and comedically well-timed, providing harmony to Kate Harkness’ Robin. Another particularly enjoyable performance came from Phoebe Winter, whose occasional asides as Francis’ absentee (and adulteress) wife were funny and well-choreographed. This was another instance of good staging from directors Jake Dann and Matilda Kennedy. 

The overall aesthetic of the show was pleasing to the eye, no doubt thanks to the lighting design from Rei Ota, which helped mark a shift between the Tudor era and the modern day (though it would probably be hard to miss given the costumes worn by Gray and Bridges).  Equally enjoyable was the sound design from Teia Currimbhoy- while the scene depicting a party in Sisyphus House was mildly awkward, I was pleasantly surprised to find it was underscored by a song by The Strokes. 

The ‘rom’ element of the rom-com was, at times, left to be desired. The script relied on inference rather than physical or verbal confirmation that either of the couples were actually together, and while an audience should not have to be spoon fed plot-lines, I think more could have been made of the relationships between the respective couples. Robin and Ben, for instance, in 2023, spoke about being ‘friends’ at the very end of the play, which was puzzling. Equally, the chemistry between Gray and Bridges as potential secret lovers was mostly lacking. 

Despite this, though, the show was heartwarming and enjoyable, and the cast and crew should feel proud. It was a refreshingly different production, in terms of both writing and staging, and a very pleasant experience. 

“A successful exploration of the play’s tension and comedy”: A review of Macbeth.

Kian Moghaddas
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“A successful exploration of the play’s tension and comedy”: A review of Macbeth.

The Pilch is a dark and gloomy place. One day I went in there at 9am, and when I came out at midday it was like seeing daylight for the first time. It’s an appropriate place for a heavy tragedy about murder and betrayal. The world of Macbeth is effectively constructed by letting the bare darkness of the Pilch do the heavy lifting, augmented by the powerful lighting and sound, both of which remained interesting and effective throughout.

This was a production of Macbeth that brought out the tension and the humour. As Macbeth (Leah Aspden) returned from the murder, the audience listened in stunned silence at the horror of his immediate regret. When Lady Macbeth (Juliette Imbert) urged him to return the daggers to the scene, I felt a sudden and ill-timed urge to sneeze, but I couldn’t ruin this moment. “I’ll go no more: I am afraid to think what I have done,” I heard in one ear from Macbeth. And from myself in the other: “Don’t sneeze, Kian. For God’s sake, don’t sneeze.”

But it was also funny. The comedy of Macbeth was, to put it one way, taken seriously. The porter (Oliver Tanner) gave an admirable performance, and the audience loved it. “I pray you, remember the porter”, I was warned, and don’t worry: I have. I also remember Macbeth raising laughs throughout the play in unexpected but appropriate places. Then there was the less appropriate laughter, perhaps, in response to Malcolm (Ethan Bareham) telling Macduff (Hetta Johnson) that ‘there’s no bottom, none, in my voluptuousness’, which had many of us chuckling away, me included, I confess, even by the word ‘bottom’.

In general I think the flaw of the production is that there was humour at some points where there shouldn’t have been. No one should be laughing when Malcolm discovers that his father has been murdered. If that is happening, the tone of the scene needs to change. I don’t mind the ‘very bare stage’ (which is in fact a completely bare stage), I don’t mind the odd email notification going off (you can never escape Oxford, eh?), but laughter at points of pathos ruins them, and that I do mind.

Andrew Raynes’ production of Macbeth is a successful exploration of the play’s tension and comedy, and the cast and crew should be congratulated on bringing that out. The production succeeds in creating the world of Macbeth, and is blessed with some very talented actors which help bring it to life (and I apologise to those whom this review does not mention). It is punctuated by the odd blip, where the comedy seems to go too far, but it is overall a play well made, and a job well done.

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