Wednesday 29th April 2026
Blog Page 1802

Masters at Work

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What came first, the teaching or the writing?
I used to write when I was very young, a student, but I never had anything published. I have been teaching for years but I only really started writing plays seven or eight years ago.
How do you juggle your time?
Writing is a hobby; I do it in my spare time and so it is the first thing to give. If you don’t really have an idea then you just don’t write anything.
How does your work as Director of Computing Services fit in with your English teaching?
My PhD is in English and I have always kept teaching English. I wanted to do that because a lot of the work I do or used to do with the Computing Services was to show how to use computers to teach. I used to write things for the web to help people understand literature. 
Is your inspiration for your plays rooted in your research?
I would say it starts with an idea and then I might do some research around it. The first play that I wrote [The Ghosts May Laugh] was set during the First World War and that came out of a lot of work I was doing on the War Poets. With other things you might just read something and find an interesting or curious idea. You never know where it’s going to come from.
Have you ever written anything other than plays?
I’ve never tried poetry. Well, I’ve tried it, but being a critic of poetry is a lot easier than writing it. I’ve written short stories in the past but I never really did anything with them. I like plays because you concentrate on the dialogue and don’t need to worry about the prose surrounding it. There is a level of control with that which is quite fun.
Tell us more about your political play Quiz Night at the Britannia, set in a pub facing closure.
I was in the States for three months in MIT and I was bored, so I wrote the play. At the time I was sick to death of Blair and all that was going on with spin-doctors. I didn’t do anything with it for years until a director called me, suggesting we put it on in a pub at the Fringe where we wouldn’t need to build a set. I thought I’d better look at it again as it was 7 years old and there’s a new government, but actually I hardly had to change anything. That was great fun and it sold out. In fact they’re talking about touring pubs in Oxford with it now.
Are you working on anything at the moment?
I’ve been playing around with a radio dramatization of a story by Tolkien but I’m not sure it  will go anywhere due to issues of rights and so on. I’ve got another play for which I’ve written just a few lines of dialogue. I tend to sit down, think of a funny few lines and write them, and then I start to piece them all together.

What came first, the teaching or the writing?

I used to write when I was very young, a student, but I never had anything published. I have been teaching for years but I only really started writing plays seven or eight years ago.

How do you juggle your time?

Writing is a hobby; I do it in my spare time and so it is the first thing to give. If you don’t really have an idea then you just don’t write anything.

How does your work as Director of Computing Services fit in with your English teaching?

My PhD is in English and I have always kept teaching English. I wanted to do that because a lot of the work I do or used to do with the Computing Services was to show how to use computers to teach. I used to write things for the web to help people understand literature. 

Is your inspiration for your plays rooted in your research?

I would say it starts with an idea and then I might do some research around it. The first play that I wrote [The Ghosts May Laugh] was set during the First World War and that came out of a lot of work I was doing on the War Poets. With other things you might just read something and find an interesting or curious idea. You never know where it’s going to come from.

Have you ever written anything other than plays?

I’ve never tried poetry. Well, I’ve tried it, but being a critic of poetry is a lot easier than writing it. I’ve written short stories in the past but I never really did anything with them. I like plays because you concentrate on the dialogue and don’t need to worry about the prose surrounding it. There is a level of control with that which is quite fun.

Tell us more about your political play Quiz Night at the Britannia, set in a pub facing closure.

I was in the States for three months in MIT and I was bored, so I wrote the play. At the time I was sick to death of Blair and all that was going on with spin-doctors. I didn’t do anything with it for years until a director called me, suggesting we put it on in a pub at the Fringe where we wouldn’t need to build a set. I thought I’d better look at it again as it was 7 years old and there’s a new government, but actually I hardly had to change anything. That was great fun and it sold out. In fact they’re talking about touring pubs in Oxford with it now.

Are you working on anything at the moment?

I’ve been playing around with a radio dramatization of a story by Tolkien but I’m not sure it  will go anywhere due to issues of rights and so on. I’ve got another play for which I’ve written just a few lines of dialogue. I tend to sit down, think of a funny few lines and write them, and then I start to piece them all together.

Eyes On The Prize

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Can Santos successfully defend the trophy? How will Corinthians respond to last year’s shock early exit? Are Internacional capable of a repeat of 2010’s success? Will Flamengo CF put their off-field problems behind them? Can Vasco da Gama make the step up from the Copa Sudamericana? Are Fluminense genuine contenders?

 

Corinthians

Manager: Tite

Key Player: Liédson 

Last Season: First Round

South America’s equivalent of Chelsea and the UEFA Champions League. Despite numerous attempts, strong financial backing and an almost obsessive fascination with the competition, the 2011 Campeonato Brasileiro Série A Champions are yet to win the trophy that has eluded them for such a long time. They will go into this year’s tournament intent on avenging their shock preliminary round exit to Colombian minnows Deportes Tolima last year. Timão have a strong spine running throughout the team in the form of goalkeeper Júlio César, defender Paulo André, midfielder Paulinho and striker Liédson. Tite has established a solid if not spectacular team and their success will, in part, rely on the creativity of attacking midfielder Alex.

 

Flamengo CF 

Manager: Joel Santana

Key Player: Vágner Love

Last Season: Did Not Qualify

Off the field politics will determine how far Rubro-Negro progress in this year’s tournament. After a 10-match winless run that derailed last season’s title bid combined with divisions within the camp, former South African manager Joel Santana was brought in to replace Vanderlei Luxemburgo. Whilst his emphasis will be putting defence first he’ll be hoping that Ronaldinho Gaúcho can capture the form that he showed in the first few months following his return to Brazil last year. Much expectation will be heaped on the shoulders of the January Transfer Window signing from CSKA Moscow Vágner Love, to supply the goals for a team that possesses a good deal of attacking quality.

 

Fluminense

Manager: Abel Braga

Key Player: Wellington Nem

Last Season: Round of 16

The Rio-based team last reached the final in 2008, losing out to Ecuador’s LDU Quito. Led by experienced manager Abel Braga, who won the Copa Libertadores in 2006 with Internacional, Tricolor’s chances of progressing far in this tournament will depend heavily on the form of their strikers Rafael Sóbis and, in particular, Fred. The former has impressed during his loan spell from the United Arab Emirates side Al Jazira, whilst the latter has been a constant source of goals since his move from Olympique Lyonnais in 2009. The two are well supported in attack by the vastly experienced Deco, the recently signed Thiago Neves and the talented left-footed attacking midfielder Wellington Nem.

 

Internacional

Manager: Dorival Júnior

Key Player: Leandro Damião

Last Season: Round of 16

Colorado’s scintillating attacking firepower, spearheaded by the highly-coveted 22-year-old striker Leandro Damião and supported by the influential Argentine quartet of captain Andrés D’Alessandro, who recently turned down a lucrative move to join Nicolas Anelka at Chinese side Shanghai Shenhua, recent arrival Jesus Dátolo from Espanyol, a previous winner of the competition with Boca Juniors in 2007, Mario Bolatti and Pablo Guiñazú, should more than make up for the sides defensive frailties. If Inter can keep their attacking options fit then there’s no reason why the Porto Alegre-based team can’t progress to the latter stages of the competition and maybe even win the famous trophy for the second time in as many years.

 

Santos

Manager: Muricy Ramalho

Key Player: Neymar

Last Season: Champions

Having overcome Uruguay’s Peñarol to win the competition last year and thus ending their 49 year drought, Peixe will be eagerly looking to repeat their success of twelve months ago. Whilst they look short in defence following the departure of defenders Alex Sandro and Danilo to FC Porto, their main strength lies in the midfield and striking departments. With midfielders Elano and Arouca shielding the defence, creative licence will be given to their No.10 Paulo Henrique Ganso who’s struggling to capture the form that caught the attention of the footballing world in 2010. Striker Borges will look to carry on from his sensational form in 2011 whilst Neymar will again be the team’s pivotal figure.

 

Vasco da Gama

Manager: Cristóvão Borges

Key Player: Dedé

Last Season: Did Not Qualify

Winners of the Copa do Brasil, semi-finalists in the Copa Sudamericana and runners-up in the Campeonato Brasileiro Série AGigante da Colina enjoyed a terrific 2011. Can they continue their success into 2012? Led from the back by the highly-rated centre-back Dedé who was influential in the team maintaining the best defensive records in Brazil, Borges’s team are notoriously hard to break down. Much of their creativity will rely on Juninho Pernambucano but questions remain as to whether he can maintain his fitness throughout the tournament. And whilst another cause for concern is that of the lack of depth in the squad, the team’s persistency and experience could well be priceless.

 

Twitter: @aleksklosok

And the Oscar goes to…?

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It’s that time again. I know we’ve had the Golden Globes and the BAFTAs, but this one’s the big one. The 84th Academy Awards, jam-packed with gushing acceptance speeches, dazzling smiles and floor sweeping dresses beamed to you all the way from the shiny bright Kodak Theatre, the venue of choice for the Hollywood elite.

2010 was The Hurt Locker versus Avatar, 2011 The King’s Speech versus The Social Network and this year? Actually it’s been blown wide open. Silent movie The Artist is an obvious favourite with the ‘novelty factor’ bringing back the good old days. This film’s ten nominations include Jean Dujardin for best actor, Berenice Bejo for actress in a supporting role and this movie is also in contention for the much coveted best picture award. However, it’s not going to be easy. For a start the Actor In a Leading Role category is crammed with the likes of George Clooney for his highly emotive performance in The Descendants, Brad Pitt’s in there for his portrayal of Oakland A Manager ‘Billy Beane’ in Moneyball (an actual decent sports movie!) and not forgetting the nod to Gary Oldman for British film Tinker Tailor Soldier Spy, the adaptation of John Le Carre’s  1974 spy novel. So that category’s anyone’s guess.

Perhaps most interesting is the 11 nominations for Scorsese’s 3D fantasy Hugo. For those of you who haven’t seen this astounding piece of cinematography, its set in 1930s Paris and tells the remarkable story of an orphaned boy who goes on a quest to discover the secret held by a broken automaton. Not convinced? Believe me this is the one to watch.

Then there’s the Actress In a Leading Role category. For the ladies it’s been the year of the biopic with Michelle Williams nominated for her incarnation of Marilyn Monroe and Meryl Streep taking on the role of the mighty Margaret Thatcher. A nod also goes to Viola Davis who plays maid Aibileen Clark in The Help, a film set in Civil Rights era America managing to balance just the right amount of comedy and weighty drama. I think we all know that Meryl’s got it sewn up for The Iron Lady, but with relative newcomer Rooney Mara in there for her turn as feisty oddball Lisbeth Salander in The Girl with the Dragon Tattoo you never know what might happen.

And the most important one? The Best Picture category contains an abundance of drama with the epic War Horse, 3D Hugo and black and white movie The Artist going head to head. The Help with its watchability factor and the heart-wrenching tale of The Descendants are fair contenders. It seems the winner of the category could be any of the above, however, Extremely Loud and Incredibly Close is a film slipped in amidst the box office smashes. This film starring Oscar royalty Sandra Bullock and Tom Hanks features first-time actor Oskar Schell as an eleven-year old New Yorker left a key by his father after 9/11. His search across the city unfolds into an extraordinary tale of discovery. It’s not released in the UK until February 17th but with its great cast, serious storyline and a hero to root for, this could be the dark horse of the Academy Awards.

Predictions made, all will be revealed on February 26th. I know I’ll be there…

Decades in Film: the 60s

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I re-watched The Graduate over New Years Eve, as a sort of ‘celebration’—not exactly a party (I was alone, sprawled on my bed in my parents house). But there was the requisite alcohol, and, besides, it wasn’t mods revision.  

Perhaps because of the circumstances, the opening sequence struck me as a sort of devastating epiphany, in a way it had not in my first, 12-year-old viewing. Benjamin Braddock—arriving in the Los Angeles airport, after graduating from an un-specified college ‘back east’—was, in some sense, me. There was the superficial similarity—I’d also flown back home (in my case, from Oxford to New York). But the mechanical voiceover (‘Ladies and gentleman…’), Benjamin’s blank, vaguely bewildered, face against the greyish-white walls, and, of course, Simon and Garfunkel’s haunting, unforgettable ‘Sounds of Silence’, captured something I’d felt, but couldn’t quite express: a crushing combination of apathy and alienation, a sense of being somehow dislocated in a place I knew all too well. 

Then comes the graduation-party, with its culmination, in a piece of advice from one of Benjamin’s parent’s friends: ‘plastics.’ It’s a hilarious, one-word, skewering of the middle class notions of success, dangled before a disaffected, yet directionless, Benjamin. In my stressed-out state, this also rang ridiculously true. Despite the fact that my degree is hardly career-oriented, wasn’t I, after all, studying so hard, so I could be what someone else vapidly calls Benjamin, ‘our award-winning scholar’? Yet again, The Graduate just got it. 

At the same time, The Graduate is a very 60s take on the disenchantment of privileged post-adolescents. While, unlike Easy Rider—the other iconic film of the period—there are no hippie communes or acid trips, The Graduate is deeply embedded in youth counterculture, with its critique of the status quo. Whether in the form of plastics, or (even more famously) Mrs. Robinson, the innocent, awkward Benjamin faces seduction by the older generation, portrayed as hollow and corrupt. But the affair grows stale and dissatisfying—as another apt Simon and Garfunkel track puts it, ‘a love once new has now grown old’—and Benjamin turns his attentions to her fresh-faced daughter, Elaine Robinson. The result will be more-or-less predictable to anyone familiar with movie romances, but perfectly evokes the thrill—and profound uncertainty—of the young characters’ brave new world.  

Africa’s Caesar: the paradox of Paul Kagame

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In 1994 Rwanda burst into the popular imagination of the world, seared by a genocide that was for most observers so terrible and incomprehensible it beggared belief. Yet despite its seismic impact, there has been little sustained interest in the complex figure who contributed so much to the genocide’s conclusion. Paul Kagame, the current President of Rwanda and leader of the RPF army which expelled the genocidal government in 1994, stands as a towering figure in Central Africa, yet debate over his place in history and direction of Rwanda today remains vitriolic among observers of Rwanda.

For some Kagame is a visionary leader and peace bringer. His remarkable “Rubicorn”, taking over a demoralised and defeated RPF army in 1990 and rebuilding it, isolated and alone, into a force that could defeat the French backed genocidal government of Habyarimana, remains a remarkable military feat. It arguably saved thousands of lives while the UN stood idle.

In the early years of his rule, many foreign commentators declared him a “Renaissance Leader”, one of a new generation of African governors who would end endemic problems of corruption and misrule. His reforms to the business environment of post-genocide Rwanda have been met with widespread approval, with Fortune magazine running an article entitled “Why CEOs love Rwanda”. His austere style, focus on domestic order and discipline have also won him a reputation as an impassive and tireless reformer. Yet for many Rwandans it has been Kagame’s ability to secure some measure of peace and security in the troubled state that is Kagame’s greatest achievement.

However, Kagame’s drive and discipline have a darker side. Amnesty International has reported extensively on widespread human rights violations by the security forces, particularly within the judicial system and against critical journalists.  Multiparty democracy within the country has largely failed. More accusations accuse Kagame of ruthless annihilation of opposition; including the murder of Seth Sendashonga, a prominent opposition figure, in 1998. All of these factors have prompted increased nervousness among Western observers. Surely their idol could not have feet of clay. Surely Kagame could not have fallen to the same curse as Caesar – the lure of ultimate power?

The most dangerous accusation for Kagame, however, has been a persistent claim from many within and without Rwanda that he favours his minority Tutsi ethnicity over the majority Hutu. The uninvestigated abuses and killing of Hutus by RPF soldiers within Rwanda and in the Democratic Republic of Congo remain a significant challenge to his reputation for upholding the rule of law. To some it appears there is one law for the Hutu and one for Kagame’s Tutsi.

Yet perhaps the most Caesaresque of Kagame’s traits is his boundless ambition. On Rwanda’s chance of achieving South Asian style growth within a generation he categorically stated, “We can and we want to. We are convinced – very very convinced. We want to do it and we will”.

Despite the monumental challenges that face Rwanda in every sphere, Kagame is driven by this desire to achieve the “impossible”. Even this ambition is tempered with a darker side. Kagame’s expeditions into the DRC from 1998 – 2003, and use of the concept of “Greater Rwanda”, a medieval kingdom incorporating parts of the DRC, have led to accusation that he longs for territorial expansion. It is difficult to assess the seriousness of these claims, yet it is certainly true that Kagame has not shied away from operations on Congolese soil where it might be in the interests of Rwandans.  

Who is this man Paul Kagame? Whatever the similarities, it would be the grossest simplification to simply dismiss him as a Caesar. He has boundless ambition, determination and discipline, yet these are coupled with a deeply ruthless streak. All of these are harnessed in his pursuit of a modern Rwanda, yet a Rwanda for whom? The Tutsi elite from which he hails, or all Rwandans, regardless of ethnicity?

Perhaps the best way to understand Kagame is through a quote, made on the 10th Anniversary of the genocide which shaped a nation. “We cannot turn the clock back nor can we undo the harm we caused but we have the power to determine the future and to ensure what happened never happens again.” Within this quote, we see the twin themes that have defined Kagame’s life; the genocide and a relentless drive for a Rwanda shaped in the image of his dream. Woe betide those who stand in his way.

It is too early to make a complete judgement on Kagame’s rule of Rwanda except to say this. It is tremendously difficult to understand or quantify the changes, complexities and tragedies the 1994 genocide has caused in modern Rwanda. Kagame, at tremendous human cost, has brought a measure of stability and governance to Rwanda, which, however temporary, has not be seen in several generations. Whether this is enough to secure his legacy and his dreams only time will tell.

David Hemery: The Extended Interview

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The 2011 Sports Personality of the Year award saw 400m hurdle World Champion Dai Greene limp home in ninth place, with a mere 2.64% of the vote. However, if he had won, he would slightly surprisingly not have been the first athlete to have taken the award for that event, for that accolade goes to David Hemery. 

David Hemery, now 67, won the award due to just under a minute’s worth of exertion. Having erupted from the blocks in the Olympic final in Mexico an unknown, he obliterated the opposition, winning by nearly a second as well as smashing the month-old World Record, to become a household name. The race itself is a thrilling watch, an exemplary example of the 400m hurdlers art, and is made all the more exciting by the voice of David Coleman of Private Eye’s ‘Colemanballs’ fame. In fact, according to Hemery, ‘David Coleman added the colour to the race. There was one projector at a school where the sound wasn’t working and the whole thing went flat, and I realised just how much is put into that race because of Coleman’s commentary.’ 

Hemery had crept in under the radar due to a slightly unusual upbringing. His father moved to the US when he was 12, and before his penultimate year of school he had hardly ever gone over a hurdle, the nearest thing being ‘running down the beach over breakwaters while growing up on the east coast.’ Having moved back to England for a few years after finishing school, working in a bank, he then moved back to America for university, enrolling at Boston University at the age of 20, in hindsight a huge advantage as ‘being older my body could take more’. There, he was lucky enough to work with the two coaches, Billy Smith and septuagenarian Fred Housden, who were to shape his future athletics career, as well as his sporting philosophy.

‘I am very much a ‘why’ person’, Hemery told me, ‘and with Fred I had a coach who fully explained the mechanics of hurdling and the methods behind his coaching technique.  Then, with Billy, he made sure I was involved in decision making – I think it’s very important to have a discussion as to what you think would be best for you, as well as what the coach does.’ This also inspired his interest in coaching, and following retirement he spent seven years coaching at Boston University, passing on what he had been taught, before returning to Britain in 1983.

With regards to the London Olympics, he is ‘inspired by having the games and hopes the athletes can respond to the pressure rather than be daunted by it; it’s a double-edged sword.’ His advice to any potential athlete would be to ‘aim to run a personal best at Games. You can’t guarantee that someone won’t run faster, or jump further, but you can aim to do the best you’ve ever done, and nothing more can be asked.’

In fact, in Mexico, despite being thousands of miles from home and the eyes of the nation, in Hemery’s words ‘I could not have put more pressure on myself. I had never been more terrified as I prepared, thinking ‘Could I put hundreds of hours of work into practice in the next 50 seconds?’ I had the intention to win, but I didn’t know if the time I was aiming for (incidentally, 48.4s, still well inside the then-World Record) was fast enough.’

Looking back  to the Olympics and the events he is most excited about, ‘obviously I’m looking forward to watching Dai Greene (heir to his throne as the world’s premier quarter-miler hurdler) , but in reality I am looking forward to ever British performance, from the intrigue of the distance runners to the multi-eventers, and I wish them well.’

Multi-eventing is a discipline close to his heart; he took up the decathlon during the year after his Olympic victory as ‘I wanted another challenge. I loved the varied training required for every event, and although I was not quite good enough at pole vaulting and throwing to reach international standard I gained huge enjoyment from the experience.’ It was during this time he undertook a PGCE here at Oxford University, setting the university 110m and 200m hurdles records, both of which still stand to this day.

David was elected the first ever president of UKA (the UK Athletics Association) in 1998, a post he held for two consecutive two-year terms. His experience of several high-profile drugs incidents, both internationally and nationally, has left him ‘100% supportive’ of the current BOA policy. ‘It’s a selection policy, they shouldn’t select someone who has intentionally taken drugs, as it takes a place away from someone who hasn’t. I believe in the appeals process, as it ensures only those who have intentionally cheated are affected while allowing those who make genuine mistake (he brings up the famous example of British skier Alain Baxter, stripped of his 2002 bronze medal due to the differences in American asthma medication ingredients) to be welcomed back.’

Asked for one piece of advice for a budding young student athlete, he told me ‘be really clear about goals and work hard towards them, but ensure that you’re enjoying the process. If I’d broken my leg right before the Olympics I’d have been really upset not to have been able to see if I could fulfil my potential, but I would not have regretted all the effort that had gone in, because the learning was huge and I know I developed as a person through the experience.’

He ended our discussion with an inspiring little anecdote: ‘At the end of my first year at university I ran a relay leg in 50.9 (or something like that) indoors, and as my personal best had been 53.8 and this was a massive improvement I told my coach ‘I don’t think I’ll ever run faster than that’, and my coach just walked away. And when I ran a 44.6 in Mexico (three years later) in the relay it made a mockery of my statement.’

If that doesn’t give hope to any aspiring young athlete, then I don’t know what will. London may be too soon, but as he’s proved throughout his long career, if you believe in your abilities and push yourself, there’s no limit to what you can achieve.

The toughest job in world sport

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There should be a support group – some kind of weekly talking-shop to discuss the trials and tribulations of lower league captaincy because it’s definitely the hardest job this town has to offer.

Sure, there’s more pressure in the Premier League or Division 1. Captaining Teddy Hall’s 1st XV means you’re never short of expectation from your college peers. But with that expectation comes hordes of over-keen players, practically beating down the selection door. Rarely will one have to contemplate turning up with twelve men and trying to work out whether to go with a six-man pack or no wings. As Worcester’s football skipper, you can be pretty sure that if you organise a training session people will come to it. As St. Anne’s thirds football skipper, there’s a real danger that without a cacophony of emails, texts and shouting you’ll barely have half a team.

The lower divisions and reserves leagues are the true test of the art of captaincy. Forget Mike Bassett, a better primer for the skills required could be a biography of Lyndon B. Johnson. Tactics and strategy can wait for when you’ve persuaded people to actually get on the pitch.

The week always starts with optimism: a cheery email on Tuesday, a few positive replies and a whole bunch of dissembling, but there are always enough vague yeses for a team to start to take shape in your head. Come the day before, though, and worry – that all too familiar companion – sets in. It often seems to be momentum at work: one person drops out, that solitary individual turns into six, and after the deluge it’s just you and that keen foreign-exchange student who first picked up a rugby ball eight days ago.

So the pressganging begins, cornering people you’ve never spoken to purely on the basis that they look like they’d be handy in a ruck and immediately and shamelessly turning the conversation to tomorrow’s match. This is, among other things, a sure-fire way to cultivate a reputation as a bore.

No matter how hard you try things inevitably seem to devolve to 1pm outside the lodge, surveying the outflow from lunch and hollering across the quad at likely-looking candidates. If you’re unlucky you won’t get a quorum (loosely defined as about eleven for rugby and around eight for football), and will have to put on your best poker-voice as you embark upon that ever-guilt-ridden game of ‘cancellation chicken’. If you’re lucky you have an hour in which to fashion something approaching a coherent side out of a ragtag bunch that would make your local pub side look like the All Blacks. Props out wide, a grumpy regular first-team flanker shoehorned in at fly-half to give a semblance of defensive strength, and something nearing negative-fitness levels.

However, the great unsaid in the above is that the entire thing is a rollicking good laugh. Matches, when they’re on, have a level of unshackled wonder that the 1st teams of this world can only dream of. Almost anything can happen – my personal favourite from last term being the beanpole football winger who was, very much against his will, forced into a rugby shirt and then left the field with a hat-trick of notable brilliance and the promise of three pitchers in Bridge. Glorious.

Interview: The Barefaced Night

The Barefaced Night opens at the Keble O’Reilly Theatre on Tuesday 21st of February at 19:30 and runs until Saturday 25th. Tickets are £5 for students and can be bought online at www.wegottickets.com/f/3918

Review: Phantasm, Magdalen College Chapel

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Since their founding in 1994, Phantasm have become something of a benchmark in the viol consort genre, and this evening’s programme, comprised entirely of English consort music, demonstrated a subtlety and refinement that is no doubt a product of this long-standing relationship.

The carefully-chosen repertoire allowed for an amazing sense of freedom throughout, and the fantasias that dominated the programme sent endless threads of woven counterpoint trailing through the air.  In the dark Magdalen chapel, I noticed a divide in audience members.  Some closed their eyes and let the music drift around them, while others sat on the edge of their seats, or even stood, in order to capture every nuance of the individual performers.  There is an argument for both methods.  The music could be taken as both a passive and (dare I say it?) relaxing, experience, while at the same time being an intricate and intense mesh of passionate and often chromatic ideas that played themselves out according to the whims of long-dead composers.

The blend of sound was like that of an expert choir – it is important to remember that this repertoire was composed in an environment saturated with vocal music – and the level of communication between the performers was such that they operated as a single organism, breathing and moving with each other.  Occasionally, one player projected from the sonic texture with a motif, such as the cascading figure in Gibbons’ Fantasia no. 4 a6, but never protruded too far or for too long, and would quickly be subsumed back into the ensemble.  The only exception was Laurence Dreyfus, writer on historically-informed performance and director of the group, whose vibrato was often more noticeable than the other performers’, although it did little to disrupt the overall balance, and I appreciated the differentiation of character in the two treble viols.

Tempos were sufficiently varied, from the pathos-laiden and remarkably dissonant entries of Tomkins’ Fantasia XVII to the animated Aire by William Lawes that concluded his Consort Sett VIII a6 in g and the first half.  Dynamics, too, were shaded with a finesse that shaped the notes in a meaningful way and made this concert an absolute pleasure from beginning to end.