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Review: Tamburlaine

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Trinity is the term for lazing about on the lawns with Pimm’s and barbecues, finishing exams and enjoying the finer points of Oxford life. This is the term of light-hearted garden shows, experimental garden shows, and Brideshead Revisited, as the summer evenings and the Oxford bubble so clearly invite. In this climate, you’d be forgiven for not quite feeling up to an evening of hardcore Marlowe. Yet this bold production looks set to be a viable alternative to more traditional summery pursuits.

Very popular in its day, Marlowe’s play follows Tamburlaine, a humble peasant who decides to declare war on the corrupt and weak rulers of the world. The power he swiftly gains goes to his head and his brutality escalates along with his success, leaving us with important questions about the nature of rule, and the nature of this one mysterious, magnetic man.

Antti Laine shines as the eponymous hero, exhibiting great energy and an excellent evil smile. He seems to have enough charisma to play the part of a man who is able to persuade even his enemies to join him just through words – in the first scene I saw, the Persian king Theridimas, who had set out specifically to kill him, was won round suspiciously easily. Unfortunately it was difficult to hear his actual words of persuasion, due to the dodgy acoustics in the preview room, but they must have been pretty special, as he was convinced in about two minutes flat, which made for slightly confusing viewing. King Mycetes of Persia doesn’t fare much better, and Robert Dullnig could have made more of the great comic potential of his role, as a king even weaker than Theridimas.

The one battle scene I saw was rather wooden, with conversation going on whilst some characters had swords across their throats in a way that was awkward rather than menacing, and it’s hard to do a dramatic death scene that’s not a bit stilted, especially when one character announces ‘I die’ just before he, well, dies. But the production sounds like it will be magnificent with the O’Reilly decked out in drapery like a battle fort. The play contains some of Marlowe’s most beautiful poetry, and if you can drag yourself off a punt, it looks like it will come together to be powerful and exciting.

 

3.5 STARS

Review: Charley’s Aunt

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This year has seen a raft of genteel and whimsical garden shows. There is something, it seems, about the Oxford college garden that makes directors cast their eyes backward with nostalgic longing to an era of upper-class refinement and poise. Pygmalion, The Government Inspector – and now Charley’s Aunt – have all indulged a predilection for the 19th Century comedy of manners.   

The play follows two Oxford undergraduates, Jack Chesney and Charley Wykeham, as they attempt to win the hearts of their paramours and the favour of Charley’s wealthy aunt. The original production was a record-breaking hit with 1,466 performances in the West End and the play contains all the popular elements of a Victorian farce. But what’s congenial to Victorian audiences won’t always be so well received today – in fact, much of the comedy is too rooted in its time to be amusing. A joke about keeping the change from a farthing falls flat on its face. 

I’d like to say that the acting in Charley’s Aunt is overdone as part of the aesthetic of a farce but I think that might be wishful thinking. Every farce contains its caricatures and when they work in this production they work very well – Joshua Harris-Kirkwood as Sir Francis Chesney is delightful as the stereotype of an Oxford ‘old boy’ and Benedict Nicholson does an amusing turn as the peevish guardian of the girls our protagonists must woe. But the play lacks the spontaneity and energy of the genre, the sense that these characters upon this stage could be led by the plot any which way – and I don’t think this a quality inherent in the script. Often, the play feels laboured where it should feel light, and this feels solely down to the over rehearsed quality of the dialogue.    

There are some fine redeeming features however. Cross-dressing is integral to the play and Peter Swann’s performance as a man failing to imitate a woman is genuinely hilarious. Charles O’Halloran should also be commended for the earnest sweetness he brings to the role. Whilst it takes a while for the play to warm-up, once the stages start to fill with characters there is a greater sense of fun and the actors actually start to seem like their enjoying themselves, rather than plodding through the script. Comparisons have been made to Wilde but there is little of the delight in wordplay or paradox that you might see in a Wildean comedy. Instead the play gets its humour from the sheer absurdity of its situations and there is certainly enough of that to amuse the audience for an evening or more. 

 

3 STARS

Summer VIIIs 2011

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(Clare Richards)

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(Joseph Caruana)

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(Amelia Cox)

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(Kathleen Bloomfield)

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(Lauri Saksa)

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(Amelia Cox)

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(Clare Richards)

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Kathleen Bloomfield)

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(Lauri Saksa)

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(Lauri Saksa)

Congregation pass historic vote of no confidence in Willetts

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The vote of no confidence in Universities Minister David Willetts was passed today by Congregation, with an overwhelming majority of 283 votes for and just five against.

Today’s near unanimous vote shows the start of an academic backlash against coalition policy in higher education.

It is the first time since 1985 that Oxford has got involved so publicly in the political process, and marks Oxford as the first English University to pass a motion of no confidence in a higher education minister. 

The motion, that “Congregation instructs council to communicate to the government that the university has no confidence in the policies of the Minister of Higher Education” was debated by Oxford academics this afternoon in the Sheldonian Theatre before the vote was taken. 

Each of the 23 academics who spoke before the University’s parliament, resoundingly endorsed the motion urging their fellow academics to vote in favour, leaving little doubt that the motion would be carried.

Students showed their support outside the Sheldonian by cheering tutors as they walked in and chanting slogans such as, ‘David Willetts makes no sense, tutors vote no confidence’. Throughout the day, OUSU had organised for students to rally academics to attend Congregation and place their vote of no confidence in Willetts. 

Standing outside the Sheldonian after the Congregation meeting had finished, OUSU President David Barclay said to Cherwell, “This is really important and exciting day for higher education. This is the first university ever to pass a motion of no confidence in a minister. Now that we have taken a stand, we can create a momentum for the rest of the country to follow.”

 

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Just after the results of the motion were announced, Anna Lori-Wainwright, University Lecturer in Human Geography of China, who had voted in favour of the motion spoke to Cherwell.

She said, “I fully support the student movement against what the government is doing. I am very pleased and still surprised that there were even five people in this room who found it in their hearts to vote against the motion.

‘I think we need to be realistic about the impact that this kind of move will have – we must not to sit on our laurels and think this will be enough. We need more lobbying either through unions, collaborations, academic and student development to show that this is not good enough. The damage done if this goes ahead is irreparable.

“I have never come to Congregation before, other academics here also do not come regularly. This is a really busy time of year for us all and it is hard for people to drop commitments. But we have come for this, which shows how much we care.”

The motion was formally moved by Professor Robert Gildea, Professor of Modern History. Prof Gildea said, “This is a very weighty business, a step of historic action. Higher education policies that he is proposing are the word of the coalition government as a whole. In this unprecedented way we are calling him to account. The future of higher education as we have known it since the second world war is under threat from government policies which are reckless, incoherent and incompetent.”

The motion was seconded by Dr Karma Nabulsi, University Lecturer in International Relations and a Fellow at St Edmund Hall, who spoke of what Congregation members had in common:

“What we share is a common attachment to the purpose of higher education which is now under grave threat. [A vote of no confidence] is the most professional gesture which we can take. Our vision is threatened by the policies of the current gov. A vote for this motion is an affirmation of who we are and the traditions which we wish to preserve.’

The debate was then open to the house, and a further 21 academics spoke in favour of the motion, as well as OUSU President David Barclay.

Professor Howard Hotson noted that “Current government policy is perverse. Such fundamental misconceptions inspire no confidence whatsoever.”

Senior Proctor, Dr Colin Thompson warned, “We are not here to bask in the spirit of rhetoric. We are here to address the government on issues which are our very raison d’etre, in the hope that it will listen.

“Society needs people who are prepared to ask awkward questions and challenge received ideas or it stagnates. Loss of public funding to arts and social studies is the logical conclusion of the flawed economic premise of government economic policy.”

Dr Paul Coones joked, “There are only two kinds of famous academic – the quick and the dead.” He highlighted that Oxford should be proactive and set the agenda, rather than always be “responding, justifying and defending ourselves.”

Many speakers warned of the dangers of putting a price on education. Dr Laura Kirkley said, “Brilliant minds hail from all sections of society. We must be able to select post graduates of the quality of their minds, not the quantity of their bank accounts. If the proposed reforms go ahead without challenge or protest from us, the result will be whole portions of our populations disenfranchised and priced out of higher education.”

Mr Bernard Sufrin opened his speech with the Marxist allusion, “A spectre is haunting our university system – the spectre of private profit.”

The disastrous effects the government’s policies were having on Oxford’s reputation abroad were discussed by Dr Abdel Razzaq Takriti. 

Next OUSU President David Barclay spoke, powerfully damning the government’s policies on behalf of the student body. “The fundamental lack of confidence for the student body stems from a gut sense that the core of the governmnet’s plan is rotten.

‘The people I speak for will feel the real cost of the mixed messages and U-turn. I speak for a generation of brilliant minds who will never become graduates. I speak for a generation of talented but disadvantaged students who will never be able to come to Oxford. I speak for all these people and today I need you to speak to them too.”

After a break in procedings, the final few speeches were then given. Dr Conrad Leyser invoked the history of discussion and debate on the topic of the price of education: beginning with Socratic debates of wisdom, and moving forward to the debates of Irish scholars and the foundation for learning in Latin Europe. “We are subverting the basis on which wisdom has been built upon for centuries, if not millennia”, he said.

Professor Patrick McGuinness said, “Politicians seem bent on destroying higher education. This government might be a coalition of Lib Dems and Conservative. But no government in the last twenty years has been a friend to higher education.

‘By expressing our lack of confidence in this government we can actually change something of the policies which will be fisted upon us. We all fundamentally realise that this government does not know what its doing.”

Finally, Professor Gildea, who had proposed the motion at the start of Congregation, then gave his response to the debate, with a final few words of encouragement for academics to vote for the motion: “This is a historic moment to make a difference, let us seize it.”

Dr Kate Tunstall, who gave the closing speech in Congregation, said after to Cherwell, “I think this university has overwhelmingly no confidence in the government’s higher education policies – not in this particular minister as there are probably just as many more with similar policies waiting in  the wings. The message is really really clear.

“The way students and tutors worked together to make this vote possible is really encouraging –  I think it is appropriate now for students to have membership in Congregation as they do in Cambridge.”

Beth Evans, a member of Oxford Education Campaign who had been leading the solidarity protests outside, said, “I’m really pleased and I hope this will make a really strong statement to the government.”

Review: Three Trapped Tigers – Route One or Die

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Route One or Die sees the anthropomorphic trio, Three Trapped Tigers, roar their way onto the music scene and this ferocious arrival is made even more impressive by the technical complexity of their music.

This album beeing an instrumental affair, full of lightning fast keyboard solos that would make Steve Vai weep, Route One or Die is surprisingly engaging. The band have managed to avoid the scrapheap pile of tech-metallers too concerned with the speed of their playing, and have produced a stellar album whose plethora of emergent sounds is always enthralling. Whether in the dub-metal of ‘Noise Trade’, the doom-electronica of the aptly named ‘Creepies’, or the Aphex Twin grooves of ‘Magne’, Three Trapped Tigers are constantly experimenting with innovative textures and new exciting ways to make your ears bleed.

Styles and sounds are constantly juxtaposed, with electro, dub and even classical tones posited against screaming guitars and rioting drums. All this shouldn’t work, but it – practically – always does. At times, perhaps, we yearn for some repose, and it is briefly offered to us in the unsettling tranquillity of ‘Zil’, but there is a sense that too much restraint would sound like selling out to a band rooted in the underground and signed to the indie label ‘Blood and Biscuits’.

This pioneering album takes many left-field and underground trends, like Death-Rock, Math- Rock and Improv, and makes them instantly accessible and consistently exciting. You’re left with a sense that this strange new future-music could go a long way from here. Let’s hope this is just the beginning.

Filming Brideshead

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For me, ‘the theatre is the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be human’. For me, and for Oscar Wilde, so at least I’m in good company. There is something almost preternatural about the way in which, for the two hours or so that a play lasts, the actors and the audience are essentially communing on an emotional plain. After all, dealing with love and loss, and impossible yearnings is something that we can all relate to. I think the key to Brideshead being a successful play and perhaps even something more, is in making the audience feel and emote with the characters. So it’s quite lucky that they’re all straightforward, down-to-earth types that you could easily imagine running into at the King’s Arms of an evening. Or not.

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This week saw us completing the filming of the much-discussed trailer and I have to say that all my egotistical, narcissistic directorial leanings were kept reasonably in check, as I conceded much ground to the real professional: the cinematographer. The shooting took place on one of those halcyon Oxford afternoons and as I watched ‘the Adonis with the teddy bear’ walk through a beautiful, cloistered archway at Corpus, Sebastian seemed almost real. The hushed, pre-Finals silence of the quad was punctuated with short, staccato calls of ‘Sound… sound… action, Brideshead Take 3’. Looking back at the dreamy, hypnotic footage, it seems quite remarkable how, on film, everything takes on a softer, more mellow hue. In fact, it made me think of how Charles wants to live his life through the lens of Sebastian’s perpetually aesthetic vision. He wants the harshness and the bleakness of reality to be transfigured by ‘the waning light of a summer afternoon’, and I don’t really know if we can reproach him for it.

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Alfred Hitchock’s mantra for film – that could just as easily be applied to theatre – is ‘always make the audience suffer as much as possible’. Melodramatic though that sounds, it is based on the Aristotelian tragic principle that through sympathy with the protagonists comes suffering, then pity and finally catharsis. Any and all of us could be Charles, all of us looking for love and all of us afraid of the onslaught of reality on our Oxonian idyll, infatuated by a world of aestheticism and beauty. Brideshead may be a modern tragedy, but I believe that if you come and see it, you will nevertheless leave the theatre with a feeling of hope.

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It is with some sadness that I approach the last two posts of this blog, since there is now just over a week to go before opening night at the Corpus Auditorium in 7th week. I can only hope that, having gained some sort of insight into the tempestuous, heady world of Oxford drama and this particular production of Brideshead, you will join the event page on facebook, buy a ticket and come and see us. If I’ve done my job properly, you won’t be disappointed. 

The wrong kind of reform

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The NHS needs reform. Reasonable satisfaction rates don’t make up for terrible outcomes and spiralling costs. However, the current reforms won’t achieve the coalition’s aims. They won’t improve health outcomes, nor will they make health services more patient-centred. The ‘pause’ will hopefully lead to consideration of alternatives to this problematic plan.

The alternative I wish to highlight stems from the government’s own aims and another of their admirable objectives: localism. The best people to ensure patient centricity are the patients themselves and we’re all the NHS’ patients. We can’t run it ourselves, but we can choose more directly who should run it for us by devolving it to local government.

Richard Grayson has set out an alternative based around this idea. He points to the system in Denmark which has one of the highest satisfaction rates in the world, and is run with counties controlling health services. Thus, when patients are unhappy with their services, they can vote out the councillors responsible in a much more direct way than central government. Patients can choose what services they want via councillors and how much they want to spend and be taxed. Thus people can also see how their taxes are spent and how it affects services they use. When people see the direct effects of their taxes, they are less resentful about paying them.

Applying this to the UK does have snags – some councils are too small to run broad services. In these cases one could look at merging the health budgets of several authorities together and having joint meetings. However, such problems aren’t insurmountable. The problems are also insignificant compared to the rewards of localism: allowing patients to decide about the services they use and to hold providers accountable. It would also save money – there would be no need for a gigantic layer of bureaucracy at the top, merely a supervisory and regulatory role for the Department of Health. It would also begin to address the ridiculous system of tax centralisation in the UK – Malta is the only EU country more centralised. Some might argue this would create a ‘post code lottery’, but there already is a post code lottery, only with none of the benefits of localism: different regions could experiment and innovate, providing pointers to other councils who could use pathfinder’s ideas to raise their own standards.

In comparison, it is clear that the current reforms do nothing to address the problems they aim to fix. The GP consortia don’t solve any problems. The GPs will be just as unaccountable as the bureaucrats. Similarly most GPs are simply not inclined to or trained for such a job. The reforms focused on competition also have problems, as there simply aren’t many competitors to choose from in many services. In complex treatments only the NHS and large companies such as BUPA could actually compete. Hardly an abundance of choice! Similarly there is the obvious problem of ‘cherry picking’.

The current reforms aren’t the cure to the NHS – only localism will meet the coalition’s aims. It will do so by injecting the NHS with the choice and control patients so badly need.

Great Sexpectations: Volume Six

So where does a guy, looking to entertain his friends from home and yet also to bring his challenge to final fruition, choose as an establishment that can serve both these agendas? Where can he inebriate his close friends enough that one of them might make a move, and yet also feel secure that if such a plan were to fail, he would still have plentiful opportunity for loving? The answer is in to parts: it starts with Fuzzy, and it ends with Ducks. .

There’s a big college cohort going and I see that my best friend is out; noticing each other we mix in that awkward way where each is trying desperately to hold on to the group’s conversation, but not have to talk directly in response to one another. She couldn’t have known about last week. Eventually though, in the taxi before we arrive, we’re loosened up by the good atmosphere and even get each other laughing in the safety of our friends. My home friends are being riotous, but as we enter Fuzzys they realise that even they might have to up their games. It’s pure carnival, and my friends are immediately immersed in Fuzzy fever, at the bar, on the dancefloor, in the smoking area, taking full advantage of the self-professed ‘easiest place to pull.’ As for me-I dither. I dance with my home friends and yet don’t brave a one-off move; I meet girls at the bar, and yet somehow don’t feel any desire for Pochahontas, or Army girl, or Cheerleader; I make some progress with my best friend, and talk through a lot of the previous week’s embarrasment, and yet I still can’t seal it with a kiss. I think I’m overwhelmed by the sheer scale of what’s on offer-like standing at a large buffet with a small plate..

And how does one who has so misplaced his mojo deal with the revelation? How does he overcome it? Well he drinks. He drinks whisky like its water, while his best friends try to dance with him and falling couples try to lean on him to kiss, and the ice queen tries to banter with him, throwing small insults and looking too hot to relate to. So I drink my whisky, until I need to sleep, and the pavement outside Fuzzys seems the most logical place. I’m roused from my chosen spot about twenty minutes later, and hauled back to college where my two home friends, inbetween unforeseen kisses, drag me to my room and kindly deposit me in a quivering bundle on the floor, as they take to my bed and congratulate each other with impromtu sex. Fuzzys 0, Home Friends 1. Fuzzys 1, Great Sexpectations 0.

Penny Pinching: 6

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BOPS! Big, open parties, if you weren’t aware of the acronymic origin of the word, are all about having a carefree alcohol-laden night in with your college mates, with the added dignity-free fancy dress, but all too often they turn into yet another drain on that increaasingly fragile student loan. Hitting the predrinks hard is an essential step, not only to save money, but when you’re planning on hitting the bar nothing but hot pants and a crop top (and that’s just the boys), when it comes to Dutch courage you’re going to need a whole lot of Amstel.

 

The next port of call is your themed outfit, for which you have several options:

1. The ‘too cool for fancy dress’. In your head it was a great idea – rock up to the bop in some casual gear (why not try chinos, shirt and tie adn pretend you’ve just come from some sporting function), and you’ll be coolect kid in the room. In reality, most people won’t care/be able to see your sweet outfit, but you’ll certainly know about it when someone spills red punch down your fresh chinos. Anyone who does notice your the effort will almost certainly be thinking something along the lines of ‘what a knob.’ 

2. So little effort I’m not sure if it’s a costume or you’re just weird. This covers girls painting on cats whiskers with eyeliner, and then just wearing a regular slutty outfit, and anyone turning up with simply a mask, which will swiftly become tiresome to wear (can’t see/drink/schweff), and soon you’ll just be another douche in the aforementioned category.

3. Moderate amounts of effort. Boring 

4. Silly amounts of effort. When it gets to the extent where you’ve been planning your costume for weeks, often involving great personal expense at shipping in a ready-to-wear costume, or meticulously handcrafting your garb, it’s never going to end well. Remember, no one likes a try-hard, and that delicate macaroni, gold leaf and spun glass is going to shatter likea  frozen liquid Terminator. Oh, and your expensive, pre-ordered costume? That’s getting the red punch treatment too. 

5. Fully costumes, yet, well, barely. Having amde the effort to get yourself down to Primarni, rather than thinking of an original and witty take on the theme in question, you took it upon yourslef to find the tightest fitting ladies garments in the most garish colours possible, coupled with maximum skin exposure. Ladies will be repelled: blokes will pretend not to know you-you know you’re doing it right if a few people scream when you make your entrance. Your only hope is to get blasted and hope everyone was too drunk to remember (they weren’t; they will). 

At the end of the day, not going all out on a costume will save you time and money but at the expense of social acceptance. Try to find multi-use items-an orange top with brown tights can be a tiger (B.C. bop/Jungle bop/ Animals bop/ Down at the farm bop), a pumpkin (halloween bop/ Fruit that should-be-vegetables) and, borrowing some brighter tights, the done-to-death Tight n’ bright bop. Some colleges are also starting to introduce ‘Bop Boxes’, a ‘box-based swap shop’ in your very own JCR. 

There, some genuinely good advice, for once. Don’t get used to it, I’ve a load of washing to do and I can see a rant coming up…