Thursday, May 8, 2025
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OULC to go it alone

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Oxford University Labour Club have defiantly renounced their affiliation from ‘Labour Students’ following a vote last Wednesday.

Labour Students is the national umbrella organisation for all student Labour clubs and is responsible for their co-ordination and for building bridges between them and the central Labour party.  It holds annual conferences, arranges social events and campaigns and sets policy stances.

OULC voted 19 votes to six to end their association with the organisation. The decision was taken with co-chairs Kat Shields and Jack Evans abstaining, believing that the decision should rest with the club membership.

In an open letter to the organisation, OULC said, “This was not a course of action we were happy to take, or one we took lightly.”

The transparency of the Labour Students’ internal democracy appears to have been an important factor in determining the vote. The letter, which appears on OULC’s web-
site, stated, “we could no longer remain within an institution whose democratic failings we feel increasingly threaten to undermine its positive work”.

OULC noted that every position on the Labour Students Exec had been elected unopposed in this year’s elections. One student was also supposedly told not to oppose a particular candidate, as the lines of succession had already been pre-determined.

The letter also questioned the lack of availability of Labour Students’ constitution to members, asking, “How can individual clubs be expected to argue for change if they can’t even consult the constitution?”

OULC also stated that during the recent election, the official campaigning materials OULC received from Labour Students were insufficient, forcing OULC to create and finance their own.

The disaffiliation has, however, provoked hostile reactions. Wes Streeting, Ex-President of the NUS who stood as the Labour Student’s candidate, tweeted the following day that he hoped “no Labour MPs will now speak at the club”.

Criticism has also surfaced in Oxford. A letter signed by three former OULC chairpersons claims that the disaffiliation has left OULC “cast adrift” and states that while Labour Students may not be a perfect organisation, the work that they do and the resources that it presents to OULC are invaluable.

Kat Shields, current co-chair of OULC, has responded to the criticism by stating that the vote was not taken out of spite and that previous efforts to alter the dynamic of Labour Students from within had simply met too much opposition.

Hoping to re-join as soon as significant changes had been made, Shields stated that the vote was not simply a protest vote but one designed “to inspire a discussion and bring about reform”..

It has also been questioned why Tony Blair, who distanced himself from student politics while at Oxford, was recently made an honorary member of the OULC. The co-chairs of OULC stated that the honorary membership was largely out of recognition for his career in national politics.

Club’s opening hours a-Bridged by Council

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Oxford Council have published a provisional decision to reduce the opening hours of popular student club The Bridge, following violence around the venue. The club could formerly stay open until 3am, but under new regulations will be forced to shut an hour earlier for a three month period.

The Council stated on their website before Tuesday’s hearing, “Thames Valley Police are seeking a review based on the grounds the operators are not upholding their obligations under the four objectives of the Licensing Act most notably the prevention of crime and disorder.”

Police licensing officer Alex Bloomfield said the decision to request a review was made after an incident at Halloween. The club has had many problems with disorderly and anti-social behaviour outside the venue. In October, four men were arrested after a brawl outside The Bridge, which saw two people being taken to hospital, one with serious head injuries.

The Council said that the committee questioned whether the problems were circumstantial or caused by poor running of the premises and said that the Committee came to a decision based upon the evidence provided by both parties.

The news has been met with disappointment from students. St Hugh’s first year Teddy Mears said, “Going to Bridge on a Thursday is an integral part of the week for any St Hugh’s student, and it’s a good way to get to know everyone at college, so it would be a shame if it were to close earlier.”

Phil Davidson, the manager of the club, told Cherwell, “although we have attended a recent review of the club’s licence no finite decision was reached as we indicated that we wished to appeal the panel’s findings. Until such time as that appeal has been heard our opening hours remain the same as they are now.

“Our view is that we fail to see how an hour lopped off our trading times will have any impact on perceived problems at the club, particularly as according to the police statistics over 50% of our ‘problems’ relate to lost/stolen items.”

One third of bursaries to private school pupils

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A third of Oxford Opportunity Bursaries awarded to current first years were given to students from independent schools, Cherwell can reveal.

This comes just weeks after tutors at the University’s Congregation called for a “radical” overhaul to Oxford’s approach to Access Schemes, which many tutors feel still do not go far enough to reach students beyond a certain “cultural and social elite.”

The University had not intended to publish the statistic that one third of bursary recipients are educated within the independent sector, but Mike Nicholson, Director of Undergraduate Admissions, recently disclosed this figure during comments he made at a Teach First presentation in Somerville College last week.

The statistics were later confirmed by the University Press Office, who stated that “Of students coming to Oxford University with household incomes under £25k, who then automatically qualify for a full Oxford Opportunity Bursary, 31.6% are from schools in the independent sector.”

The University admitted that the bursaries are “automatic, based on income” and they are “blind to all other factors.”

This statistic carries implications for Oxford’s access schemes. Some tutors have expressed concern that Oxford is not going far enough in targeting its access policies at those who need it most.

Bernard Sufrin, Fellow and Tutor in Computer Science at Worcester College, said, “While quality education in schools is rationed by price it’s not really surprising that low-income families that believe in the importance of education will do their best to find their way past the rationing machinery; and who can blame the tiny numbers of such families who can do so, for taking advantage of every available scholarship, grant, or bursary?

“But these individual ‘rags-to-Oxbridge’ narratives allow our ruling elites to continue pretending that any poor child can succeed academically as long as they have the innate talent.” 

Sufrin continued, “Our ruling elites have never put enough resources into building an education system which provides appropriate pathways for the talents of every individual to be nurtured to their full potential. So taking the message ‘think Oxbridge’ at people who hadn’t is never going to affect the educational chances of more than a handful; and I think we need to do a whole lot more than that.”

The University stress that bursaries are “simply a function of household income”.

The Press Office maintain that “the purpose of bursaries is to assist with living costs for those whose parents won’t be able to help them out in that regard.”

A spokesperson said, “You get [bursaries] automatically based on your household income. The University does not ‘choose’ who to give them to”.

John Parrington, a Fellow and Tutor in Physiological Sciences at Worcester College, also voiced concern that Oxford’s undergraduates are still being selected from a narrow pool of applicants.

He said, “I think is the central problem with the whole fees and bursaries question. The big difficulty with having huge fees compensated for by bursaries to the ‘deserving poor’ is that one will inevitably get into these debates about who is most deserving of such bursaries.

“There’s a danger in assuming that even if Oxford did dramatically increase its intake from state schools, if these are the highly selective type, it could still mean a huge proportion of school students out there in Britain at non-selective state schools are not really getting a look in when it comes to getting to Oxford.

Parrington continued, “Oxford still has a long way to go really to reach out to students from less privileged backgrounds. It would make a huge difference if we could go back to the more ‘level playing field’ that I had the benefit of when I was an applicant to Cambridge, and without which it is doubtful that I would be sitting here in Oxford as a University Lecturer and Tutor.”
A spokesperson from the University Press Office was quick to stress that these statistics merely demonstrate Oxford’s commitment to recruiting the best and most able students.
She said, “At most independent schools, bursaries and scholarships are given on the basis of strong academic talent as well as need.
“People on low incomes who have been supported through independent school are therefore by definition likely to be particularly able, and therefore well represented at top universities.”

Hannah Cusworth, a third year History and Politics student, gave an impassioned speech before Congregation about her own background, where she mentioned not only how an Oxford Opportunity Bursary had enabled her to come here, but how financial assistance had allowed her to go to an independent school.

Cusworth said, “I was surprised to learn that a third of full Oxford Opportunity Bursaries go to students who come from the independent sector.

“I suppose this shows that not everyone who goes to private school is from a very well-off family. A lot of students educated in the state sector

who are now at Oxford went to very high achieving selective state schools.
“But I still believe that, one the whole, the state/independent divide says a lot about the educational advantage and support that student likely received.

“Almost every student with AAA is applying to Oxbridge so we need to work more closely with the more disadvantaged state schools whose students have the grades and are applying to Oxford but who miss out on a place.

“Bursaries should ensure that any student who is bright enough to come to Oxford, whatever school they went to, isn’t put off by the costs.”

Alex Bulfin, OUSU VP for Access and Academic Affairs, admitted that given “national statistics on progression from school to university and elite university”, it was “self-evident” that students from independent schools, will have been more exposed and encouraged to pursue higher education at top universities such as Oxford, than students from state schools.

Asked whether bursaries should be used to encourage those who have been educated within the state sector, Bulfin said, “The primary aim of bursaries is not recruitment but student support. I think there are far more significant cultural barriers that prevent people from making an initial application or even picking up the prospectus to see what bursaries we offer.”

Bulfin shifted the debate away from access, to one of financial support. He said, “The primary purpose of bursaries is to ensure people have enough money to live on while at university and that no-one has to decline their place for financial reasons. To that extent they are less about access than student support.

“However some enhanced bursaries, such as the current Oxford Opportunity Bursary, also give students the possibility of reducing the amount they have to borrow from the Government, which does give them an element of access and student recruitment.”
Oxford’s access schemes have come under close scrutiny recently, as many feel the rise in tuition fees could deter bright students who are from less financially able backgrounds, if they are not encouraged to apply by their school or family.

Oxford are expected to announce the level at which they will set their fees for students beginning university in 2012 in early March. It is believed that Oxford will follow Cambridge’s lead in raising fees to the highest cap of £9,000 per year.

Hand in hand

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Members of RAG and the LGBTQ  community successfully joined hands all the way around the Rad Cam last Saturday to spread a positive message about expressing sexuality.

The SSHH event, or ‘Same Sex Hand Holding’, brought members of both groups together in encircling the iconic Oxford building.

Radhika Goyal, an E&M student and one of the organisers of the event, told Cherwell, “It was great! The rationale was to spread a positive message about feeling comfortable about expressing sexuality in public.

“Despite living in a liberal environment, it is still the case that same sex couples can encounter negativity or taboo.”

High attendance meant that unlike last year’s attempt, a full circle was made around the domed building despite heavy winds and rain.

One onlooker commented, “I think it’s a great idea. It’s good to make a message and they’ve done it in a clever way. I hope it makes a difference.”

Alistair Nichols, a student from Corpus Christi who took part in the event, said, “The aim of the event was to make people feel comfortable about displaying their sexuality.

The event, the second of its kind, marks a general campaign to improve the expression of sexuality at Oxford. A RAG member commented, “this is an important opportunity to spread a positive message.”

RAG and LGBTQ have not yet confirmed any future plans, although Goyal suggested that an event on a bigger scale in Trinity may be forthcoming.

Crewdating sites fight it out online

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The age-old Oxford tradition of crewdating and dining in hall have recently made a very modern transition to the internet, with the launches of Crewdater.com, Venn.com and Hallsurfing.com.

The premiss of Crewdater and Venn  is to make the crewdating scene more accessible. The founders of Crewdater, who are Oxford undergraduates, stated that, “We wanted more crewdates and thought there must be a way to make it easier to find them, so the premiss of the website is just to make it easier. We also wanted to expand crewdating beyond sports teams to give more people a way of finding groups of people to go out with.

“It would be a shame if people missed out on what is a great Oxford tradition just because they aren’t in a sports team,” they said.

Tom Raynor of Venn summed up the new site, saying, “In short it makes crewdates easier, cheaper, and hopefully more fun.”
The team behind Crewdate, Maz Jaderberg, Ben Rickett and Nick Pointer, told Cherwell that they came up with the concept due to the experience of badly run social events.
Both websites  were said to be in development around the same time, but according to the founders of Crewdater they were “completely unaware of each other”.

There is rivalry between the two sites. The founders of Crewdater said, “To be honest, [Venn] have done a solid job, but we reckon they are making the same mistakes Crewdates.com did three years ago, in particular by making every member of the crew sign up to the site. Personally, we think it’s part of the fun of a crewdate is to not know who you are about to be meeting”.  

Tom Raynor said, “There isn’t a reason that teams couldn’t be on both sites. Obviously the market that Venn is going for is much, much bigger than just Oxford, but I expect Oxford students will end up using the site which is easiest and gets them the best deals – which will hopefully be us.”

The sites significantly update the crewdating concept. Crewdater  boasts a ‘date-page’ that puts teams head-to-head and allows public and  private posts, the latter of which only fellow team members can see. The website is also accessible through Facebook.

Tom Raynor said that Venn has had “a hell of a lot” of interest, continuing, “We’ve only been up and running for four days and we already have 71 teams on the site.”  Venn offer free beer and wine to the first four teams from each college to register.

A Trinity student stated that “After my last crewdate, which naming no names (St. Hilda’s rugby) involved a boy vomiting out of first floor window of At Thai and then vomiting over himself whilst the rest of the team took to smashing glasses for sconce announcement, I would very much like to have the opportunity to separate the wheat from the chaff from now on”.

Crewdater.com has combatted privacy and abuse worries raised by some students. “All comments, profiles and photos are monitored and offensive content is automatically removed.

“There’s a fine line though between regulation and stifling freedom of speech, and we don’t want people to feel like their views are being censored.”

Tom Raynor issued a similar statement, saying, “We keep an eye on any obvious abuse, which we can remove, and if abuse is reported to us, it is dealt with very quickly.”

Crewdater’s founders told Cherwell the future was bright. “While there is the possibility of expanding to other universities, our number one focus is on providing the best service to students in Oxford.”They are about to launch a partnership with Varsity Events, which will mean every crew gets queue jump, discounted entry and the possibility of VIP tables and drinks.

Venn.com has ambitions further afield, stating, “We will be launching in Brookes next week, and have already had unsolicited requests to join from Cambridge, Exeter, Newcastle, Durham, and London. Once complete, the site won’t just be for students, but for grads and young professionals as well.”

Another website modernising Oxford traditions, Hallsurfing.com, allows students to invite guests to their colleges to experience eating in different halls and is proving to be a popular concept.

Quackdiddlyoso? What all the kids are quacking about

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Some common carnival games and rides are easy to translate between the two sides of the Atlantic. Dodgems and bumper cars, they’re the same thing; no matter what you call them, the point is to smash rollickingly into the vehicles of your friends at a summer ball, all dressed in black tie as you act like children for a night.

                But those less elaborate games, played by children who don’t have tangible aids at their disposal – no Monopoly or Scrabble board, no bicycle or badminton racket – are a bit more difficult to decipher. And the difficulty is in no small part due to the inability of many like me who grew up playing a certain game to spell its opening phrase correctly, never mind explain it to befuddled British friends.

                What, you might ask, is this particular piece of play? I’ll tell you, but you’ll have to read carefully. Here it goes: Quackdiddlyoso quack quack quack. Read it again – I can’t tell you the rhythm, but it’s pretty odd even without being set to a tune.

                While sitting in a circle, one palm stretched outward and facing up beneath your left neighbor’s hand and the other flipped over to face down on the right, you begin to clap around the circle while chanting the lyrics. The version I grew up with, popular around New England and New York, went like this in full: “Quackdiddlyoso quack quack quack, señorita, shimmy shimmy shack, falora, falora, one-two-three-four-five-six-seven-eight-nine-ten!” And if you were the recipient of a clap on the hand when the number ten was shouted out, you were out of the game. If you pulled away in time, the clapper was out.

                It was a simple and easy to organize, a lifesaver for summer camp counsellors on rainy days. It never once occurred to me to look up the proper phonetics until a few days ago, when I made a joke about the game. I was asked to spell it, and of course I struggled; listening to the words, which are often changeable within one sitting, it sounds like gibberish.

                So I consulted Wikipedia, and searches led me to the page for a game called Stella Ela Ola – apparently, the most popular phrasing for a game that’s mutated into assorted versions played over the years throughout Canada and the upper United States. Never before had I realized there were so many variations.

                Of course, my friends here in Oxford immediately began to dredge up many similar games from their own childhoods. Though the lyrics differ and the clapping patterns diverge, this sort of pastime is universal. Even at nineteen we can still laugh at them.

                Just don’t ask me to spell quackdiddlyoso. 

Review: Five Noh Plays

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Entering Merton Chapel at this hour feels something like waking up in limbo. The cool silence of the uplighting and the scurrying of shadows across the walls create an antechamber into a world weighted equally between the ancient and the avant-garde. The staging is very simple, as is the costume, which forces you to feast your full attentions on the cast, who seem to emerge from the floor of the Gothic chapel like white pins or pillars of pure potentiality in the tapestry woven by the intricacies of the architecture and Satie’s music. The action begins as the score of Le Fils des Étoiles starts, and the feeling evoked from this combination can only be described as an ascension.

 

Over the course of the two plays that I witnessed, Suma Genji and Kagekiyo, I was incredibly impressed by the marriage of Satie’s preludes with Pound’s translation. Separately, both are rather haphazardly effective Orient-meets-Occident combinations: Pound’s translation of the Noh plays, forged from basic notes and inherent poetic understanding, open early Japanese theatre to a Western audience; whereas Satie’s Le Fils des Étoiles, composed for a play of the same title by Joséphin Péladin, is imbued with Oriental notes. The synaesthetic fusion of the two, coupled with the lighting that makes shadow puppets of the actors’ silhouettes, transforms the chapel into a dreamscape of fantastic proportions.

 

Eddie Smith’s reworking of the Satie’s original score is laudable. Although the score was originally written for a theatrical piece, there is no evidence to suggest that a performance in this context ever materialized. It seems that this exceptional piece was unfortunately relegated to the realm of the piano. Smith’s transposition of the music for the harp and flute has awe-inspiring consequences, and the placement of the musicians to the side of the stage gives the sound the quality of ‘tears like a thousand lines in a storm’, trickling from the high walls of the chapel. The music embroiders the casts’ garments, turning their plain white forms into shimmering silk brocades.

 

Shaun Chua gave a zealous performance embodied by strong physical forms and structures that could elevate him instantaneously from the worldly to the mythical. Not being familiar with the Noh genre, I didn’t immediately understand Ayesha Jhunjhunwala’s role as an intermediary-cum-conscience figure, but once that was clear, it worked very effectively. Given the emphasis on music and musicality in this production, I thought that the role of the chorus could have been exploited to a far more polyphonic end, but whatever minor misgivings that occasionally arose, the artistic vision of the team is both admirable and inspiring, and I would be very interested to see what they come up with next. You don’t need to be familiar with the Japanese Noh form or with Satie’s music to enjoy these plays, as it is in the combining of the two that the beauty resides.  

Review: A Little Too Dark

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Watching these guys perform is rather like leafing through a comic book you find on the bus – colourful, varied, a little dog-eared in places, but all-in-all it is something you are glad to have seen and passes the time quite nicely.

 

The four members of A Little Dark, plus the bonus talent of a live piano accompaniment, present a high-energy whirlwind of sketches with commendable stamina and conviction. The opening series of quick, quipped jokes under flashing coloured lights has that eager, “ba-dum-psssh” feel, which establishes itself as a tone for the whole show. The longer sketches that follow are delivered with the same attention-grabbing energy: a flurry of voice and gesture that ponders the naming of warfare operations, sits in on a boardroom of bunnies, and keeps on taking you to the doctor. As we flick through the show’s comic book pages, our heroes are not afraid to get political (including a novel cameo from the Deputy Prime Minister), swear a lot, drop their trousers, and explain to you just why Noel Coward plays are taking over pubs around the country.

 

They race through various accents (of various standards), and yoyo between highbrow and lowbrow – it just wouldn’t be a student production without a few erudite references, now, would it? And perhaps equally, it wouldn’t be a student production without a few rather crude jokes about bums, tits and willies, alas…

 

Bums aside, the overly-long French waiter gag was lost on me – and perhaps lost in Europe, given the dodgy accent – although this sketch wormed its way into my good books with some witty lines right at the end.

 

I think this is the beauty of sketch shows: you are guaranteed to like something, and although for me the funny moments were in a minority, other members of the audience managed to get a laugh out of “jerk crime”, and the incredible meetings between patients in a waiting room.

 

Having said that, the longer sketches generally had the best pay-off, and the creepy character of ‘Elsie Richards’ was sinister brilliance that I feel we could have stuck with for longer.

 

A Little Too Dark is a showcase of vivid imaginations and raw talent, with some genuinely funny moments but a lot of superfluous material, and equally a lot of unrealised potential.

 

For me, redemption came with the final sketch – an ingenious reworking of Inception involving New York accents, shadow puppets, and farmyard animals, both dead and alive. The most beautifully crafted of all, this was – in my mind – the sketch that justified the entire show, the ‘Marion Cotillard’ that will refuse to leave.

Review: True Grit

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It seems like everyone wants to forget about the Henry Hathaway film, the original True Grit. The new Coen Brothers’ film cringes at the idea of being called a re-make. The directors have said themselves that they wanted to go back to the novel pretending that the original film never existed. Jeff Bridges claims that the Charles Portis book reads like a Coen Brothers’ script anyway. The Coens have been criticized for making clever post-modern films that don’t say a great deal about anything. But their latest film is doing something important, albeit something very different to the film released in 1969.

It’s impossible for the film to start completely from scratch with a clean slate. The first film isn’t just a generic Western: it’s a John Wayne movie, and it must have been hard to leave his personality behind. It’s a story that must have struck a chord with Wayne. He liked the novel so much that he lobbied for himself to play the drunken marshall. It’s as much about Wayne as anything else and played around a lot with his considerable age. In a sense comparable to what the 2006 film Rocky Balboa was to Sylvester Stallone, this was a reprise of Wayne’s past roles. John Wayne’s decision to take on four men at once has Maddie Ross whooping: ‘No Grit Mr. Cogburn? Not much!’. For a finale, having been berated by Maddie ‘You’re too old and fat to be jumping horses’, he proves her and the audience wrong by taking a run up and jumping the picket fence. The jaunty music plays him out.

Jeff Bridges’s Cogburn is more grounded. The Coen production is deliberately nostalgic, much more of a period piece and Bridges totally inhabits this world, so much so that sometimes his authentic slurs are barely comprehensible. He gabbles to himself, his back turned away from Maddie and the audience, giving the film a realistic solidity which the fantastical adventure of the original lacks. Still, it’s hard to imagine that the Coens wanted to escape the Wayne legacy entirely. The Rooster Cogburn of the novel never wore an eye-patch and, according to Mark Kermode, the detail comes from Henry Hathaway, director of the John Wayne version.

The two interpretations of Cogburn point towards something important about the way these films work as a whole. The trailer for the 1969 film didn’t promise anything more than a frolic – ‘A slip of a girl, a pot-bellied one-eyed western marshall and a texas ranger wearing britches a size too big’; japes, larks and ‘irreverent humor’ with a tomboy, a drunk and a bully. The original hid its complexities behind a comic front; John Wayne played a snoring, drunken lout whilst himself being, next to Bogart, one of the biggest smokers in Hollywood and dying of lung-cancer. Meanwhile, the film’s morality is rarely black and white, even if the ‘Cowboys and Indians’ cliché might have led us to believe otherwise. During the course of the film, John Wayne takes down several teenage boys, steals a horse and cart from three strangers and kills a pony. The courtroom scene at the opening is a fantastic conceit as we are in fact seeing the trial not only of Rooster Cogburn but also of John Wayne himself. The new trailer for the Coen brothers’ film, on the other hand, promises to deliver justice more simply: ‘Retribution’ proclaims the last word of the trailer. The nostalgia is for a more simple world in which the success of the chase is all.

In the last five minutes of the new True Grit we witness the passing of a whole way of life and realize what the whole film has been working towards. The Westerns of the ‘60s, even the thoughtful ones, had bright blue skies and verdant landscapes. The Coen’s True Grit has a look of its own, all snow, ice and mountain desert; free from John Wayne, even the landscape becomes part of a swan-song for the Western genre itself.

The Coens execute a master-class in cinematography, humour, and performance. The film’s energy and violence gives the ageing genre of the Western a youthful sheen and mirrors what Hathaway succeeded in with Wayne: silencing the doubters and proving the audience wrong. They have this Western take a run-up and jump the picket fence one last time.

Review: Year of the Rat

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A man sits at a desk, frantically typing away, before breaking off for a hoarse coughing fit. As we soon discover, this is George Orwell, composing what will be 1984, living alone on a remote Scottish island while slowly dying of TB. This grim existence is soon spiced up by the arrival of Sonia Brownwell, literary femme fatale, whom Orwell has invited here in a last-ditch attempt at love, followed swiftly by the lecherous editor Cyril Connelly, bent on keeping Sonia and Orwell apart for Orwell’s own good.

 

Orwell’s (Nick Davies) and Sonia’s (Georgia Waters) first meeting is beautifully awkward, with Orwell’s social reticence juxtaposed with Sonia’s flirtatious and assured tone, behind which an appealing vulnerability lurks. This is brought out clearly in her scene with the sleazy and self-confident Cyril (Andrew McCormack), keen along with all the other men on the London literary scene to objectify and seduce her, a rare and resented powerful woman, labelled frigid when she rejects their lechery. Their relationship in itself is sure to be a poignant affair given the tragic circumstances, but the subtle characterisation is what makes it particularly appealing to watch.

 

Meanwhile, Orwell is visited by hallucinations of the animals he created for Animal Farm, including old friend Boxer the horse, whose innocent concern for his beloved author George is extremely touching. Their conversation is tense, with Boxer sensing that something is wrong, slightly jealous at sharing George with Sonia, and fearful of events which an invented horse simply cannot comprehend or help with. His sweet naiveté is juxtaposed with Orwell’s pained grasp of harsh reality, such as when he contemplates with confusion the fact that Orwell killed him off, trying to salvage the situation by linking them as sufferers- ‘My lungs got me too, didn’t they George?’ ‘No Boxer, the pigs got you. You were faithful too long.’ Orwell’s patience but clear unease around Boxer makes for extremely moving viewing.

 

A well-acted production of an interesting play about interesting people. The visitations from animals add a surreal element to an otherwise painfully real situation, and the interior and exterior worlds of Orwell complement each other to make a very powerful whole. This is certainly one to make time for in 6th week.

 

Thursday to Saturday of 6th week, Corpus Christi Auditorium, 7.30pm, £5/£6