Oxford's biggest student newspaper, produced by and for members of the University of Oxford, since 1991.
Dining Al Desko leaps forth with a gleeful nihilism, capturing the very worst of office life in the very best of ways. A comically tragic (or tragically comic?) exploration of high-pressure stress in the world of work, it is a production that succeeds in the difficult task of remaining grounded in a bleak reality while […]
Continue Reading
Life meets death meets virtual life in Hereafter, a new play by Chloë Taylor exploring the inhumane and even inhuman treatment of bereavement in the world of work. Eva (Martha Harlan) is grieving her dead husband when she is called in to work and asked by her boss with a sickening faux empathy to be […]
Continue Reading
If you haven’t been to the Michael Pilch theatre before, allow me to set the scene. It is a small space, a black box studio and somewhat dimly lit at the best of times. The audience rows go only three rows back; it is the most intimate of performance spaces. It is also a genius […]
Continue Reading
Harry Hatwell reviews the German play, Der Process, at the Burton Taylor Studio I must confess that before watching Der Process (The Trial), my knowledge of Kafka was limited to seeing the launch of Kafka’s Motorbike in Bridget Jones’s Diary and a brief conversation about the life of caterpillars in Metamorphosis. Hence, this dark and […]
Continue Reading
Nestled away unassumingly behind the Oxford Playhouse, the Burton Taylor Studio can feel remarkably untheatrical. Seating a mere 50 people in a black box theatre, it may go overlooked in a Trinity term full of garden plays and thespian extravaganzas. What, after all, can such a minimalist setting offer to a drama scene full of […]
Continue Reading
Based on Robin Robertson’s translation of the Greek tragedy by Euripides, Khameleon Productions’ presentation of Medea was nothing short of brilliant. The all-BAME cast and crew brought new life to the myth. The revenge plot of the play, following Medea whose husband, Jason, has abandoned her and their children to marry the princess of the […]
Continue Reading
It is difficult to fault Lucy Kirkwood’s NSFW, a play that probes the depths of misogyny with an astute awareness of the painful sexism that journalism perpetuates, but also of the human action behind it. TheatreGoose’s production of the show at the Pilch treats its subject with flawlessly executed precision, wit and sensitivity, unpeeling layers […]
Continue Reading
Stepping into the shadows of Jesus College’s candlelit hall on a sunny Saturday afternoon, the audience find themselves plunged into the equally shadowy world of 17th century Italy, the setting of Webster’s revenge-tragedy The White Devil. Vittoria Corombona, passionately played by Sophie Claypole, falls in love with the Duke of Bracciano (Basil Bowdler) and in […]
Continue Reading
Hamilton, a musical so loved it kept its namesake on the 10 dollar bill, is as much a success of musical theatre in the UK as in the US. A musical that all theatre lovers have been hoping to come over to our ‘island across the sea’ have finally had their dreams come true at […]
Continue Reading
In the aisle of Jesus College chapel a few chairs, paintings, table and wine bottles invoke domesticity, setting the scene for Amy’s View by David Hare, this year’s Jesus College production. For a play in which the forces between theatre, television and reality are constantly negotiated it may not be surprising that the set is […]
Continue Reading
Brasenose presents ‘A Midsummer Night’s Dream’, a transfixing production of Shakespeare’s most magical tale, staged in the beautiful New Quad for the college’s annual Arts Week. The performance has an airy touch, and a sense of genuine enjoyment underlies the play through the boundless energy of some astoundingly good actors, who shift seamlessly from scene […]
Continue Reading
A Berlin Kabaret advertises itself as ‘Lady Gaga meets Brecht’ and a ‘Response to the Refugee Crisis’. It is underselling itself. It is neither of those things but something far more poignant. It is not a ‘response’ or a ‘reaction’ to one specific event. Even with its energy and vibrancy, the performance is never pushed […]
Continue Reading
Ruby Nicholson Interview The House if Improv, the creators behind the improvisational comedy show Death By Murder. With the Oxford imps usually dominating this niche scene, Jack Lawrence and Emma Hinnells talk through the ups and downs of putting on their murder mystery show. How long have you been rehearsing for? Jack: Probably about 6 […]
Continue Reading
(Spoilers ahead) Confusions… confusions? Sitting in the front row as the first of three one-act plays began to unfold in front of me, everyone on stage certainly seemed confused. Opening night nerves perhaps? Or more likely the beginning of a consistently engaging and hilarious portrayal of one of Alan Ayckbourn’s ‘greatest works’, or so I’m […]
Continue Reading
Thoroughly Modern Millie is as thoroughly delightful as ever. Now on tour, and having just graced Oxford’s New Theatre with a whole lot of jazz and sequins, it appears the classic Broadway show is still on top form. It is hardly surprising that this musical won six Tony awards, including best musical, as it is […]
Continue Reading
Emma Bentley stars in What Goes on in Front of Closed Doors, a short and intense one-woman production depicting how commonplace and inescapable events in life transform Molly, a young woman in her early twenties, from a happy child in a stable home to a socially ostracised woman forced to live on the streets. Bentley […]
Continue Reading
Hailed as ‘the funniest show in the West End’ by the Telegraph, A Comedy About a Bank Robbery certainly lives up to expectation. Set to a lush A Capella soundtrack and amidst dynamic physical theatre, this performance is an absolute standout. A Comedy About a Bank Robbery is Mischief Theatre’s latest contribution to the comedy […]
Continue ReadingIf all the world’s a stage… why is Hollywood moving to the West End? There is nothing more thrilling than live theatre. It is, unquestionably, the purest form of acting: it’s raw, it’s unedited, it’s immediate – both for the actor and the audience. There’s the unmistakable adrenaline rush that only a round of applause […]
Continue Reading
Switzerland is anything but a state of neutrality in Tom Stoppard’s Travesties, as art and war wrangle with each other to prove their significance, and revolutions of all kind loom over the lives of its intelligentsia. But is it the revolution of art or of the proletariat that will inhabit a more significant role in […]
Continue Reading