indigo
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Justina Crabtree & Robin Marshall - indigo@palatinate.org.uk
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INDIGO 3 BOOKS
We investigate the persisting popularity of Sherlock Holmes
4 & 5 FEATURES
A look at how DUCK spends your money
6 & 7 MUSIC
A look at Beyonce’s new album, and the work of Otis Williams.
8 V I SUAL ARTS
We debate the value of portrait painting
9 FASHION
A report from the front row of London Collections: Men
1 0 F O OD & DRINK
Our recipe from Borough Market to make your tastebuds tingle in honour of Burns Night
1 1 FILM & TV We review ‘The Wolf of Wall Street’ and ‘12 Years a Slave’ in the lead up to the Oscars
1 2 , 1 3 & 14 STAGE
A preview of this year’s Durham Drama Festival
1 5 TRAVEL
An expose of the hidden costs of USA Summercamps
Cover photograph by Nic Heath
Allegedly, our first day back of this term was ‘Blue Monday’ – the day that we’re all most likely to feel downcast. In 2005, psychologist Cliff Arnall created a formula based on weather conditions, debt, time since Christmas, low motivation and failure of New Year’s resolutions, concluding that (approximately) the third Monday of every January was officially the most miserable day in our calendar. Epiphany term is often the hardest for students: with the novelty of Michaelmas fading, it’s finally time to face those deadlines that were pushed to the back of your mind so successfully during the Christmas break; exams feel imminent but there’s still so much to learn in the meantime; and you’re still not prepared to compromise your socialising or extra-curricular agenda just yet. This edition of Indigo features ways to escape from your day to day routine, should you be feeling a little glum over the coming weeks. The Books section offers you detective staus, solving crimes instead of solving equations. Features offers you the chance to get involved with DUCK Week, whilst Music offers immersion into the R&B of The Temptations and Beyonce. Visual Arts encourages us to take a trip to another culture at Durham’s own Oriental Museum, whilst Fashion gives us ideas on how to let our wardrobes make life bigger, bolder and brighter. Food and Drink has us adrift in a spoonful of cranachan, a hot Scottish dessert of oatmeal, raspberries, cream and a dash of whisky. Film & TV review two Oscar nominated films that will transport you to a bygone age. Stage presents a preview of Durham Drama Festival, which looks to be a garanteed way to lose yourself for an evening (or two, or three...). Travel takes us overseas to America, and the summer of a lifetime, should you be thinking ahead to the end of the year already! Cressida
INDIGO EDITOR Cressida Peever BOOKS EDITOR Kate Wilkinson FASHION EDITORS Isobel Buckingham Katie Shuff FEATURES EDITOR Francesca Jaworska (deputy) FILM & TV EDITOR Aalok Vora FOOD & DRINK EDITOR Diana Grant-Davie MUSIC EDITORS Sophia Smith Galer Jack Collins (deputy) STAGE EDITOR Emma Dawson TRAVEL EDITOR Philip Whitehead VISUAL ARTS EDITOR Frances Marsh
WRITERS Ellen Orange Rose Mortimer Sophia Smith Galer Edris Nikjooy Jack Collins Ruth Townshend George Winstanley Diana Grant-Davie Joe Skelton Antonia Goddard Sian Green Alex Prescot Ruby Lawrence Thomas Morcom Mariam Hayat Christopher Yeates Ella Holloway Emma Dawson Nic Heath
PHOTOGRAPHY / ILLUSTRATION Madeleine Brown Nic Heath Harriet-Jade Harrow
For more arts and lifestyle articles please visit www.palatinate.org.uk
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Kate Wilkinson - books@palatinate.org.uk
BOOKS
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why do we love Sherlock Holmes?
Ellen Orange investigates the case of the persisting popularity of Sir Arthur Conan Doyle’s famous detective tales
We can understand why the original books were so popular - the protagonist was a highly intelligent private detective, whose ability to deduce information from what he could observe was almost fantastic. An eccentric character proves to be more interesting and charismatic for audiences than the typical heroic, goody-two-shoes stereotype, so when Doctor John Watson describes to us the chaos of Sherlock’s apartment or his erratic eating habits, they prove to be distinctive, not to mention endearing characteristics alongside his uncannily impressive intellect. We can also point towards the character’s drug abuse, originally opiates in the books and in adaptations represented as anything from cocaine and morphine, to prescription pills or nicotine. This aspect of the character shows the genius detective to be human, proving that despite his intelligence, even the great Sherlock Holmes is not infallible and so this makes it easier to relate to him. Though the character has survived, he has been portrayed in many different ways. In period adaptations, Holmes is always the quintessence of the
It has even been suggested that the character may suffer from Asperger’s Syndrome English gentleman, and is portrayed closely to the detached, logical character of the books. However, recent adaptations, particularly those that have brought the story into a modern context have sought to draw on particular aspects of the character. Sherlock Holmes (2009), and its sequel, starring Robert Downey Jr, retain the Victorian setting, but draw far more on the character’s eccentricity and social ineptitude. This is drawn out in Sherlock to a whole new degree, where it has even been considered that the character may suffer from Asperger’s Syndrome due to his difficulty in comprehending human emotions and social situations and in finding the appropriate way to respond to them. The American version Elementary, on the oth-
er hand, focuses more on the detective’s addictive personality, whether to substances or even cases. In the medical drama House, there are several parallels drawn between the diagnostic specialist Dr Gregory House and Holmes, as the doctor is criticised for his cold and detached manner towards his patients and his team, as well as his addiction to Vicodin and
The popularity of the BBC’s adaptation may offer a clue solving cases. These two factors merge when he begins to put patients’ lives at risk. A similar idea is seen in Benedict Cumberbatch’s portrayal when Watson questions his motives and priorities between solving a case and saving a life. Sherlock type characters may also be seen in recent crime dramas such as Lie to Me or The Mentalist, in which the lead characters are detectives outside of the law and are usually detached from their colleagues, h a v e
eccentric tendencies and, most importantly, the premise which the shows are based on, they have an uncanny ability to deduce information from what they perceive. Laying down these characteristics of Sherlock Holmes still doesn’t explain just why the public l ove s him so much. Is it
because his eccentricity makes him so charismatic? Is it because we want to be as clever as him? Or is it simply because he is different? It may be all of these. The popularity of the BBC’s adaptation may offer a clue. In this representation, Sherlock is not just cold and detached; he is often rude and has been seen to be cruel, manipulating people for his own ends regardless of their feelings. In all honesty he should not be likeable. But we hold Sherlock Holmes up on a pedestal, hailing him as a great British hero. Moriarty blames Sherlock for being “on the side of the angels,” but Sherlock warns him not to mistake him for one. At the end of the last episode he eloquently points out “I am not a hero, I’m a high functioning sociopath.” This is why we love the maverick Sherlock, his brutal honesty, favouring reason over sentiment, his ability to break the rules where we can’t. He may not see himself as a hero, but even as a high functioning sociopath, his selfsacrifice in the name of solving cases is heroic. His dark side only gives more depth to the clever, charismatic, adventurous detective, making him both more human and for the audiences, even more heroic. And this is why we love, and will continue to love Sherlock Holmes.
Story by Ellen Orange lustration by Madeleine Brown
In 2012, Guinness World Records announced that Sir Arthur Conan Doyle’s famous detective was the most portrayed character in film and TV. With 60 books written by the original author and 254 subsequent adaptations with over 75 actors representing him, it is clear that Sherlock Holmes is one of the most popular literary characters in existence, but why? Recent adaptations such as the blockbuster film directed by Guy Ritchie, the American series Elementary and, perhaps most significantly, the BBC’s Sherlock have renewed interest in the character that has now been in existence for over one hundred years. The popularity of the detective story is understandable; it is an adventure, and a puzzle or a mystery to solve. The detective figure has become a hero and has survived social change to still be hugely popular today. Writing at the end of the Victorian period, Sir Conan Doyle has created what many see as the epitome of a good detective novel, in his stories of Sherlock Holmes.
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F EAT U R E S i 4 how does DUCK spend your N D I G O
You’ve bungee jumped for us. You’ve raced through mud, ice and fire for us. You’ve hitchhiked across the world, danced in Market Square, sponsored rubber ducks, baked cakes, eaten cakes, and slept in a cathedral for us. But who is ‘us’? Most obviously, ‘us’ is DUCK: Durham University Charities Kommittee: the group of Student Exec members; their teams; college reps; and all of the other people who help DUCK to run hundreds of fundraising events every year. But more importantly, DUCK is the charities that we
support. DUCK is the teenagers at risk of homelessness in Durham, the local children suffering from cancer, the women affected by domestic violence, and the destitute families whose homes were destroyed by Typhoon Haiyan. Most students will recognise the DUCK logo, but not so many know where DUCK’s money goes. DUCK is very proud of the charities that it works with, and our students deserve to know more about them. How does DUCK work? DUCK is a fundraising organisation, rather than a charity – a common misconception amongst students. DUCK raises money and gives it to other charities. For many events, DUCK gives students three recommended charities as well as the opportunity to choose their own charity; students then go away and raise as much money as they can for the charities that they have chosen to support. Some other events, and all rag-raids, are in aid of a specific charity. When students take part in expeditions, they raise money for the charity that their chosen expedition supports. How do you choose your recommended charities? We always recommend one local, one national and one international charity. DUCK has a ‘Giving Strategy’, which helps us look for certain criteria to be fulfilled w h e n choosi n g charities; our
main objective is to support the causes which provide ‘maximum impact’ for the money that we raise. Our Charities Officer researches all of the charities that we support, checking everything from chief executive pay packets to sustainability and admin costs. We try to support a range of charities, but we are always open to new causes and suggestions! What does it mean when money is being raised for DUCK, rather than for a specific charity? Most college events raise money for DUCK. This money is placed in a central fund, which is distributed each year through the Allocations Process. Local charities apply for grants of up to £1000 to fund a specific project, and a panel meets at the beginning of Easter term to read through the applications and distribute the money accordingly. Can I trust DUCK with my money? Absolutely! All of the money that DUCK raises goes through the Student’s Union Finance Office, and the Student’s Union employs a Fundraising Officer who supports the DUCK Exec with their money-raising events. At the end of this year we will release a financial report detailing where all DUCK’s money has gone, but for now you can be confident that DUCK only recommends effective, transparent and sustainable charities that provide a fantastic service; whether that be building schools in Kenya or helping the homeless here in County Durham. Obviously, personal choice will play some part in the charities that we recommend, but that is why, whenever possible, we offer you the chance to choose your own charity. DUCK has recommended a variety of different charities so far this year, and we are looking forward to working with even more. Throughout DUCK Week (3rd – 9th Feb) we will be sharing videos on our Facebook page, telling you a little bit about a new charity every day. For now, here’s a small snapshot of the wonderful work of three of DUCK’s Michaelmas Recommended Charities:
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features@palatinate.org.uk
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Rose Mortimer explains how Durham University Charities Kommittee works, and what they do with the money raised.
Comrade of Children Overseas (COCO) is a relatively small charity, based in Newcastle, but working internationally across Africa. Over 40 million children in Africa do not get the opportunity to go to school. Instead, one in eight of them die before their fifth birthday from treatable illness often caused by drinking dirty water, lack of food, or malaria; those who do survive are likely to be kept at home for want of fees and uniforms. For many, childhood consists of hard labour at best, and at worst, abuse, exploitation and even death. COCO works to provide educational opportunities to children in order to lift them out of the cycle of poverty. Currently COCO is working with seven project partners in Tanzania, Uganda, and Kenya, specifically targeting communities that other organisations have not been able to reach. After visiting the COCO offices in Newcastle, DUCK’s Charities Officer was impressed with COCO’s projects. Because it is a small charity, COCO is able to be more flexible and needdriven than other larger organisations. COCO attempts to fulfil the needs of the specific community by asking questions and determining the root cause of problems in order to provide sustainable and culture-specific solutions. Most of the time, COCO responds to requests for help from the African communities, so it never implements a ‘solution’ where it is not wanted. As Durham is an educational institution, DUCK thought it important that we support COCO’s work to provide educational opportunities to those less privileged than ourselves. Refuge is a national charity working to support women and children suffering from domestic violence. This year, 750,000 children and 1.2million women in England and Wales experienced domestic violence. Refuge provides: a free National Domestic Violence Helpline, open 24 hours a day, a network of refuges across the country which provide safe accommodation along with support for women
fleeing abuse, and independent domestic violence advocacy providing expert advice from women going through the legal system. Refuge also campaigns and lobbies the government in order to ensure that tackling domestic violence remains on the agenda, as well as running other campaigns in order to raise awareness amongst the public of this important issue. DUCK was overwhelmed by Refuge’s thorough approach, providing a holistic service which tackles domestic violence from all angles. Domestic violence is a huge problem, but is also particularly prevalent in the North East – domestic violence costs Newcastle City Council £33.6million per year. Mind (Chester Le Street and Durham City) is a branch of the national mental health charity. Statistically one in four people suffer from a mental health problem in their life time: everything from depression to anorexia, schizophrenia to bipolar. Mind provides advice and support to empower anyone experiencing a mental health problem, campaigning to improve services, raise awareness and promote understanding. Because there is a lot of stigma attached to mental health problems, many people find it hard to come forward. Mind provides vital support and advice in a respectful and non-judgemental environment. DUCK chose this branch of
Mind as a recommended local charity. Each local Mind is an independent charity run by local people, for local people. Each brancis responsible for its own funding and the services it provides, whilst still affiliated to Mind, which ensures that each one maintains high standards, yet provides services specifically tailored to meet the needs of the local community. Having spoken to the University Counselling Service, it is clear that mental health problems are relatively common amongst Durham University students, and we feel that many students would relate to and recognise the importance of the work that Mind does. Mind has been credited with the Information Standard, meaning that the information that it provides has been judged reliable and accurate by an independent authority. This makes it a valuable resource not only for people suffering from mental illness but for friends and family wanting to learn more about it. Story by Rose Mortimer Images by Durham Universty Charities Kommittee
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Sophia Smith Galer & Jack Collins - music@palatinate.org.uk
MUSIC
otis williams//the temptations
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It’s surprising that nowadays songwriters are still relatively unknown; people only tend to know whose behind the writing of the song if they have a special interest in the business, or if it was the artist themselves. However, Otis is right to bring up songwriting since it is now, more than ever, a ploy to grab more attention and make more money. Miley Cyrus controversially demanded a ‘ratchet sound’ from her songwriting team for her latest album Bangerz, proving that pop music, the most populist of genres, is really getting screwed over by artists and their songwriting teams that are willing to do anything to get a bigger fan base. In this same vein I asked Otis about his thoughts on choreography today, since The Temptations are well-known for their smooth, sharp yet understated moves (and, pointedly, no twerking necessary). He ended up saying a lot more about how an artist in fact should not only dance but carry themselves.
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Photo Credit: The Publicity Connection
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f there is anyone in the music business to consult about the changing face of R&B, it’s Otis Williams. Born in Texas in 1941, he would go on to be a founding member of The Temptations, the vocal group that defined 60s American music with their hits like ‘My Girl’ and ‘Papa was a Rolling Stone’. The group began performing in a difficult time for black artists in the US, but their career took hold as the first motions of the civil rights movement were tentatively beginning to build momentum and the group speedily rose to become one of the best-selling vocal groups of all time. Otis is the last founding member of the group to continue performing today, and I was fortunate enough to have the opportunity to ask him for some musical wisdom, all bestowed in that inimitable Detroit drawl.
So what’s the business like today?
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Now they got the record deals and they make the hit, and how to make that money and keep that money... because you see we’ve had to break down a lot of barriers for artists today to come along and make money quick.’
We were surrounded by guys instilling in us about how to carry ourselves as a consummate performer, and how to always be ingratiating to our fans and be in it for our vocation not our advocation...we came along at a right point in time because we had to go to school for it, you know. Motown had artist development and from 10 in the morning to 5 or 6 in the evening we went to school learning about showbusiness. It’s almost unheard for artists to think on those lines today. To them, it’s almost like that’s too much.” However, not all artists are like this. There is one that has to come to mind - is it by any chance a ‘Crazy in Love’ lady who has managed to both have a baby and work on a huge visual album in the space of two years?
otis williams
When asked about what he thought were the issues that R&B artists had to handle today, his immediate response was of no surprise: “I do not denigrate any of the artists that have aspirations of making it today... but I’m just saying that they don’t have to face what we faced during the 60s and the early 70s.” Their career, spanning over 50 years, has seen the US move from a segregated and racist society to one in which an African-American has made it to presidency, and Otis describes it movingly;
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We used to have to perform in a place in South Carolina that had a rope right down the centre of the auditorium, blacks on one side and whites on the other side. When we came back to the same place the next year the rope was gone and blacks and whites were sitting side by side enjoying it. If it wasn’t for that we were sweating so bad you would have seen the tears in our eyes...so, you know, it’s a whole other energy thing going on.’’
Here is modern music’s fatal flaw; the groups that managements forge and pump out aimlessly into the stratosphere, the focus groups called in to discuss band names and song titles.Where’s the hard graft and the naturalism of spotty teenagers forming groups in their attics and growing together as they find success? This might speak more for rock music than R&B but R&B, hip hop and rap have all seen the same synthetic prolapse. Female artists get plastic surgery, male artists get toned, and everyone sings about money and sex. It’s a distant cry from the honest reality of Motown love songs.Think about The Temptations’ ‘My Girl’, or Otis Redding’s ‘Try a Little Tenderness’...it’s another world away. Otis has long been credited as The Temptations’ businessman, so I had to ask him whether it’s important as an artist to have a good mind for business.
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Oh, absolutely, because you see the money is greener now. You see back during the day the companies, you know, were telling us nothing. Now I tell artists, anybody, you write a song? Well, when you gonna publish it? Cause that’s where the money’s made in the copywrighting and publishing of the song. That was unheard of back during the 50s and 60s.”
“Beyoncé is a bad young lady”
“Beyoncé is a bad young lady”
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I’ll tell you the one that I admire and respect to the utmost and that’s Beyoncé. As young as she is, she’s old school and I admire and respect her for her success. So when I hear people trying to talk about her, I have to walk away, because I get mad when you start talking bad about Beyoncé . She’s a marvelous, talented person but she’s old school, she work s***, she don’t take that stuff for granted. I admire that about her. She’s the one that comes to my mind, first of all, over any other young artist today. Beyoncé is a bad young lady.”
I tell him that they don’t quite make them like him anymore (other than, of course, Beyoncé) and the response was a bashful “Awh, thanks”. As Otis said himself, “I’m still in the business. It’s not like I’m once removed and I don’t know what I’m talking about. I’m still out there.” The Temptations’ success lies in their hard work and their respect for their fans and their business alike. They are playing the Newcastle Metro Radio Arena on the 27th March and I urge anyone to go if they want an insight into the golden age of Motown; one that has passed, but one that might see glory again in its modern day rhythm and blues manifestations. Interview by Sophia Smith Galer
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Sophia Smith Galer & Jack Collins - music@palatinate.org.uk
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beyoncé
Beyoncé, the fifth album from the R&B superstar Beyoncé Knowles was neither hotly anticipated nor sought after by diehard fans in order to leak on to the internet. Instead, late on Friday 13th of December last year, the album was unexpectedly released on iTunes with absolutely no prior promotion. Another surprising element to make the music industry’s head turn were the 17 additional music videos that accompanied the tracks. Before even pressing play it’s clear that Beyoncé is trying to reinvigorate aspects of the R&B genre.
The visuals accompanying these songs leave even less to the imagination. With its origins in an area of her hometown Houston, her new persona Miss Third Ward appears to represent the sexual liberation that Beyoncé is pushing for in this album. Blaring through the speakers throughout Beyoncé comes mighty vocals, sexual lyrics and powerful bass
The introspective and intimate aspects of Miss Third Ward are certainly sexual but as equally present in Beyoncé are painful insights into the singer’s marriage and motherhood. The instrumentals on these tracks are collectively more stripped back and ethereal with piano chords replacing the snares and the drums. Despite featuring a rather lack-lustre verse from Drake, “Mine” showcases some interesting melodic transitions. This song along with “Superpower”, featuring low rumbling vocals from Frank Ocean, tells of the insecurities within Beyoncé’s marriage. To end the album, “Heaven” and “Blue” serve as poignant tributes to both Beyoncé’s child who died in a miscarriage and her daughter Blue Ivy.
beyoncé//beyoncé
This album has been hailed as Beyoncé’s most sexually audacious album yet, breaking down barriers that may have held her back from expressing this sensual dimension of her music. Beyoncé is certainly rife with sexual imagery, yet to listen back over her discography, including songs such as “Naughty Girl”, “Freakum Dress” or even “Baby Boy”, serves to show that Beyoncé had never been bashful when it came to song writing. What is as powerful as the bass is Beyoncé’s message of female liberation blaring from various points of this album.
Beyoncé begins this project with “Pretty Hurts”. Despite feeling slightly hit over the head with certain sugary lyrics such as “Perfection is the disease of the nation” and “It’s the soul that needs the surgery”, this is an uplifting and powerful track which showcases both the singer’s admired vocals and her important presence as a role model for many young girls. Many have called Beyoncé the singer’s most intimate and revealing album, in both sonic and graphic terms. “Blow” produced by Timbaland, Pharrell Williams and Jerome Harmon is infectious due to its catchy hook and guitar lead that is reminiscent of another of Pharrell’s hit productions on Daft Punk’s “Get Lucky”. This song delivers some of Beyoncé’s most overtly sexual lyrics like “Make sure you clean that box, that’s the only way to get the flavour” which thankfully become slightly less obvious in songs such as “Rocket” and “Partition”.
walker & royce@fever
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n Friday 31st January, the boys behind Fever have secured the services of Brooklyn house duo Walker & Royce to bring the best that New York has to offer, right to your doorstep here in Durham. With their signature soulful, heavy basslines, Sam Walker and Gavin Royce have made quite a splash over the past two years to house music, with their single Connected receiving considerable airplay on both sides of the Atlantic and becoming something of a house anthem. We spoke to Josh Barrow, one of the brains behind Fever, to see what he had to say about bringing such a big name on the circuit to Durham.
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We couldn’t be more excited to get Walker & Royce in for Fever. We’ve been following them for the last year or so and they’ve been making some real waves on the music scene. They’ve got such a unique sound in that they’re blending some really deep groovy baselines with contemporary vocals. By doing this they’re really bringing house music to the forefront of UK chart music. Pete Tong recently featured them on his Radio 1 show as future
Beyoncé has a clear aim in this fifth studio album, it is, however, Nigerian author Chimaanda Ngozi Adichie who delivers this message in concrete terms for the singer. Beyoncé uses Adichie’s definition of Feminism in “***Flawless”, to unambiguously describe much of what we hear and see in this album; “Feminist: a person who believes in the social, political and economic equality of the sexes”. Riding this wave, Beyoncé has also written an essay on gender equality, published in The Shiver Report. One of the effects of the accompanying music videos is to compound the sexual imagery of Beyoncé’s lyrics. Nevertheless whatever we may think of the skimpy outfits or the dance routines in Beyoncé, they fall short of other examples of music or music videos by other men and women which are much more sexually charged and gratuitously explicit which often avoid scrutiny. What Beyoncé is searching for in these revealing songs and her raunchy videos, all of which depict the intimate moments of a monogamous relationship, is sexual equality and liberation.
that seems to reverberate from start to finish. The hip-hop influenced heavy drum beats and trap snare rolls that appear frequently during this album on songs like “Drunk in Love” and “***Flawless” compound this aggressive persona of Beyoncé.
stars of 2014, so hosting them up in Durham will be pretty special.” f funky, groove-driven house sounds like your idea of a good night out, then this is not going to be one to miss. Get down to Loft on 31st January, experience Walker & Royce and prepare to dance yourself into the ground.
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By Jack Collins
xxxy/EM@palatinalps
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ith a last minute cancellation by Bondax, the Palatinalps Committee played a masterstroke by bringing in Manchester-based underground hero xxxy and current darlings of the Bristol house scene, Eton Messy. The night started with a 6 minute ride in the Funicular, a railway though the mountain, propelling the eager crowd to over 3000 feet. Eton Messy opened proceedings with a predictably excellent set, getting everyone moving with a selection of classic tunes, old and new. A highlight was the phenomenal Blonde rework of Corona’s
7/10 Story by Edris Nikjooy Photo Credit: Ernesth Garcia
90s anthem ‘The Rhythm of the Night,’ which had set the dancefloors of the Alps alight over 20 years previously, in a nostalgic touch which resonated nicely with the intimate venue and lush alpine backdrop. As the anticipation reached its summit, headline act xxxy took to the decks and proceeded to drop two hours of his trademark garage-house crossover style, while we were told that we were currently at “The Highest Party in Europe.” Although not to everyone’s liking (one lad was shooed away from the front for holding up his phone which requested more ‘recognisable tunes’), those with an appreciation for the DJ’s signature sound were treated to a set packed with typical breakbeats and deep riffs. Even when the lights came up and the staff were trying to show everyone the door, a merry troupe around fifty strong kept on boogying in the brightness, ultimately getting the staff to dance with them and bringing smiles all round, as the DJ himself promised to carry on the party down in the resort below. The ride down was bustling with life, with happy punters singing and chanting away, with a perfect experience on the mountain in the bag, and the wild promise of Tignes’ Melting Pot club still in the air for the night ahead. JC.
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Frances Marsh - visual.arts@palatinate.org.uk
V I S UA L A RT S
MPs honoured in £250,000 portraits
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Ruth Townshend debates the value of portrait painting
he media is in uproar after it has emerged that £250,000 of public money has been spent on portraits of MPs, an affair that has been labelled an ‘expensive vanity project’. Conservative, Labour and Liberal Democrat representatives have all sat for paintings, splashing four and even five-figure sums for each commission. Now we can add ‘portraits’ to our list of MPs’ extravagant expenses, along with a £1,645 ‘floating duck island’ and £380 worth of horse manure. Ladies and gentlemen, here we have Paintgate. Yes, a quarter of a million pounds is an eye-wateringly expensive sum during this time of austerity, and yes, the money could be better spent on public artworks or projects. But spending money on artwork cannot be compared to spending money on cute garden features. Unlike Sir Peter Viggers’ Duck House, portraits are an important part of British
We ought to continue the tradition of applauding our politicians for the work they do history. A spokesperson for Parliament said that the collection aimed to record “those who have made a significant contribution to UK political life over the centuries”. In England, historically important people are celebrated by being painted and stuck on a wall, and as a proud democracy we ought to continue the tradition of applauding our politicians for the work they do. In general, MPs are not money-driven monsters on a power trip, but the recent expenses scandal has certainly given them a bad name. It should be noted
that the annual salary for an English MP is £66,396; a figure that seems insignificant in contrast to the pay packets received by other professionals such as bankers. Compared to worldwide leading democracies, English MPs are in fact paid very little: Australian parliamentarians earn almost double that of an English MP and those in Japan earn two and a half times that figure. The current climate is less than friendly towards politicians in light of the ex-
The problem here is that these portraits are only visible to a select few penses scandal (I wouldn’t blame MPs for emigrating to Japan, or even Australia), and many voters feel that the current system has been undermined by politicians misusing their expenditures. Therefore the paintings of MPs might be better used as a way to promote a positive image of the people who strive to make the country a better place. If
Paintings offer a richer spectrum for analysis it worked (temporarily) for the painfully unpopular Charles I, maybe George Osborne has a glimmer of hope. Maybe. Placing portraits in public areas of an MP’s constituency such as libraries and town halls would demystify politicians and forge a vital connection between the people and their representa-
tives. The problem here is that these portraits are placed inside the Houses of Parliament, visible only to a select few. In the grand scheme of government spending, £250,000 is a small amount of money; the
“when photographs are so much cheaper than paintings, politicians need to think twice about immortalising themselves on canvas” heart of the issue is that the portraits are sheltered from the public eye. We have preserved our rulers on canvas for thousands of years, but as Jonathan Isaby, chief executive of the Tax Payers Alliance argues, ‘when photographs are so much cheaper than paintings, politicians need to think twice about immortalising themselves on canvas’. From an economic perspective this argument is relevant, but the point of portraiture is not to capture a photorealistic image but to preserve the essence of a sitter’s personality. The medium of photography does not necessarily allow for the allegorical and symbolic possibilities so central to portraiture. Whilst photography captures a mimetic representation, paintings offer a richer spectrum for analysis and better reflect the relationship between artist and sitter. Portrait paintings are an integral part of British cultural heritage which should be maintained. Story by Ruth Townshend
The Oriental Museum’s Japan gallery features new purchases of contemporary material Durham’s Oriental Museum opened its new Japanese permanent collections back in October. The gallery features new acquisitions of contemporary material from 21st century ceramics and woodblock prints to modern street fashion and manga. Next edition, Indigo, will feature a review of the exhibition but in the mean time you can go and take a look around yourself. Photograph: Kate Weightman, Oriental Museum
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Katie Shuff & Isobel Buckingham - fashion@palatinate.org.uk
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9 the boys are back in town FASHION
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George Winstanley reports from the front row of London Collections: Men
Animal prints at Katie Eary. Photographs by Peter Georgiades
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ondon Collections: Men is a bi-annual series of fashion shows where British designers, as well as other top designers from around the world, flock to the home of Saville Row, Carnaby Street and the three-piece suit to show off their latest menswear designs for the upcoming season. It is the first event on the fashion world’s rammed Autumn-Winter schedule and is a threeday long flurry of flash photography, peacocking and after-parties. This year, Palatinate Fashion got the invite. After scouring our wardrobes for anything other than North East-friendly fair-isle knits, and practising our “nonchalant gazes into middledistance” for the ubiquitous street-style photographers, we hit the streets of Covent Garden. Here, Palatinate Fashion brings you the highlights from a truly spectacular season for British menswear. Topman The Topman show was widely anticipated, and the excitement before the show was running high. It did not disappoint. In the atmospheric Topman Show Space in the Old Sorting Office, the show kicked off with a compelling reading of John Cooper Clark’s poem, specially composed for the collection. Gritty, nautical influences weaved themselves throughout the collection, with duffle coats, anoraks and chunky knits remaining prevalent. Contrasting textures were used to striking effect throughout; in a fashion first, knitwear was married with its sartorial opposite: wet-look PVC. The finale drew rapturous applause as sprinklers drenched the solemn-faced models as they stalked the runway. Perhaps the applause would have been slightly less enthusiastic if all of the meticulously dressed front-row socialites’ iPhones had been soaked as well; but luckily, Messrs
Tempah, Gandy and Grimshaw were spared from having to accessorise their outfits with a towel. Katie Eary Katie Eary’s collaboration with the Saville Row tailor Richard Anderson was awaited with baited breath prior to LC:M. Indeed, there had been much speculation as to what Miss Eary could possibly do to build on her already considerable reputation. The talented designer, however, wowed the crowds with an incredible array of punk-influenced designs
Micky Mouse helmets set a rather surreal neo-punk tone that seemed to have emanated directly from a David Bowie trip. Ripped and zippered drainpipe trousers, strait jacket blazers (probably the most salient example of high fashion’s disregard for practicality), a soundtrack that included the Pixies’ “Where is my mind” and those evocative Mickey Mouse helmets set a rather surreal neo-punk tone. This nod to punk culture is a departure from Eary’s earlier hip-hop influenced work which garnered her so much attention previously, but it’s safe to say the brave change in direction was executed with aplomb. The whole set of designs complemented each other brilliantly. The orange and black colour scheme and the use of animal print was luridly psychedelic and, along with the Mickey Mouse helmets, certainly ticked the
box in terms of shock factor. Orange strait jackets and Mickey Mouse helmets aside, Eary’s collection also contained some truly ‘wearable’ pieces and show the strength of a designer whose reputation flourishes with every new collection.
Oliver Spencer The Oliver Spencer show did not start out auspiciously. The show was delayed after a pipe burst above the catwalk meaning the assembled crowd was cast back out on New Oxford Street for fear of an electrical fire. After such a theatrical start, the line certainly had something to live up to and thankfully it did not let us down. The collection was not shocking like Katie Eary’s, but it held true to Spencer’s signature look of unstructured tailoring, smart outerwear and heavy modern ‘country gent’ vibe. The palette was imbued with earthy greens and, paired with spikes of burnt orange and yellows, created a subtly elegant contrast; a quality for which the brand is instantly recognisable. The standout piece, perhaps, was the orange suede bomber with navy trim. The live drum kit played by The Specials drummer, John Bradbury, as well as including celebrity fans of the designer, Alex James (of Blur), Dylan Jones (of GQ) and Gary Kemp (of Spandau Ballet) in the show provided a touch of novelty to this display of sartorial classicism. Once again, Oliver Spencer showed why he is one of Britain’s brightest talents in the fashion world, striking the delicate balance between fresh modernity and that unmistakable, yet endlessly elusive, term: ‘Britishness’. Story by George Winstanley
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3 0 J A N
Diana Grant-Davie - food@palatinate.org.uk
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FOOD & DRINK
N D I G O
borough market does burns night Diana Grant-Davie visits London’s Borough Market for Burns Night ingredients Borough Market located near Southwark in South London, is the city’s oldest and busiest market. With over 140 stalls ranging from artisan bakeries to gourmet olive stalls, it’s a heaven for food lovers and well worth a visit if you’re in London! The winding passageways and the rumble of trains passing above the market provide a Dickensian atmosphere of old Victorian London, while the glimpse you can see of the Shard from the market reminds visitors of the City’s presence just around the corner. One of my personal highlights is the Chegworth Valley stall, offering a selection of freshly pressed organic cloudy apple juices. The helpful staff offered small samples of the juices, including their new range of mixed fruit juices. The sharp Bramley apple juice and the sweeter strawberry and apple drink offered an excellent contrast and tempted me into buying several bottles. However, what attracts the majority of customers to the stall is the hot apple mixture with cinnamon served warm in cups. The market becomes progressively busier between 12-2pm and during the Christmas period, when hours are extended and The Borough Market choir present a Christmas carol concert. The increase in tourists is noticeable during , December and January but for the majority of the year, the market is patronised by a mixture of tourists, local residents and Londoners from across the city.
The market organised a Pride of Scotland festival highlighting specialist Caledonian food As well as an abundance of gourmet British cuisine, Borough Market has a number of specialist international stalls. De La Grenade offers a selection of guava jams and chutneys from the Caribbean, while Tapas Brindisa is an ideal place to stop for a few tapas to keep you sustained while shopping. The Spanish tapas celebrates its tenth anniversary this year and its delicious dishes, quick service and prime location mean that the queue stretches out the door on most days.
Photography: Hakan Dalstrom Borough Market is host to a variety of events related to seasonal holidays throughout the year, including the recent Burns Night. In keeping with the Scottish celebration, the market organised a Pride of Scotland Festival highlighting specialist Caledonian food and drink. Professional chef, Luke McKay, also held a demonstration workshop at the market, focusing on high quality Scottish salmon and the variety of dishes which can be created using the fish. One of the specialist ingredients sold at Borough Market on the Burns Night weekend festival is Scottish oats. Cranachan, a hot dessert of oatmeal, cream, whisky and raspberries, is a popular dish served on Burns Night and other special occasions in Scotland. Similar to Eton Mess, cranachan is traditionally served in dessert glasses. The ingredients are brought to the table in separate dishes, allow each individual to assemble the dish to their liking. Ingredients: • • • • • • • •
75g porridge oats 35g flaked almonds 450ml double cream ½ tsp vanilla extract 3 tbsp whisky 3 tbsp clear honey, plus extra for drizzling 400g fresh raspberries 2-3 tbsp caster sugar
Serves 6
1. Put the oats and almonds in a large non-stick frying pan and dry-fry over a medium heat for 4-5 minutes, stirring occasionally until light golden-brown. Remove from the heat and leave to cool. 2. Pour the double cream and crème fraîche into a large bowl and add the vanilla extract, whisky and honey. Whisk with an electric whisk until floppy peaks form. Don’t over-whisk the cream as it will stiffen further when mixed with the oats. 3. Put half of the raspberries into a sieve over a clean bowl and press with a ladle to make a vibrant pink purée. Discard the seeds. Sweeten the purée with the sugar to taste. 4. Set six tall glasses or tumblers on a tray. Put a spoonful of the whipped cream and whisky mixture in the base of each glass. Sprinkle half of the oats and almonds and half the whole raspberries on top. 5. Drizzle over half of the raspberry purée. Repeat the layers once more. Keep the layers as loose as possible. You can assemble all the ingredients ahead of time but make sure you serve the puddings as soon as they are layered 6. For a lighter cream mixture, you can substitute 150g half-fat crème fraîche for 150ml of the double cream.
Photography: Jack Gavigan
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Aalok Vora - film@palatinate.org.uk
F I L M & TV
oscar bait
Indigo reviews two heavyweight Oscar nominees: 12 Years a Slave & The Wolf of Wall Street
S
et amidst the economic boom of the 1990s, The Wolf of Wall Street recreates a world where bucks are big and taste is poor – an unfortunate quality which the filmʼs protagonist, banker Jordan Belfort (Leonardo DiCaprio), struggles to shake off. Director Martin Scorsese stages a rags-to-riches romp, as Belfortʼs company Stratton Oakmont progresses from selling penny shares in a Long Island garage to stratospheric heights of wealth. Ironically, Belfort requires unbelievable levels of extravagance and debauchery to reveal to him just how empty his interpretation of the American Dream really is. One of the filmʼs funniest and most memorable scenes takes place early on, featuring an inspired cameo by by Matthew McConaughey as Belfortʼs mentor. The two men calm their drug and testosterone-fuelled selves, eyes closed, humming a tune and rhythmically beating their chests over lunch in a classy restaurant. From this moment on-
wards Belfort begins his Lord of the Flies-esque descent into anarchy, with morals plummeting more swiftly than Lehman Brothersʼ stock. The Wolf of Wall Street has been the subject of much controversy, as various critics have accused Scorsese of glamourising Belfortʼs life of unashamed sin. Despite this, it has been nominated for and won a bevy of awards, and will compete for 5 Oscars next month including the coveted Best Film, Best Director and Best Actor prizes. Scorsese refuses to shy away from Belfortʼs selfindulgent hedonism, as exemplified by the filmʼs record-breaking 506 uses of the f-word. Precious little, bar Jonah Hillʼs most intimate areas, is censored. But despite our front row seats on this Wall Street roller coaster, we never fully commit to the recklessness the film relates. The fruits of Belfortʼs wealth are so plentiful they can barely be contemplated and his life of excess, in which yachts become disposable objects, is ridiculous from start
N D I G O
to finish. Arguably, the filmʼs comedy is earned as we watch safe in the knowledge that whilst true events are unfolding before us, the charactersʼ near fantastical lives are completely removed from our own. For its 3 hours, The Wolf of Wall Street is never boring. DiCaprio is totally committed to his portrayal of Belfort, charismatic and revealing an unexpected comic brilliance. Scorsese toys with a variety of non-realistic cinematic techniques which sustain the filmʼs quick pace, with freezeframes, flashbacks and voice-overs which represent Belfortʼs mind games with various other characters. Terrence Winterʼs script is responsible for the filmʼs deadpan humour, where some of the biggest laughs stem from the quickest lines. From the outset, The Wolf of Wall Streetʼs ending is clear – antiheroes like Belfort never save the day and get to keep the treasure or the girl. However, the film provides thoroughly enjoyable escapism, as we laugh freely both at and with Belfort and his merry band of bankers, all without having to invest in the consequences of their hedonism. But like any roller coaster ride, getting off is always a relief, and we leave the cinema with a newfound appreciation of our very normal bank balances. Review by Justina Crabtree
the wolf Image Courtesy of Fox Searchlight Pictures Image courtesy of Universal Pictures
A
t the heart of this film lies an incredibly powerful reversal; the sudden shackling of a man’s freedom by the manacles of
slavery. That the film’s protagonist, Solomon Northup, has recourse to recent memories of freedom allows for an insight into slavery that a person born into slavery could not achieve. This insight is made manifest in the remarkably expressive face of actor Chiwetel Ejiofor. His sorrowful eyes convey an elegy to freedom and humanity; straining with anguish and dilating with desperation. His eyes also bear a certain perspicacity in perceiving, to a certain degree, the perverse distortion of morality at the core of slavery. He remains conflicted, tussling between the choices he would make as a free man and those he must make as a slave. This stands distinctly against the backdrop of people less captive to this conflict of choice. In a telling exchange of dialogue, Northup reveals that he does not merely want to ‘survive’, the dogma of those held in slavery; he wants to ‘live’. He progressively realises that this statement is a privileged one, enabled by his experience of freedom and he soon chastises
a fellow slave for her constant lamentation at the loss of her children. From here on his free mind is constantly checked by his enslaved body and, slowly, the two halves begin to form a new whole. His choices become dictated by the exigencies of survival as his freedom becomes more of a distant murmur in his mind. The director, Steve McQueen, does not limit his narrative to the slaves. He also depicts a spectrum of slave-holders and in presenting us with the, often demonic, other half of slavery, he shows us a very different perversion of humanity. They are men who, in robbing others of their freedom, have imprisoned themselves and thus found themselves in conflict with inescapably universal emotions. Nowhere is this more evident than in the character of Edwin Epps (Michael Fassbender) who lurks, sneers and stalks his slaves with monstrous malice. Renowned for ‘breaking’ his slaves, he has unknowingly broken himself and tortures himself out of adoration for one of his slaves, Patsey (Lupita Nyong’o). When he sees her, his face forms strange contortions, from a salacious smirk to a disdainful sneer, his ferocity tempered by his love. He has rendered himself incapable of behav-
ing with certainty and sincerity; his actions and gait are often inhuman and he is shown, at one point, writhing in the mud with the pigs. Though the slaves are those most obviously and explicitly punished in the film, all actors in the slave industry are shown to be missing vital components of themselves. Many have commented on the lack of depictions of slavery in cinema. I would argue that this is because people have not understood how to approach the matter. We should not try to understand slavery; be it the motives of the holders or the emotions of the slaves. This is a difficult, near impossible, task as these aspects are so far removed from our own notions of humanity and morality. McQueen realises that his role as an artist is to expose the stark contrasts and conflicting images at play in slavery and populate this world with equally conflicted characters. This in turn elucidates the perversity of events and can truly convey the dearth of compassion and hope which slavery represented for all too many.
a slave
Review by Aalok Vora
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Emma Dawson - stage@palatinate.org.uk
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3 0 J A N
STAGE
N D I G O
‘tis the time to see new writing
Each Durham Drama Festival playwright tells Indigo a little bit about their play. The Noctambulist by Joe Skelton
The Eve of St. Agnes by Antonia Goddard
The Noctambulist deals with themes that are pertinent
The beauty of Keats’ poetry has always entranced me,
Maude wants adventure, Mel wants to escape, Scott
to the position of the student: Albert is a spirited critic
yet it is only since arriving here that I have realised
hopes to learn something and Lily is feeling curious.
but one who sits at the side, commenting without acting.
how well Durham’s gothic landscape fits with one of
All Carl wants is to be inspired. I’ve always wanted
At night Albert sleepwalks. His night time wanderings
his most famous poems, The Eve of St Agnes. Keats
to write a play, so this summer I decided to give it a
and eccentric personality inspire him to create an alter
conjures up the mystic, medieval world of our ancestors
stab, and this little whim resulted in Still Life. It’s a
ego for himself - The Noctambulist. Albert becomes a
and sets us between the two lovers, Madeline and Por-
short piece about five strangers and a radical vision
figure in which the super hero, the terrorist, and the
phyro. I wanted to make my The Eve of St Agnes more
that brings them together. I wanted to write something
couch potato are rolled into one. With a comic touch,
than a play I wanted to do what Keats did, and take us
engaging and challenging that would leave the audi-
The Noctambulist questions how society can be helped,
into their world. As such the play is an entire experi-
ence with a lot to think about on the journey home. The
who should do it, and in what way.
ence, the audience led by candlelight into Durham
characters share a ‘collaborative evening of explora-
Cathedral and kept captivated until the end.
tion’ – can we tempt you too?
What’s the Harm? by Alex Prescot
Roadway and Bink by Ruby Lawrence
Still Life by Sian Green
Casting Bronze by Thomas Morcom
What’s the Harm?, above all, will make you think. I
Enter the world of two eccentric friends. Trapped in an
Casting Bronze is a play about not coming first. In its
knew it was going to work as a play because, before
unfinished living room with nothing but each other’s
own quirky way it attempts to show how exhausting
I’d written it, I told a few people the basic outline for
company and some strange trinkets, they survive on a
loss can be and the sacrifices necessary to overcome it.
the story and they were really interested in the moral
diet of wordplay and imaginings. When one of them
The play’s strength rests on the refusal of its character
dilemmas which the play raises. Trials such as the ones
dares to dream too big, their fragile existence is threat-
to conform and their inexorable acceleration towards
featured in the play are always in the press, and many
ened. Roadway and Bink is an absurdist comedy about
its climax. It begins when Pat, a young man carrying
people have strong opinions on teachers and pupils
what we hold most precious and what happens when
a shield, is offered a job. Exhausted from past failures,
getting involved with each other. It’s a play that’s
we let it go.
he accepts. But his ancient employer, Curer, is rapidly losing his grip on reality, and in a surreal conversation,
answers on a plate.
drags both of them into an unravelling spiral of decep-
Listings
shocking, believable, and that doesn’t give you all the
Castle Theatre Company
Hild Bede Theatre presents
Thrust Stage presents
presents Comedy Cabaret
A Servant of Two Masters
The Babysitters
in Castle Great Hall
in Caedmon Hall, Hild Bede
in The Assembly Rooms
on February 1st
from February 6th to 8th
from February 6th to 8th
N D I G O
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Emma Dawson - stage@palatinate.org.uk
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3 0 J A N
STAGE
Quantum Immortality by Mariam Hayat
Puppet State by Christopher Yeates
Varmints, a devised piece directed by Ella Holloway
If you have a penchant for American accents, quan-
Puppet State is an exposition of the variety of ways in
Varmints explores environmental themes through an
tum conundrums, and deranged ravings, come see
which human beings attempt to exert power and influ-
interesting and emotive narrative. Physical theatre
Quantum Immortality, which follows Professor Henry
ence over one another. This is hardly fresh territory,
is extremely exciting, as it comes from plenty of hard
Everest as he attempts to create a working ‘immortal-
but what I hope will separate Puppet State and make
work (and fun) in rehearsals and is always entirely
ity device.’ His obsession soon becomes insanity and a
it engaging are two elements: the particular emphasis
individual. Your body is worked really hard, and your
creative mix of lights, sounds, and projection allows
placed upon the context of war as presenting not only
voice and mind are pushed intensly to connect with
the audience to empathise with Henry’s anguish and
the opportunity for destruction and inhumanity, but
the audience. I would like to show Durham a different
desperation. The structure of the play was heavily in-
also personal freedom, and the experimental use of
sort of production which will rely on my strong cast
fluenced by the physics involved e.g. the non-chronolo-
dancers to portray a world connected to but independ-
working really hard. I’m excited, so come watch, be
gy symbolises the Uncertainty Principle. The play also
ent from our corporeal one. Achieving the contrast
enthralled, and share my excitement!
has no scene changes, so there’s no waiting around for
between how the actors and dancers present chang-
props to be positioned, just thirty-five minutes of pure
ing physical, political, sexual, and linguistic dynamics
drama and excitement.
between two characters desperate to survive will be a challenging, but hopefully a stimulating and enjoyable process.
Turn over for more on DDF...
Photograph: Sofia Alzetta Greaves
Emma Dawson - stage@palatinate.org.uk
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3 0 J A N
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STA G E
N D I G O
‘this year’s DDF is going to be even bigger and better than last year’
Indigo interviews the Exec about what to expect from the DDF 2014: Zoe Ogahara (Festival Director), Lewis Meade (Head of Publicity), Clara Duncan (Production Liaison), and Emily Houghton (Socials Officer) What can we expect from this year’s DDF? LEWIS: We can expect to see some of the best original student writing that this University has to offer, alongside some of the very best acting talent from the past term. As well as this, we are putting on several workshops run by industry professionals throughout the week. EMILY: This year’s DDF is going to be even bigger and better than last year - of course! The Exec has been overwhelmed by the amount of writing talent within our Durham population and has managed to put together an amazing lineup. We are also going to have some brilliant events including our launch night at Wiff Waff and a hilarious love-themed comedy evening… not forgetting the D’Olivier’s when everyone gets the chance to put on their glad rags and celebrate what will hopefully have been a fab week! CLARA: February 12th – 15th. Dates for the diary.
What is the most unusual play venue? ZOE: We have three site specific venues: Prior’s Hall in the Cathedral, the DUS Debating Chamber, and the Norman Chapel in the Castle. It is incredible that we can use these historic spaces. I am especially intrigued by Prior’s Hall as I have seen pictures but not visited yet - apparently it is behind a clock! LEWIS: The most unusual play venue has to be the Black Box theatre in the Students’ Union. Not only is it a small, intimate space with seating around three sides of the stage, but it is unlike anything seen before in Durham. Are there any plays that you are particularly excited about? CLARA: I found it hard enough narrowing down the twenty submissions to nine shows and am absolutely thrilled to see how all of them develop from paper manuscripts to engaging
works of theatre! The site-specific night is a unique aspect of DDF, so I’m very interested to see how the three productions use intimate staging and audience numbers to their advantage. ZOE: All of the scripts are really strong from the Durham writers and I cannot wait to see them all off the page. I am also very excited to see Enter CIC, who will be performing extracts from the new musical The Wind Road Boys on Saturday afternoon. When we went to visit the group rehearsing in October I was completely blown away by their dedication and passion for performing - oh yes, I experienced the cliché! It is such a privilege to be able to give them a slot at DDF. EMILY: I’m really looking forward to The Eve of St Agnes as it is based on my absolute favourite poem. It’s going to be very gothic and mysterious and as long as it lives up to my very high expectations - I’ve no doubt it will - it should be amazing!
the return of the winners After sweeping the awards of last year’s Durham Drama Festival, rip-roaring black comedy The Babysitters returns to the Assembly Rooms. Indigo interviews the writers, Matt Dann and Lewis Meade.
Why are you bringing The Babysitters back for another run? MATT: We both felt as though there was unfinished business as far as the play was concerned. It was put together in a bit of a rush last year, I think we rehearsed it in four days, and we only had one performance. It was so much fun to perform, and hysterical to rehearse, so we were all desperate to do it again as a full run. LEWIS: We were constantly being approached by people saying either how much they had enjoyed the show or how disappointed they were to have missed it. There was a certain hype around it that came as a result of the great reviews that it received and the awards that it won. As much fun as it is for us, there would be no point putting it on again if we didn’t think people wanted to come and see it.
MATT: Since DDF last year we’ve been able to revisit the script, changing things that didn’t work so well the first time around. There were some gaping plot-holes which we have hopefully resolved. We think it’s a far more cohesive script than it was, and it’s much funnier! Those people who came to see it last year will not be watching the same play, it’s really developed as we’ve become more comfortable with the characters and their relationships. And for those who haven’t seen it, what should they expect? LEWIS: It’s a black comedy set in an abandoned apartment somewhere in the UK. Tommy and Dave are two ‘babysitters’ for a psychopathic crime boss, who get in over their heads with a pair of highly domestic, middle-class hitmen after a job goes wrong. MATT: It’s laugh-out-loud, with fake blood, guns, and an obscene amount of Cluedo. LEWIS: And
tea. Lots
of
tea.
The Babysitters will be performed in the Assembly Rooms from February 6th to 8th. For more information and to book tickets visit: www.thruststage.co.uk.
Photography: Yang Yu Interviews by Emma Dawson
N D I G O
Philip Whitehead - travel@palatinate.org.uk
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T RAV E L
Camp America:
what’s it worth? what’s it worth? A
Nic Heath realises that it’s more ‘fun in the sun’ than easy money
year ago today I was licking the virtual stamp on my Camp America application. From being one of many hopefuls looking for the ‘summer of a lifetime’, to someone placed at a Camp and ready to spend my summer being a 24/6 babysitter, I boarded a flight in June and spent 10 weeks as an Englishman in America. Let me begin by saying that this is not a critique of the summer camp experience. True to the ‘best summer of your life’ cliché that brands the experience, Camp America and Camp Mah-Kee-Nac (a Massachusetts all boys sports camp, pronounced mack-e-nack) provided me with one of the most incredible summers of my life. I could go on for hours touting the travel/social opportunities, CV enhancing skills and the endless fun that define the experience. As a Camp Counsellor you’ll be the supervisor for a group of kids over the summer, partaking in all the fun and crazy activities camp offers and potentially even teaching something yourself. However, the financials are important to consider to any cash-strapped students. To put it bluntly, Camp America is not the summer job to provide you with a financial nest-egg. In total you’ll end up paying £771 to Camp America before you leave England to cover costs such as flights, visa processing, Camp America fees and accommodation. Other companies, while differing slightly, have a similar cost: Americamp, £907; Camp Leaders, £744; CCUSA, £499. You will of course receive a pay
cheque at the end of the summer from the camp itself. However, going through companies such as Camp America, Americamp, CCUSA and Camp Leaders will result in a salary slashing of around 60-70% in comparison with returning Camp America staff and American staff. I personally received $750 (£458) for my 9 weeks of work, while my colleagues took away a much more sizable $2,100 (£1,283) for doing the same job. That’s about £7.50 per day for a very much full-time job, where you’ll be working in some form from 7.30am-9pm 6 days a week. First-timers going through these companies often feel a little exploited.
Camp won’t provide you with a financial nest egg In fact, some people will lose money over the summer through camp, especially if they want to travel in the States afterwards. When application fee and wages are totalled, Camp America will cost you £325. When you consider what you’ll be getting (return flights over the Atlantic, food and accommodation for nine weeks and the opportunity for up to a months post-Camp travel) the price of 87 quaddies doesn’t seem too bad. What I’ve neglected to mention so far is that there are actually ways to bypass this cost/wage crisis. For the savvy applicant, applying directly to a camp en-
Photograph by Nic Heath
sures wage equality, and they’ll almost certainly sponsor your working visa too. With the right initiative and dedication this stands as a reasonable option. As I found though, many first-time applicants will find that their dedication to the experience isn’t 100% when they apply. Companies like Camp America play an important role in simplifying the process of getting hired to a few anonymous clicks and transactions, skirting the daunting prospect of having to find a camp for yourself. Although expensive, they provide a reassuring and good quality service. Applying directly to camp means you’ll have to undertake every step from applying to booking flights on your own. As I said, it’s an option for the savvy and assured applicant. For many then, summer camp companies are a necessary evil, providing a helping hand in everyone’s quest to outdo their friends in that inevitable Durham competition for the best summer anecdote. Financials aside, summer camps provide an incredible way to spend a summer. I won’t forget experiences like a giant shaving foam fight, a whole camp real life RPG battle, a week long California trip and the ever important Dunkin’ Donut breakfasts in a hurry. Whilst the cost issue for me was negligible considering I had a brilliant time, those who rely on summer income to survive at university do need to think twice before signing up. Story by Nic Heath