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Thursday 3rd December 2015

INDIGO

3 F ASHION We speak to the President of DUCFS about the preparations for the highlight of Durham’s fashion calendar.

4 & 5 BOOKS Jane Austen’s enduring appeal.

6 F EATURES Cosmopolitan Durham.

7 F ILM & TV Our top picks of the biopics.

8 & 9 FOOD & DRINK Vo d k a a n d C hristmas warmers.

1 0 C R E A TIVE WRITING Thoughts on ‘Chance’.

1 1 TRAVEL Eyes to Europe.

1 2 & 13 MUSIC The fall and rise of Justin Bieber.

1 4 V ISUAL ARTS A few tips on branching out when decorating our Christmas trees.

1 5 STAGE Durham’s newest theatre companies.

P H O TOGRAPHY / ILLUSTRATION

Alasdair Harris Kenzo Ishida C. E. Brock Lizzie Dawson Faye Chua Celeste Yeo Ciara Murphy Isabelle Culkin Samuel Kirkman

We’re now hitting that point in term when we are forced to face disappointment. That house you picked last year turns out to be cold and leaky. That friend you’d hoped to see more of has cut you off entirely. That class you were so excited about turns out to be the dullest thing in the world.

That exec.position you coveted so much is actually a role that largely involves mute agreement with your superiors.

That kind of fried potato that you savoured at college has vanished from the menu. Essentially, everything you engage with hasn’t met your expectations, you’ve gulped down all the good stuff, and there seems to be no escaping the insipid residue you are left to confront. It is certainly not the most wonderful time of the year.

It is at such a juncture that we turn to other sources for fulfilment. Vodka, as Food and Drink (p. 8 & 9) investigates, is usually a popular choice, and has been one for several centuries. Or perhaps you’re a productive person, and took this opportunity to invest yourself in something new (Stage p. 15). Or do you seek to burrow yourself in some comfort-with-an-edge- reading, with Austen’s Emma approaching 200 years (Books p. 4 & 5)? In any case, the cosmopolitan nature of Durham is sure to throw up something that can absorb and be absorbed in (Features p. 6), and that is indeed a reassuring comfort.

These can only be short (albeit welcome) distractions, however, and you realise this as you slowly sink into bed after a long day. Why, even this bed is disappointing- you still haven’t bothered putting on the duvet cover after laundry night on Sunday. This time last year, I was trying to deal with the fact that change is unavoidable, but I have come to realise that it is disappointment that often spurs on change, and disappointment will come, whether you are adept at dealing with it or not. We can only postpone or push away disappointment, we cannot prevent it. Yet, it is this imperfection that makes us tick- it is this disappointment that provides meaning to what we do, and perhaps such a reliance is borne out of the inevitability of disappointment. Sometimes, however, if we are very lucky, it is out of this disappointment that the capacity for profound clarity of thought and reinvention can be found, and it is that possibility for reinvention that should push us to continue doing things that we know might eventually lead to disappointment.

Disappointment can engulf you momentarily or for a long time - there’s no telling how long you’ll take to move past it. Collectively, however, we can help each other have brief instants of alleviation. Tell that girl who sits across Many thanks to our fantastic Illustrations you in the library that you like her scarf, hold the door Editor Kenzo Ishida for designing the open for someone with their hands full, smile at the grocer as you walk past him, front page of this issue. read this cheesy editorial and tell me how much you loved it… spray positivFor your fix of everything arts and cultural, please visit: ity everywhere you go, and it will make www.palatinate.org.uk someone’s day sunnier. www.facebook.com/palindigo @palatindigo

Hope you all have a very merry Christmas and a spectacular New Year.

SV.

INDIGO EDITORS Patrick Brennan Sraddha Venkataraman BOOKS EDITORS Hannah Griffiths Ellie Scorah CREATIVE WRITING EDITOR Celeste Yeo FASHION EDITOR Sally Hargrave FEATURES EDITORS Ellen Finch Cristina Cusenza (deputy) FILM & TV EDITORS Rory McInnes-Gibbons Hugo Camps-Harris (deputy) FOOD & DRINK EDITORS Adrian Chew Charlotte Payne MUSIC EDITORS Jacqueline Duan Will Throp STAGE EDITOR Isabelle Culkin TRAVEL EDITORS Megan Thorpe Laura Glenister VISUAL ARTS EDITOR Jane Simpkiss WRITERS

Sally Hargrave Isobel Roser Catherine Braddock Hannah Griffiths Cristina Cusenza

Phoebe Kitchen Clare Owens

Violet Nicholson Megan Thorpe Roy Manuell Nadia Crocker Holly Bancroft Simon Fearn

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Thursday 3rd December 2015

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FASHION

Show Time

Sally Hargrave speaks to Alicia Newman, the President of DUCFS, about the preparations for the highlight of Durham’s fashion calendar you would expect.” In March of this year, for example, five people in Newcastle were arrested under suspicions of trafficking people into the UK for exploitation.

With preparations already well under way for what is set to be the highlight of Durham’s fashion calendar, Sally Hargrave recently spoke to Alicia Newman, the president of DUCFS, Durham University’s prestigious charity fashion show.

The show, which has raised thousands of pounds for charities in the past, has

“This year the show has chosen to support Stop the Traffik, a fantastic organisation that raises money to fight against human trafficking.” chosen to support Stop the Traffik, a fantastic organisation that raises money to fight against human trafficking. The charity, which was founded in 2006, now has members in more than 100 countries worldwide. It is a charity which Alicia, and indeed all of the Exec, feel strongly about supporting – “as a charity it is relevant on a local scale as well as on an international scale, which I think is also really important.

It’s shocking and awful, but exploitation of this kind can happen much closer to home than

Looking at the breakdown of where the money DUCFS raises through ticket sales and their various club nights will go, it is obvious that Alicia knows a lot about how the show will benefit Stop The Traffik. The money raised will go towards, amongst other things, the training of schools and community groups who are at risk, and the development, printing and distribution of flexi-cards out into vulnerable communities, so that people can spot the signs of someone who has been trafficked. The show does more than just provide monetary support though, also putting on talks and events to raise awareness for the enormous problem that is human trafficking.

The president Alicia, a fourth year Spanish and Italian student, has just returned to Durham from her year abroad – she spent time in Italy working at a law firm, and in Spain at an estate agent. She says that she enjoys being busy, and that is good because she must be – apart from being the president of DUCFS, something that she describes as an “almost a nine to five job”, she is an ambassador for Women in Business in Durham and is involved in Castle’s ents committee, all of which she has to juggle alongside the small matter of her degree!

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“For the first time ever, the event will take place on Palace Green, against the backdrop of Durham’s most iconic monument – the cathedral. ” chosen and most excitingly of all, the venue has been confirmed. This year, for the first time ever, the event will take place on Palace Green, against the backdrop of Durham’s most iconic monument – the cathedral. The show will incorporate collections from a number of designers from the local area and also from further afield, all in fitting with the theme, which is to be revealed in December. What Alicia does give away is that this year is set to be “much more of a spectacle, with live acts and more of an interactive feel.”

One of Alicia’s main focuses for the upcoming show was to get as wide a range of people involved as possible. The Exec have placed a real focus on getting more diversity into the model castings, partly by scouting for potential models on the streets of Durham. The main criteria for the models? “The most important thing that we look for in our models is confidence.”

If the lead-up to the main event is anything to go by, the show promises to be an incredible night of fashion and fun, for an extremely worthwhile cause.

Photographs: Alasdair Harris, fb.com/ AMCH-1502453913403461 President:Alicia Newman Models: Top: Anouchka, Alicia and Bianca (Exec.)

Bottom: Justin and Mariam, With thanks to Alicia Newman

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Thursday 3rd December 2015

BOOKS

December marks the 200th anniversary of the Emma. In celebration, Indigo Books delves into

Austen: as innocent as she seems?

Isobel Roser uncovers Jane Austen’s darker side

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arkness is not the first word that springs to mind when considering the literary output of Jane Austen. Her work is often associated with gentility and romance, but rarely with the shadier aspects of life. Perhaps a revision of this longheld view is necessary. While ostensibly Austen’s books are filled with bonnets, ballrooms and bossy mothers, under the surface we can see themes of social injustice and political criticism. From slavery to primogeniture, Austen offers her readers a peek into the darker side of regency high life.

English soil. Surely it isn’t coincidental that Austen chose to name Fanny’s home, Mansfield Park, after the man who laid the groundwork for the abolition movement.

To the modern reader, some of the darker aspects of Austen’s work lie in her depiction of the social conventions of the day.

We must remember that Austen was a product of her time, so some of the practices in her

The slave trade is only explicitly mentioned once or twice throughout Mansfield Park, however it maintains a heavy presence throughout the novel. Sir Thomas Bertram, uncle of our heroine Fanny, is understood to be the owner of sugar plantations in Antigua with a workforce of African slaves.

Hence the Mansfield Park estate, so central to the characters and plot, was built on the profits of slavery. This fact casts a shadow throughout the novel and resonates deeply within the plot. Austen was writing during a time of highly charged political discussion surrounding slavery, and while she lived to see the abolition of the slave trade, she had died before slaves received full emancipation. Thus her work must be seen within the context of bitter political warfare between abolitionists and plantation owners.

“While ostensibly Austen’s books are filled with bonnets, ballrooms and bossy mothers, under the surface we can see themes of social injustice and political criticism.”

The abolition movement was active in Britain during the eighteenth and nineteenth centuries, with figures such as William Wilberforce and Granville Sharp championing the cause. It garnered a great deal of popular support, particularly among women of the middle classes. Although we will never know whether Austen formed part of this group, her novels seem to imply a disapproval for slavery. Much like Mansfield Park, Emma seems to depict the author’s sympathy for abolitionism. The movement itself was kick-started by the Somerset Case in 1772, in which Lord Mansfield ruled that while it was legal to keep slaves in the colonies, it was illegal on

novels which we view as barbaric and wholly unacceptable, would have been the norm for her.

Property forms a key theme in a number of Austen’s novels. In both Pride and Prejudice and Sense and Sensibility, the practice of primogeniture provides a driving force in the plot. Primogeniture asserts the right of the first-born son to inherit the entirety of their parents’ estate. We see this practice in action in Sense and Sensibility, when Mrs. Dashwood and her daughters are pushed out of their family home after the death of Mr. Dashwood. Austen’s works place the spotlight on the realities of this law, emphasising the darker aspects of the British legal system at this time. Additionally, Pride and Prejudice illustrates the pressure that weighed heavily upon women to consider the monetary implication of their marriage. In many cases, it was vital for women to get married, lest they be unable to support themselves

financially. With this in mind, Mrs. Bennett’s dogged determination to marry off her daughters seems less ridiculous and more justifiable.

“Subtlety is one of Austen’s greatest weapons” While Austen readily depicts some of the darker aspects of polite society with her trademark acidity and irony, the overall tone generally remains lighthearted. However, in a slight departure from her earlier work, Persuasion offers a sombre, moodier tone, which is worth mentioning when assessing the darker aspects of her novels. In the last of her books, Anne Elliot provides an older, more mature heroine who harbours a great deal of regret and sadness. This contrasts with the girlish optimism of Austen’s other protagonists. Anne’s tendency to look back at the “tenderness of the past” only adds to the gloominess. This mood is captured particularly well by the autumnal refrain, which is scattered throughout the novel. The “autumnal months” provide the perfect backdrop for this melancholic offering from Austen.

Now, we shouldn’t overstate things. Austen can’t be compared to the likes of Mary Shelley or Emily Brontë on the sliding scale of ‘darkness’. Moreover her satirical, light-hearted tone provides a great deal of her charm. Yet the darker aspects of her work are worth a thought.

Austen’s novels are often dismissed as simple frivolity – I would heartily disagree with this notion.

Subtlety is one of Austen’s greatest weapons in her depiction of the darker aspects of the regency period. Those who claim that she ignores darker topics simply aren’t looking hard enough.

Images: Kenzo Ishida, C. E. Brock and Lizzie Dawson

Online...

Katie Harling-Challis explores the adaptations updating Jane Austen for the digital age: “Kitty may have been turned into an adorable cat, Mary shifted to the role of grumpy teenage cousin, ‘Totes Adorbs’ a regular in Lydia’s vocabulary, Darcy a hipster, and Mrs Bennet somehow born in the American South, but this was still Jane Austen’s Pride and Prejudice going strong.”

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Thursday 3rd December 2015

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BOOKS

publication of Jane Austen’s well-loved novel the world of one of Britain’s favourite authors.

Wet shirts and red coats

Catherine Braddock discusses the attraction of Jane Austen’s men

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he craze surrounding Mr Darcy is unavoidable; from ‘I heart Darcy’ bags to larger-thanlife statues, it’s clear some of us are a bit obsessed with this literary figure. It’s easy to blame the lovely Colin Firth and his even lovelier wet shirt for this. We all know (and most of us love) the 1995 T. V. series.

But isn’t it a bit superficial? Darcy is set up as an ideal – the ideal – but given that much of the hype dates from a swimming excursion conceived by screenplay writer Andrew Davies, is Austen writing brilliant men or are people just falling for actors and slightly cheesy set-ups?

It’s not just our generation (or our mothers!) that has fallen for Mr Darcy. Alongside Emma, Pride and Prejudice is the most adapted Austen novel for the big and small screen, even before Colin Firth’s iconic appearance. We could date our affection from first seeing his beautiful grounds at Pemberley but the dialogue between Darcy and Elizabeth is also highly entertaining and achieves levels of eloquence and sass which mere mortals can only aspire to. Their conversations are often combative but they display similar minds in their lively debates and cannot help working together against Miss Bingley. Perhaps – shockingly – we can infer that most people seek a partner they can actually talk to. Or maybe, as novel-

readers, we cannot help but be charmed by praise for ‘extensive reading’.

Despite his pride, Darcy demonstrates a capacity to change and acknowledge his mistakes and (after some complications) certainly knows how to declare his love: most ardently. Actors have portrayed Darcy in various ways; Matthew Macfadyen has (however unintentionally) made him something of an icon for social awkwardness through his 2005 performance which allows greater empathy and shows another possible interpretation. As the subject of many discussions, Darcy is an endless source of both supposedly intellectual debate as well as hilarious memes.

What about Austen’s other men? Emma‘s attraction is often the flawed heroine herself but Mr Knightley is an underrated figure for his selfless and considerate nature. Captain Wentworth also appeals for his constancy in love. Henry Tilney, Edward Ferrars and Edmund Bertram are all kind, if somewhat flawed, while the melancholy yet generous Colonel Brandon remains popular for unswerving devotion to Marianne. Austen’s novels weed out the good men from the bad, the Brandons from the Willoughbys, meaning that her heroes convey a sense of virtue

or goodness which is certainly engaging. A reader knows that the heroine will find the man who most suitably complements her own virtues.

The men all have attractive qualities but is this really why we read her novels? To rate and gush over her heroes? G. K. Chesterton notes Austen’s ability to ‘coolly and sensibly describe a man’; something which cannot be said of Andrew Davies! A tendency to over-romanticise is where adaptations often diverge from the novels. It is Austen’s witty narrator and insight into human beings which continues to attract readers. We admire her skill in satirising society, not writing the equivalent of poster pin-ups.

So maybe it’s not a question of being Team Darcy or Team Knightley (but this isn’t Twilight, let’s not identify ourselves solely according to a fictional man with a charming smile or a Grecian jawline – we’d rather echo strong Elizabeth, not superficial Lydia), or setting the books and films in total opposition, but enjoying the novels for the skill with which they were written. Austen’s novels are about more than men and interest in them stems more from their minds and a humanity we can relate to, rather than their glorious on-screen presence; Pride and Prejudice, after all, “is only a novel... or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best-chosen language”.

An interview with the Jane Austen Society The society’s president Lizzie Dawson talks to Hannah Griffiths

Why did you set up the Durham University Jane Austen Society?

I set up the Jane Austen Society because I visited the Jane Austen Festival in Bath with my friends. I enjoyed it so much – and had made the costumes – that I thought it would be fun to continue it in Durham and maybe organise a society trip to the festival next year.

What kind of events does the society organise?

We have done film nights and plan for guest speakers and maybe to do a ball and trips. If people feel really dedicated I have many sewing patterns and a sewing machine if they want to make costumes. In the future, the trip to Bath is on! But I want to do more – a reading group? A ball or ceilidh? If anyone is interested in exec experience please do contact me!

Which Austen novel is your favourite and why?

My favourite? It’s hard to choose. Depending on my mood, I would have to say Pride and Prejudice or Persuasion. Pride and Prejudice is the funniest and most polished of her works, in my opinion. Austen wondered if it was ‘too light and bright and sparkling’, but sometimes that is needed. Conversely, Austen completed Persuasion whilst she was dying.

It was published posthumously and thus it is one of the least polished of her works; it is less ‘bright and sparkling’ but a poignant and moving story.

Do you have any obscure Austen facts for us?

An obscure Austen fact that comes to mind is that she was the best in her family at spillikins (an eighteenth-century version of ‘pick up’ sticks). She played a lot with her nieces and nephews and was good at many games. Cards and games feature in her novels

and usually reveal something about the characters or their relationships.

How can readers get involved in the society?

If people want to join, our group page is www.facebook.com/groups/ dujaneausten/. You can also sign up to our mailing list there.

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Thursday 3rd December 2015

FEATURES

Multicultural Durham

Cristina Cusenza explores the ‘cosmopolitan encounters’ happening amongst international and British students at Dutham University

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oxbridge is traditionally considered to be the epitome of Britishness.

Indeed, my first impression as an international student here at Durham University was to have ended up in a very British city. First of all, the very college system that characterises Durham – people live in an actual Castle! – is indicative of a certain tradition of English universities. Second, considering its geographical location, it is probably an easier destination for English students than for international ones. Nevertheless, there are several romantic students coming from continental Europe, Asia, and the Americas who are attracted by Durham’s beauty and charm.

Durham is very small, yet people from all over the world get the chance to know each other and share many important experiences. I have often heard students saying that Durham is a bubble; it is indeed a small universe where many interesting things happen. Just think about going into a lecture room, or into the library. Chances are that you’ll be sitting next to an Australian, a Korean, an Arab, a Bruneia – and probably represent yourself a very small minority in that context. Tutorials too are a very good platform for multicultural exchanges; you get to hear people’s perspectives on different topics and get the chance to learn a lot from them. Cultural background really matters in shaping your identity and way of thinking. Of course, your personal history plays an important role too. For all these reasons, exchanges between students coming from different countries and who have different life experi-

ences are always beneficial, and informative.

But how, in practical terms, do Durham students of different nationalities get the chance to come together? Of course college life is crucial in this sense, together with student events organised by the university, and obviously classes and tutorials. However, intercultural exchanges are not that easy, and not that com-

“Durham is very small, yet people from all over the world get the chance to know each other and share many important experiences” mon. Most English students would say that international students tend to stick together and to do most of their social activities within their group of friends, and vice-versa. So the ‘exchange’ seems to happen mainly between international students themselves rather than between English and international students.

When asking to a friend of mine, coming from a city near Hong Kong, what she thinks is the reason for this general pattern, she told me that she can indeed still see a ‘line’ between English and non-English students. ‘Some-

times’, she said, ‘I do not even feel like I live in England, since I get to spend most of my time with people of so many different nationalities, especially thanks to my course – Anthropology – which is very multicultural’. Another friend of mine, coming from Hungary, notices that the phenomenon of cultural segregation is very strong among Durham’s students: ‘some specific nationalities – like Chinese, Cypriot and Hungarian students – tend to be much more cultish than others’. This tendency, of course, generally discourages interactions with students coming from other countries, and sometimes it has a political connotation. In fact, everyone experiences their national identity in different ways; when strong, national consciousness can contribute to closure to dialogue with people from other nationalities (especially in cases of historical clashes between nations, religious-ethnic groups and political parties). When this is the case for students, it unfortunately prevents positive cultural exchanges between them, and, more generally, open-mindedness.

However, English and non-English students still interact in many contexts, and often build great friendships throughout their time at Durham University. What’s really special about Durham, then, seems to be the fact that it keeps its British identity, yet it still has a very cosmopolitan character, too.

Illustration: Faye Chua

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Thursday 3rd December 2015

FILM & TV

Biopic Bonanza My Left Foot! It’s Hitler vs Elephant Man... With films ‘based on real life events’ all the rage, Phoebe Kitchen takes us on a tour of three of the best biopics

The Elephant Man (1980)

David Lynch explores the true story of John Merrick (John Hurt), the original “elephant man”, whose disease was exploited by a Victorian freak show. He traces his relationship with a kind physician (Anthony Hopkins) who helps educate him out of his squalor. Hurt is brilliant in the role and truly centres the film with such emotional poignancy that it brought him an Oscar nomination. Despite being weighed down by pounds of prosthetic makeup, through anguished stares and mournful body language, he grounds Merrick’s sense of humanity, which is the crux of the film’s success.

“I am not an elephant...I am a human being” The cinematography was seen to be an extraordinary move for Lynch. It was filmed in black and white and the visual contrast between the flashes of industrial breakthrough in the late 19th century and the cobbled streets, was at the heart of the storyline. Whilst some, such as the great film critic Roger Ebert, thought the film was too sentimental, its message is still moving today. Nowhere is this more relevant than Merrick’s famous outburst: “I am not an elephant. I am not an animal. I am a human being. I am a man!”

My Left Foot (1989)

Downfall (2004)

As an avid Daniel Day Lewis fan, I may be biased with this choice; nevertheless My Left Foot gives such a complete picture of a man’s life that it inspires all who watch.

The story is of the artist, Christy Brown, who, due to cerebral palsy, was only able to write and draw with his left foot. He is not a saint: he drinks and is a twisted, bearded and unkempt man. However, it is this depiction of an ordinary Irishman who was not defined by his illness that makes this one of the great stories of courage and determination.

Downfall is most recognisable for that bunker scene where Hitler is screaming at his despondent generals just before the downfall of Berlin. Downfall’s time frame is surprisingly short; it charts the few days before Germany’s final defeat in the storming of Berlin. The fact that the entire film is shot in Germany is poignant in a country that has undergone such a total transformation in the seventy years since. Bruno Ganz, who plays Hitler, is the star of the film and one of the best on-screen Hitlers. It is the guttural similarities in his staccato, frenzied outbursts that the famous historian, Ian Kershaw, described as “chillingly authentic”.

Whilst the film is seen as being controversial for “humanising” some aspects of Hitler, such as his kindness to his secretaries and his love for his dog, ultimately the film portrays him as a kind of petulant child who can’t get his way. Finally, the film deserves to be included because of the harrowing ending. Instead of Hitler exiting stage left, it leaves the audience with the lives of the people Hitler left behind from the civilians to the generals.

This gives the film a footnote of despair that leaves you feeling not quite the same way as before.

Daniel Day Lewis gives the performance of a lifetime in this film, who like Eddie Redmayne in the Theory of Everything, manages to contort his face and body to an unrecognisable degree. However, it is the sudden jerks, the pained eyes and the crumpled body that make him truly believable. It would be unfair to say the beauty in this film was all Day Lewis. The unspoken love between Brown and his mother is one of the most touching part of this cinematic triumph.

“The film gives such a complete picture of a man’s life” Phoebe’s full article is available online

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Thursday 3rd December 2015

FOOD & DRINK

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Ghost Story: A History of Spirits Georgia Dodsworth takes a shot at demystifying every student’s favourite drink

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es, boys and girls, the happiest season of all is upon us once more, and what with Christmas formals, winter balls - and the fact you can drink wine at any time of day as long as it’s warmed up and there’s a cinnamon stick floating in it, it’s the booziest season too. Before we know it, the special day itself – and the only time of year it’s socially acceptable to drink advocaat – will have arrived, but in the meantime what is everyone really drinking?

According to Nielsen, over the next few years vodka is set to become the UK’s favourite spirit for the first time ever, but this is hardly new information for us at Durham.

If you drink alcohol at all, chances are you’re already very familiar with the corrosive charms of everyone’s favourite house party essential – vodka might as well be a staple food here.

But while we’re all experts at choosing which Tesco Value mixer will bring out the subtle nuances of the spirit, what do we really know about it and its history?

Aside from snow, bears, furry hats and the only world leader ever photographed riding a horse topless, Russia is pretty synonymous with vodka. However, there’s some debate among scholars of food and drink (it’s a tough job but someone’s got to do it) over whether the spirit’s first production occurred there in the 9th century, or in Poland a hundred years earlier. Either way, what they cooked up back then was very far from the vodka we know and love today, with a different taste, smell, colour and a comparatively puny alcohol content of about 14%.

Poland and Russia, along with Ukraine and the other Baltic states, make up the brilliantly titled Vodka Belt, and it was here where production really got going in the Middle Ages.

The first written reference to vodka was in 1405 by the recorder of deeds of the Palatinate (wahey!) of Sandomierz in Poland, though the actual drink was called gorzałka (from an Old Polish word meaning “to burn” – sounds about right), while wódka referred to distilled alcohol mostly used for medicinal purposes.

Polish physician Stefan Falimierz for instance claimed in 1534 that it could “increase fertility and awaken lust”, and it was also used as an

ingredient in gunpowder – delicious!

In those days, the actual vodka-making process was pretty rudimentary: it was typically distilled twice, diluted with milk then distilled again (apologies to anyone reminded of a similar concoction from Ring of Fire). The result was an eye-watering 70-80% ABV, so it would be watered down and then flavoured. The basic product wasn’t standardised at this time either, so all sorts of wacky versions came about in the Vodka Belt, from the actually quite nice-sounding lemon, raspberry, cherry and watermelon to flavours like dill, birch, oak, pepper, mountain ash and horseradish.

In 1572, King Jan Obracht of Poland wasn’t happy the common people were getting so much of that sweet vodka action, so he limited the production and sale of alcohol to the gentry. As the product was so popular and thus lucrative, from this time through to the 18th century vodka production became a full-on industry, and throughout Europe Polish vodka became a favourite of bleary-eyed members of the aristocracy and lower classes alike.

A similar situation was happening in good old Russia, but in 1863 the government monopoly on vodka production was repealed.

Prices plummeted and vodka became available to poorer citizens too; parties and joyful parades through the streets ensued (not really, but I like to think so).

The citizens of Tsarist Russia loved vodka – at times up to 40% of state revenue was coming from taxes on the spirit alone! By 1911 a staggering 89% of all alcohol consumed in Russia was vodka (who knew Tsarist Russia and Klute had something in common?), and recent estimates suggest it has only dipped to around 70% in the 21st century.

Back in Poland, things weren’t going so well – after World War II the vodka distiller-

ies were taken over by the Marxist-Leninist government, and to the dismay of alcoholics throughout the country, the sale of vodka was rationed in the 1980s. Many distilleries ended up bankrupt, but since then the industry has bounced back – as of 2010 Poland was the fourth-largest producer of spirits in Europe, and almost half of the expenditure on vodka production takes place there. It’s also the home to a vast array of yellow spiced vodkas, including Żubrówka (a.k.a. bison grass vodka), which is usually served mixed with apple juice, a drink apparently known in the UK as a “Frisky Bison”.

In recent years, the world of alcohol production has been shaken to the core by the so-called vodka war. Yes, it is as exciting as it sounds – it refers to heated discussions within the EU over what may or may not legally be branded as “vodka” (told you). The French vodka Cîroc, made exclusively from grapes, has enjoyed an increase in popularity over the last decade (attributed to brand ambassador Sean “Diddy” Combs), prompting anger from the purist countries of the Vodka Belt, who argue that only spirits made from cereals, potatoes and sugar beet molasses should be allowed to carry the real title.

If the Vodka Belt succeeds, its influence over the £8bn global vodka market will vastly increase, and Diddy and his grapes will be forced to retreat. Who will prevail?

The battle rages on…

Nowadays, innovators within the vodka world seem to be taking inspiration from the Middle Ages (using inventive flavours that is, not using it to “awaken lust”): now you can buy vodka that tastes like marmalade, popcorn, grass, “electricity”, or even bacon (guess which country thought that one up).

So there you go – now you know a bit more about the spirit you thought you knew so well.

Before you put the paper down to google “bacon vodka”, I hope you have a very merry Christmas, and please remember to enjoy your vodka (or gin, whiskey, wine, mint Baileys, etc.) in responsible amounts – after all, we can’t all drink like the Russians.

Photographs: THOR and Chris Hood via Flickr

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Thursday 3rd December 2015

FOOD & DRINK

All I Want For Christmas is Stew Lydia Daniels provides some recipes to warm the cockles of your heart this festive season

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urham has recently been hit by freezing cold temperatures and a remarkable amount of rain, and during these times we feel the need for warm, comforting winter recipes that make returning home in a sodden or frozen state bearable after a hard day of lectures or sport commitments.

Vegetarian Chilli Marrakech

This is a wonderfully warm, spicy and tasty Moroccan dish, which is ideal for pleasing a crowd. I often dedicate an hour to cook this gorgeous chilli, which is ideal for cooking in bulk and freezing, or for feeding a large house full of hungry people. My latest hack is buying packs of root ginger and freezing them, as I never end up using the full amount and grating straight from frozen. This recipe admittedly involves quite a lot of chopping but is definitely worth it.

Serves 10

Ingredients • • • • • • • • • • • • •

½ teaspoon of ground cumin 1 tbsp of olive oil 3 onions, halved and sliced 2 tbsp of grated ginger 4 garlic cloves, finely chopped 2 x 400g cans of chopped tomatoes 1 tbsp of paprika and ground cinnamon ½ tbsp of ground coriander 3 tbsp of harissa paste 3 red peppers, deseeded and chopped 2 x 400g cans of chickpeas, drained 40g of fresh coriander 500ml of vegetable stock

Ingredients

Method

1.

Add the ginger, cumin and garlic to your largest non-stick pan or wok and heat for a few minutes.

2.

Stir in the tomatoes, remaining spices and harissa. Add the pepper, chick peas, ¾ of the chopped coriander (save some to serve) and the stock. Cover and cook for approximately forty minutes, stirring occasionally (don’t worry you can do other things at the same time, just keep an eye on it!) until the sauce has thickened slightly. Remove from the heat, scatter the remaining coriander on top, and serve.

Nanna’s Minestrone Soup

This soup is borrowed from my grandma and is a marvellous concoction of whatever vegetables you have lying around, as many of the ingredients are interchangeable. However, it is a perfect, comforting meal to come home to, especially when served with some crusty bread.

Also, if you like a little kick, feel free to add a sprinkle of curry powder or chilli flakes for some extra spice.

This recipe may seem long-winded but is ideal for weekend cooking, is very low maintenance and perfect reheating on cold days as it can be left in the fridge.

Serves 2

• • • • • • • • • • • • • • •

50g of streaky bacon, finely chopped 1 medium onion, finely chopped 2 celery stalks, finely chopped 175g of carrots, finely chopped 1 x 400g tin of chopped tomatoes 1 clove of garlic, crushed 225g of leeks, washed and finely chopped 175g of green cabbage, finely chopped 25g of butter 1 tbsp of olive oil 1.5 litres of vegetable stock 75g of macaroni pasta 1 ½ tbsp of fresh or dried basil 1 tbsp of tomato puree 2 tbsp of chopped parsley (optional)

Method

1.

Heat the butter and oil in a large sauce pan, adding the bacon and cook for 2-3 minutes before adding the celery and carrots, then the chopped tomatoes.

2.

Stir in the crushed garlic and some seasoning, then cover very gently for 20 minutes to allow the vegetables to sweat, giving them an occasional stir.

3. Pour in the stock along with the basil. Continue to simmer gently and cover for an hour.

4. Add the leeks, cabbage and macaroni and cook for a further 30 minutes.

5. Finally, stir in the tomato puree, cook for a further five minutes and, just before serving, stir in the parsley. Sprinkle with parmesan cheese or cheddar and serve.

Photographs: Lydia Daniels and AS Teasdale via Flickr

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Thursday 3rd December 2015

CREATIVE WRITING

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A Broken Chord

The gravity of grief is a confessional one. Inconsolable, undignified.

By Clare Owens

‘Love is so short, forgetting is so long’ – Pablo Neruda ‘They told you lies.’ The voice hissed.

He picked up the guitar. It was time to fight the demons again. It was his daily ritual. It was his only hope of sanity. With smooth, sturdy fingers and head bent low, he strummed and strummed. To the golden song of the western lakes, the liberating coolness of the autumn winds. He began to close his eyes, and feel the touch of nature, coalesced with the invigorating sounds of laughter. He could see her dancing, ever so delicately, in the swaying meadows. She is so real, but he knew that was as far as realness got. But it was enough it seemed, to empty all the contents of his mind, grained and sheared to its utmost core. All he needed was that image, those sounds and the elastic vigour of the strings against his very fingertips. All that he wanted was all that he ever needed.

Leaves fall The way you shower your words Within seconds, and then Leave A cold silence on the wall.

I can’t help but call After shadows swimming after My mind’s eye, Chance is no fool, it spun my days anew And left a statue of you.

Photographs: Celeste Yeo

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Thursday 3rd December 2015

TRAVEL

Eyes to Europe

Violet Nicholson recounts the events in Paris

s the storm calms, clouds form over Paris, over Europe, over the world. They may not be visible to the eye, but they are visible to the heart. The clouds are thick and grey, and threaten to release a downpour over the cities and homes of the innocent. The clouds remain there, waiting, even when the sun is shining over Paris on a Sunday when crowds of people flock to pay their respects, light a candle or three, offer flowers, words or free hugs, stand in muted silence or chant and sing as one.

The clouds cannot be seen with the eye but they are felt. A fear that detaches you from your everyday life, yet pins you to the present, to the streets of your daily routine with an electric current. This time the clouds don’t simply hang over one sole group or location, like cartoon cotton wool; this time they stretch out across the map. It is a way of life that is targeted. A culture that delights in harmlessly socialising with friends, expression through art and music, and the skills and camaraderie that come with practicing sport.

I was lucky that I answered questions about my Friday night plans with answers that took me away from the target zones. We could have been at the opera at Bastille, but by chance the ticket office was closed so we couldn’t buy our supposedly last-minute, discounted tickets. We could have been at the cinema at Bastille, but we answered with ‘no’ because they weren’t showing the film that a friend wanted to see. We could have gone to the theatre at République, but it was the opening night and we decided there wasn’t much point because the tickets would be sold out. We could have gone for a meal or a drink in the trendy area of Paris that is just down the road, and after this, the quiz could have stopped abruptly.

Instead we went to see a different film, and unwittingly took ourselves away from the danger zone. After the film, we could have walked straight home or stayed in the area to have a casual drink – we chose the latter. When, after 20 minutes of chatting, the server told us that he couldn’t take our order because the bar was closing, we could have immediately inquired as to what he was talking about, or we could have just accepted his words as some sort of odd comment that was lost in translation, that ‘shootings’ must have an alternative meaning in French. We did not panic because we knew nothing; we have no 3G on our phones as we only have a cheap text-and-calls French phone contract.

Though life continues, the clouds remain.

But it is up to us to realise that we It was as we walked home, in the cannot remain direction of Bastille, that conindoors all our cerned friends took control of the life, for fear of the mundane, Friday night quiz. They rain. We can put told us not to walk home. They up our umbrellas, told us to get inside as quickly as Photograph: Ciara Murphy leave the house and possible. They told us to stay away continue to be gratefrom the area where we were ful for each beating heart that has touched our planning on sleeping. And I am so glad they did. own, for each radiant smile that has reflected our I am so glad that our friends welcomed us into own and for our incredibly valuable freedom. In their home once we had turned around and travParis, the umbrellas lie on the pavements and the elled, hearts thumping, in the opposite direction.

French are dancing in the rain. Life continues, with vigilance and respect, with love and music, For some, their innocent responses to the quesand with thoughts that will always remember tions they’d asked themselves were lamentably, those who’s flame has been unjustly extinguished irreversibly, devastatingly the wrong answer. Do by the rain. The human race is a living, breathing I want to go to a rock concert with my friends? oxymoron. Fragile yet strong; straying at times yet Uh, yes of course. Do I want to go and watch the always believing; broken yet ready to get back up; match? Yes, I love a good game. Shall we go out incredibly diverse yet one solid heartbeat. for drinks later? Sure, why not. My heart goes out to all those people who have been affected by this It is at times like these where you realise that ruthless, painful evening, and to all those who every little decision you make has a consequence. experience pain like this around the world, much Every plan you make and question you ask yourmore often in life than is fair; even once is too self has a Yes or No answer, just like those magamuch for one lifetime. zine personality quizzes. Except in real life you can’t skip to the bottom of the page and see if you Read more about Paris on Violet’s blog: should answer with mostly a’s, b’s or c’s to end up internationalviolet.wordpress.com/ with your preferred future. Real life doesn’t work like that.

Instagram: @palatinatetravel

Interested in writing for us?

Email travel@palatinate.org.uk

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Megan Thorpe reflects on the atmosphere in Brussels

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s the world turned towards Europe after the events of the last few weeks unfolded, friends from around the world have been messaging me about Brussels, where my family live. Friends that I’ve not heard from in years, from Ireland, the States, even Indonesia, have all got in touch about the news of a Lockdown in Brussels over the weekend of the 21st last month.

It’s true; it’s scary. I never was very good at assimilating my feelings towards breaking news stories; I always tried to look objectively at events, always with a degree of separation. But now I can’t separate it: my brother had to stay home from school, as city wide nurseries, schools, and universities kept their doors shut. My Dad’s train to work was cancelled, and he was interrogated at the airport, going on a routine work trip.

The streets of Brussels, always teeming with people chattering in every language I can think off, always the smell of waffles and chocolate wafting up the winding streets, always bicycles jolting over the cobblestones; and all of it spilling out into the Grande Place - where usually you would be tripping over tourists having pictures taken and locals snagging the window seat in the best café; everything went eerily dark for a few days.

But what I love about Brussels, and what I love about what these events have brought out of Europe, as a collective – is the silver lining to it all.

When the police asked them not to tweet about operations going on in the centre of the city, Brussels citizens tweeted pictures of cats patrolling streets and warding off evil. When the metro was shut down and the centre of the EUs de facto capital closed the shutters of shops, a couple from my neighborhood took the day to go on and walk around Brussels – crowd free and peaceful.

Yes, atrocities happen, have happened, and no doubt will happen again. #BrusselsLockdown shouldn’t need to happen in this day and age, children should not be prevented from going to school and fathers should not be stopped from travelling to work. But instead of focusing on the messages of concern from friends overseas, that only make me sad – I choose to focus on cat tweets, and what they stand for in a world that comes together to show solidarity with the people trying to protect us.

Security is a relevant term. Are we always safe?

Are police on every Belgian train platform going to make us safer? Probably not. I’ve lived surrounded by security most of my life and Dad still receives danger pay. We never know what’s around the corner, and a man on the street corner with a very visible gun is not what makes the world more predictable and safer. But our reactions to the situations, how we own the city, and embody it, define it for what it is and not what it isn’t – that is what will make all the difference.

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Thursday 3rd December 2015

MUSIC

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The Fall and Rise of Justin Bieber

Roy Manuell takes a look at the dramatic transformation of one of the world’s biggest pop stars, asking the question: is his new album actually quite good?

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he well-documented meltdown of 21 year old Justin Bieber was perversely and almost universally celebrated by anyone who had ever had the pleasure of listening to ‘Baby’ in full. From abandoning pet monkeys at European airports to wearing a gas mask to dinner in London, it’s fair to say that the few years that followed his 2012 album ‘Believe’ were difficult for the Canadian singer.

But Summer 2015 arrived, carrying a reinvigorated Justin riding on its wave of hopeful euphoria as he returned with the feelgood ‘Where Are Ü Now’, Skrillex and Diplo’s lovechild and JB’s very own manifesto for a respectable musical future. Naturally it bulldozed its way through various charts around the world but it felt as if that was never the tune’s main intention. Brandishing an electricwhite, deformed mullet and designs on poetry, this Bieber looked and spoke as if he belonged

“‘Where Are Ü Now’, with its obvious Skrillex-influenced marriage of EDM and heartache signals a significant shift towards something new for Bieber 2.0” to a very different world to that of the Minajstained hit ‘Beauty and a Beat’ of a couple of years ago.

The grammatically-challenged, ‘Where Are Ü Now’ with its quite obvious Skrillex-influenced marriage of EDM and heartache signalled a significant shift towards something new for Bieber 2.0. You can almost believe him when he whispers ‘I need you the most’, an emotional authenticity that remains reasonably hard to place on previous Bieber records.

And thus producer-enhanced, we see a documentation of JB’s journey into manhood on his latest album, ‘Purpose’ dropped mid-November on Def Jam. Just as Timbaland once did with Timberlake, Skrillex and Diplo play the puppeteers necessarily creating an inevitably unimaginable hype for the record, leaking two belters in particular, in anticipation to its release: the equivocal ‘What Do You Mean’

and ‘Sorry’, an obvious apology to Selena Gomez.

Despite the heavy influence of production on ‘Purpose’ as well as the wealth of featuring artists backing up the album, it finally feels as if these are Justin’s songs. Emotionally intelligent to a degree, ‘Sorry’, like several others on the record seem genuine, believable even. In fact the entire album serves as an apology or perhaps self-justification. ‘I’ll Show You’, less than five minutes into ‘Purpose’ sets the tone. “My life is a movie” Justin half-laments, “and everyone’s watching”.

It’s as much of a cry for help as it is a rationalisation of his irrational recent actions to the watching world.

JB manages to translate clear emotional complexity into lyrical accessibility throughout to the point where you almost wish he wouldn’t so readily thrust his heart on his sleeve to the detriment of subtlety.

The sheer intensity of the emotive barrage that

‘Purpose’ progresses to be can become tiring, even on tracks such as the likeable ‘Life is Worth Living’. ‘Children’ for example, takes on Michael Jackson’s Earth Song, flirting with europop, Two Door Cinema club and Lennon, extracting the worst aspects from each to create this chaotic, good-natured anthem for the fourteen year old philanthropist.

That said, ‘Purpose’ marks the transformation of Justin Bieber from the young caricature that only ever existed through a sensationalised, tabloid-tinted screen to a maturing, still-confused artist, mixing Weekndesque r&b on with cathartic heartbreak and dancefloor dominance. It’s easy to forget his age, but although far from perfect, ‘Purpose’ is respectable and very tangible. “Don’t forget that I’m human, don’t forget that I’m real”, JB urges. Perhaps it’s time that we all realised this.

Photograph: Press Party

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Thursday 3rd December 2015

MUSIC

Live Review: The Maccabees

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Off the back of 2015’s Number One Album ‘Marks to Prove it’, The Maccabees head to Newcastle in fine form. Nadia Crocker went along to the O2 Academy to see whether they pulled it off

he Maccabees put on a show to remember in Newcastle, leaving the audience full of joy for the band’s never-ending commitment to presenting the closest truths in the most beautiful ways.

As an outfit who have been playing together since their teenage years and are now reaching their early 30s, it is not surprising that the most remarkable aspect of their live performance is the sense of perfect unity existing between the band members. Opening with the title track from their UK chart-topping new album, Marks to Prove It, we are immediately left with the sense that this is a band who have been devoted to the cause ever since they formed in 2004, and who will continue to do so. The song is resounding and melancholy – indeed, it focuses upon the ruthless urbanisation of the London suburbs that they know and love – and yet almost paradoxically got the gig off to a triumphant start. They are the very proof that despite the deteriorating situation as a result of economic domination, true creativity can still flourish.

Simply by observing their stage dynamic, there is no doubt that they are all playing for the same cause, and from the same passionate set of ideas existing within their minds. Equally spaced out on the stage, with a guitarist either side of the lead singer, Orlando Weeks, there seemed to be threads of music not only passing from the musicians to the audience, but also exclusively between them.

The opening number is followed by ‘Feel to Follow’ from their acclaimed third album Given to The Wild, which builds to a moment where the guitarists play the same heightened rhythm octaves apart. At this point the audience is ecstatic, arms flailing, as the musicians’ almost frustratingly perfect unity lifts them into a world of harmonies that could very well be distinct from common reality. Indeed, it is partly this ability to retain perfect musical precision at moments of rushing intensity that renders them a class indie act.

The set-list used a mixture of old and new albums, as they represent every stage of a musical career that had progressed from the saccharine to the gritty and then to the expansive. The group settle into classic numbers such as ‘Precious Time’, ‘First Love’ and ‘Toothpaste Kisses’ with a cheerier tone, whilst the slightly more rough-edged ‘Wall of Arms’ reminds us that this is a band that have made efforts to embrace every corner of their potential. The reflective and slightly dark tone of songs such as ‘Kamakura’ then subdue the crowd into a state of contemplation, preparing them to receive the full effect of songs ‘Something Like Happiness’ and ‘Silence’. The former has the crowd spellbound into a practically motionless trance as the free

reverberation of layers of exultant guitar alongside Weeks’ constant haunting voice leave no room in any individual’s mind to consider moving a muscle.

The often taken-for-granted aspect of lighting is also heavily at play, as we were frequently immersed in a deep orange glow, lifting us from the ground and into an ethereal world.

Tonight, we are treated to the live debut of new song ‘Ribbon Road’, whose freshness as a track could be easily forgotten given the aged, resounding tone.

Yet despite the resigned feel of many of the newest songs, the overall feeling of the gig is one of happiness – the kind that comes from being conscious of hardship and yet finding beauty in the reality that surrounds us. As the band close with ‘Pelican’, we were left with the words ‘And we go back to where we came from/Like those before and those to come…’.

On tonight’s reading, the only direction that The Maccabees are going is forwards, and they are moving at quite a pace.

Photograph: Chuff Media

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Thursday 3rd December 2015

VISUAL ARTS

An Unconventional Christmas

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Holly Bancroft tells us how to branch out this season when decorating our Christmas trees Christmas is nearly upon us and for the more enthusiastic amongst you that means decorating the house. If you managed to catch any of Lumiere then I’m afraid the normal string of fairy lights is no longer going to cut it. This is the year to think ouside of the box and where better to start than with the Christmas tree.

mas celebrations. The piece speaks be-

Just as John Lewis is arguably the king of the Christmas advert, so Claridge’s is the queen of the Christmas tree. Over the past few years, having gotten Dolce & Gabbana and Lanvin to design the tree in previous seasons, their approach has been one of excess. Find the most lavish things you can, then cover every bit of green you see. This year, Charles Bailey for Burberry has gone off-piste with a simple yet ambitious Christmas tree made entirely of silver and gold umbrellas which send out beams of light when people walk past. Aiming to explore the relationship between light and dark, it comprises more than 100 umbrellas and 77,000 lights. Familiar metallic colours emanate English class with a bit of British weather thrown in.

However if you want something more avant-garde than umbrellas then look no further than the V&A for inspiration. Coming off the back of their India Season, they have commissioned ‘Kalpataru: The Wishing Tree’ by Sahil and Sarthak, artists from the southern state of Kerala.

The Kalpataru is a wish fulfilling tree in Indian mythology and is handcrafted from beaten brass painted with traditional motifs reflecting the concepts of nature and customs observed during Diwali celebrations.

The bright light of the installation is not only for illumination but is also a metaphor for hope, prosperity and ecology.

The artists aim to reflect the rich cultural symbolism of both Diwali and Christ-

The artistic habit of totally re-evaluating the norm has given rise to a variety of highly controversial Christmas trees over the years, including Paul McCarthy’s tree which lewdly resembled both a cartoon and an anal plug. It incensed civilians in Paris so much that it was almost immediately vandalised and led to the artist being slapped in the face at the work’s opening.

The medium has also become used to poke fun at consumerism, most notably Michael Landy’s Christmas tree for the Tate Britain featuring the remnants of Christmas in a festive red skip.

Thought-provoking statements aside, the Savoy is simply offering traditional pure class this festive season. Collaborating with Boodles, the fine jewellers, they’ve added a romantic touch to their holiday décor. The tree is meant to represent the objects given to loved ones during the holiday and will be themed in Boodle’s classic soft pink with motifs reflecting the jeweller’s collection. Although it’s not up yet, the sketch looks as Classic Hollywood as promised.

So there we have the options: in-vogue minimalism, revolutionary, or classic.

The choice is yours.

Happy decorating!

yond the idea of a simple tree.

Many creatives push boundaries with their installations, for example, Mark Wallinger’s tree for the Tate in 2003 for which he chose an Aspen (the wood used to make the cross on which Christ was crucified) and draped it with rosaries.

Photographs: Paul Hudson via Flickr Creative Commons - V & A Christmas Tree 2011

@visualarts_palatinate

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Thursday 3rd December 2015

15

STAGE

A High Time for Student Theatre

Simon Fearn meets the new theatre companies who are changing up the Durham Student Theatre scene

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his year, the initiative has been well and truly taken in Durham theatre. Four new theatre companies have been launched, each promising to plug the gaps that exist in Durham Student Theatre. I met the heads of Battered Soul Theatre, Front Room Productions, Pitch Productions and Fortnight Theatre to talk about the futureof theatre in Durham. I must say I was impressed.

Battered Soul, fronted by Alex Prescot, aims to bring 21st Century plays to Durham, rather than the usual, well-trodden classics. “People were going for the same things again and again,” Prescot explains. Prescot tells me that the stunning relevance of the theatre of the last ten years is particularly likely to strike a chord with university students. “At university, everyone is hyper-engaged and far more politicised, mainly because we have the time to be.

It’s great to capitalise on that by having plays that really wrestle with current issues.” Prescot’s love of contemporary theatre is thrillingly clear, and he wants to provide a platform for other inspired theatre goers. “I wanted to encourage people who’d seen something a few years ago and thought it was amazing, to go ahead and put it on in Durham.

We’re trying to encourage people to pitch plays.”

More than ever before, students have taken Durham theatre into their own hands And speaking of pitching, Pitch Productions probably provides the most accessible platform for students to take the plays they care about to the stage. Isabelle Culkin, who runs the outfit with Suzy Hawes, outlines how she plans to make it easier for directors to take their play to the stage.

“It can be daunting to go to someone directly and pitch a play,” she says. “It sometimes helps to have the anonymity of a form to fill in. We’re looking to give directors and producers lots of creative space, whilst letting them feel that they’re in safe hands.”

Not only does Culkin hope to give students the ability to stage a huge range of productions, but she is also passionate about new student writing.

“When you’re writing a play, sometimes you just need a stranger’s perspective to give you some encouragement so you can finish it” she says, explaining that there is little opportunity in Durham for writers to develop their plays. This is a sentiment shared by Prescot, who also wants to showcase student writing. “We’re really keen to have both new writing from established writers, and workshop new scripts from students. The research and development of new writing is something that Durham lacks”. Prospective playwrights, take heed!

Whilst Battered Soul and Pitch were formed to give an outlet for creatives to stage the type of plays that have previously been neglected by DST, Fortnight Theatre was born out of trauma.

Wesley Milligan describes the scarring experience that inspired his theatre company. “I went through every actor’s nightmare,” he says, “going on stage and completely forgetting all of my lines. It was so traumatic! Every role I did after that I fastidiously

learned my lines, and it made my life so much easier. I was able to act better, so I thought, ‘why not start a theatre company with that sort of ethos?’”

Fortnight Theatre is the result, which challenges students to put on a play within a two week rehearsal period. The twist is that everyone needs to be off script from the start of rehearsals. “It’s so much easier to really develop a play and explore a scene when everyone’s off script. You can focus on being there in the moment with your fellow actors.”

What’s most exciting is that if Milligan’s experiment works, he may have found a much more efficient method of staging plays in Durham, with the ability to churn out shows very quickly. And on top of all this, Fortnight Theatre are looking to improve the audition process, sending out audition pieces in advance, instead of the cold reading method most Durham theatre companies adopt.

“Actors come in, see a piece for the first time, and are asked to read it out,” Milligan explains. “What they do in that time bears no resemblance to what they’re capable of doing during the rehearsal period.” Fortnight Theatre seems to be a company run with the welfare of its actors at heart, helping them to perform better right from the beginning.

Front Room Productions also aims to work more closely with actors by staging intimate productions with small casts. “It’s just a more focused process,” explains Olivia Race, Front Room’s frontwoman, “you can spend more time working on character, and understand the play and dynamics more in a smaller production. Everyone gets to know each other so well, and the team spirit and connection really builds.” Race hopes that unusual choices of venue will also help to create intimate shows. Front Room’s latest production, The Thrill of Love, was staged in Hatfield Chapel, and Race is looking at Empty Shop and underused spaces in colleges for future performance venues.

After speaking to all four of these theatre enthusiasts, I left feeling very positive about Durham students. The heads of these companies had all noticed that DST could offer a broader spectrum of theatre. “It’s such a change from my second year,” smiles Prescot, “people are being so much more adventurous!”

Is there potential for further expansion of DST? “I wouldn’t say DST is saturated,” Milligan comments, “there will be things people haven’t thought of yet, and someone will come along and fill the gap.

And theatre is diversifying so much more this year.”

“There’s no small opera, to do for opera what Tone Deaf did for musicals,” suggests Prescot. “The only spoken word in Durham at the moment is at fringe events in small venues,” comments Culkin, “and it would be great to bring spoken word and poetry to the stage.” True to form, however, this is already something Pitch Productions are working on.

More than ever before, students have taken Durham theatre into their own hands. Not content to put on reruns of well-known plays, these four entrepreneurs have been pushing boundaries and carving out new creative spaces in the theatre scene. There has never been a better time to get involved in student theatre.

Photographs: Isabelle Culkin and Samuel Kirkman

Battered Soul Theatre

Alex Prescot @batteredsoulthe batteredsoultheatre@gmail.com

Pitch Productions

Suzy Hawes & Isabelle Culkin @PitchProds pitchprods@gmail.com

Front Room Productions

Olivia Race @FrontRoomProd frontroomproductions2015@gmail.com

Fortnight Theatre

Wesley Milligan fortnighttheare@gmail.com

INDIGO

Comic by Faye Chua