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Behind the red curtain: ‘Stories From an Abandoned Warehouse’ reviewed

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Crazy Child Productions’ Stories From an Abandoned Warehouse was a surreal, emotionally-charged spectacle that blurred the line between expressionist nightmare and dark comedy. Through its distorted and emotionally charged aesthetics, the production transformed the Michael Pilch Studio Theatre into something dreamlike and unsettling, where memory, grief, absurdity, and humour collided with a startling intimacy. The result was a theatrical experience that felt less like watching a conventional narrative unfold, and more like wandering through the fragmented subconscious of its characters.

As a Spanish speaker, I was particularly struck by director Patryk Winiewski’s in-house translation of the play, which paid careful tribute to Ramón Griffero’s original Historias de un galpón abandonado. Although occasional Latinisms slightly disrupted the rhythm of the dialogue, these moments ultimately reinforced the play’s Chilean origins and lent the production an added sense of cultural specificity. This felt particularly special given that Winiewski’s production is the first time that this work of Chilean fringe resistance theatre has been adapted for the English stage. Rather than distancing the audience, the translation captured the rawness and volatility of Griffero’s writing, preserving both its poetic fragmentation and emotional immediacy. The student cast approached the material with confidence, fully committing to the play’s surreal tonal shifts and expressionist style. 

The Pilch’s stripped back, warehouse-like setting also enhanced the material, honouring Griffero’s original production staged in the titular abandoned warehouse ‘El Trolley’. Griffero’s play was a means of resistance against the horrors of General Augusto Pinochet’s military dictatorship in Chile (1973-90), with the plot reflecting a society fractured by repression and violence. But rather than depicting these realities directly, both Griffero and Winiewski filter them through surrealism and fragmentation, allowing trauma to surface obliquely through distorted characters, disjointed dialogue, and moments of absurd humour. The warehouse emerges as a microcosm for Chilean society under Pinochet, as the omnipresence of the ruling class (‘The Council’) behind a cabaret-style red curtain served as a constant reminder to the audience amidst the rest of the stage’s muted sepia.

Winiewski’s adaptation heightened this tension between political despair and theatrical excess with remarkable precision, embracing a deliberately exaggerated performance style that he described in the programme notes as “the heart of my vision”. In doing so, the production transformed overacting into something active and purposeful. Characters moved with stylised physicality, enhancing the political caricature that Griffero is drawing upon in the original play. These exaggerated elements helped to democratise the production, and as a result, there was no need for background knowledge of Chilean history. Instead, the oscillation between genuine comedy and despair did all the work, pioneered by stellar acting from the whole cast. Each character fits into the production like a puzzle piece, with each line of dialogue contributing to the production’s constantly shifting theatrical rhythms. 

Camilo (Sam Drury) and Carmen (Savannah Lollo), both teachers, are the first to arrive at the abandoned warehouse. Searching for absent students while passionately extolling the value of literature and formal education, the pair embody a fragile belief in culture, learning, and continuity within an increasingly fractured society. Their inability to find anyone to teach reinforces the play’s presentation of characters as isolated archetypes, trapped within identities shaped by occupation and survival. Drury and Lollo’s grounded performances anchored the production emotionally, providing moments of sincerity as the constant arrival of new characters throughout the first half continued to add new layers to the atmosphere of the warehouse. 

The performances by Genevieve Kidd (Lady Carla), Seb Foster (Mr Fermin), and Diandra Kočan (Madame) were particularly compelling. Together, Kidd and Foster brought a decadent theatricality to the stage, with Lady Carla embodying the hedonistic excess of the ruling class through a performance charged with both seduction and menace. Her seemingly insatiable sexual appetite remained deliberately unresolved by the end of the play, adding a strangely human vulnerability beneath the character’s otherwise grotesque extravagance. Kidd handled these competing layers in Lady Carla’s character exceptionally. Paired with Mr Fermin’s fake nails, stiletto boots, and exaggerated flamboyance, the duo introduced an important alternative dimension to the portrayal of The Council. Their performances suggested that authoritarian power in the play operates not only through fear and violence, but also through spectacle, performance, and excess.

Kočan’s Madame is also clearly drawn toward these qualities, ultimately aligning herself with The Council by the play’s conclusion. As an archetype, she exists in deliberate contrast to both Lady Carla and The Woman (chillingly portrayed by Nicole Choi), positioning her between competing models of femininity under the dictatorship: motherhood, submission, desire, and power. Kočan navigated this ambiguity with remarkable subtlety, allowing Madame’s gradual attraction to authoritarian excess to emerge less as a sudden transformation than as an unsettling inevitability. In doing so, the character became one of the production’s most compelling reflections on complicity, suggesting how easily systems of repression sustain themselves through seduction as much as fear. 

Grace Weinburg’s The Child was, arguably, the most memorable performance from the production. Present on-stage in a baby’s cot before the play even begins, Weinberg’s character has a distinct connection with the audience from the outset. Through eerie monologues and consistent interactions with the fourth wall (including rummaging underneath audience members’ seats to find props for the Council’s ‘party’), The Child became a deeply unsettling presence that hovered between innocence and omniscience. Weinburg’s performance captured the play’s surrealism at its most disturbing, transforming childish vulnerability into something uncanny and quietly threatening. This was undercut by the play’s conclusion, as she is cruelly excluded when the Council takes leave, replaced by Madame, despite her undying loyalty to the Pinochet-adjacent dictator, Don Carlos (Henry Cane). 

Crazy Child Productions has staged something genuinely daring. It was not simply a revival of an important piece of Chilean resistance theatre, but a demonstration of the enduring power of experimental performance to articulate political and emotional truths that realism alone cannot capture. Stories From an Abandoned Warehouse embraces excess, fragmentation, and absurdity without ever losing sight of the human suffering beneath them. Camilo’s death is perhaps the production’s most devastating example of this, as his body lies motionless onstage while the surrounding action continues in grotesque indifference. 

Strange, unsettling, and often deeply moving, Winiewski’s adaptation lingers long after the final scene fades – not because it offers easy answers, but because it forces its audience to sit within the instability and contradictions that define both the play’s political world, and our own.



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St Edmund Hall unveils new eco-friendly accommodation 

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St Edmund Hall has opened new, sustainability-focused accommodation in Norham Gardens, one of Oxford’s most affluent neighbourhoods.

 The College describes the buildings, which took three years to construct, as an “exemplar” of sustainability. Designed by architects Wright & Wright LLP, they are certified with a Passivhaus standard, widely regarded as the industry benchmark for energy efficiency, and were built using “sustainably sourced and low-embodied carbon materials”. According to a press release on the Teddy Hall website, the buildings will use 70% less energy than the typical modern building. 

It contains 127 en-suite study rooms, split across three new buildings: Willis House, Ashton House, and Elliott House, on the nearly 50-year-old Norham St Edmund site. The buildings, which back onto University Parks, are powered at least in part by solar panels and are heated by air-source heat pumps. 

The rooms include heated towel racks, big double beds, and dimmable lights. Despite the luxury, the College kept the nightly rate in line with the rest of its Norham housing. The College told Cherwell that it “recognises the need to keep rents as low as possible” and that its accommodation costs are “below the median of all Oxford colleges”. By that standard, tenants are expected to pay around £30 a night. 

Rooms on the site will be reserved for Teddy Hall returning undergraduates. They will not be available to postgraduates and, by extension, not be offered through the Oxford University Collegiate Accommodation System, now in its second year of opening college rooms to students from other colleges. The accommodation will allow Teddy Hall to accommodate all undergraduates for their whole degree. 

The development’s outdoor spaces are boasted as climate-resilient and biodiverse, with landscaped gardens and lawns. For budding geographers and biologists, the most intriguing feature may be an ecology pond. 

Chancellor William Hague said in a press release: “Norham St Edmund is a world-leading blueprint for future student accommodation projects and sustainable building design, both in Oxford and beyond. I look forward to seeing it serve a thriving college community for generations to come.



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Summit calls for human rights safeguards on AI

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Human rights experts called for stronger legal protections against the risks posed by artificial intelligence (AI) at an Oxford AI and Human Rights Summit, with speakers arguing that human rights standards must be embedded into AI governance and technology. 

The summit was hosted at the newly redeveloped Rhodes House in Oxford and organised by the Institute for Ethics in AI. It built upon Professor Yuval Shany’s consultation on a white paper, published in 2025, on the need for and feasibility of an international AI Bill of Human Rights, which proposes ways to adapt existing human rights standards so as to better address some of the unique challenges posed by AI systems and their uses. 

An opening video address from the United Nations High Commissioner for Human Rights Volker Türk outlined how AI policy can keep pace with a fast-developing technology. He said that “great power demands responsibility on the same scale, and when the two don’t match, we have a problem”. Corporate control, he explained, means that AI policy stretches beyond existing national borders. He continued to praise this summit for bringing together leaders and representatives at the forefront of the discussion.

 Speakers called on the UK government to establish legislation, recalling Labour’s manifesto commitment to an AI Bill of Human Rights. The panellists broadly agreed on the importance of human rights, but appeared less aligned on what enforcement should look like in practice.

 In an exclusive interview, Michael O’Flaherty, the Council of Europe’s Commissioner for Human Rights, told Cherwell that political short-termism Continued on pg. 2 risks undermining efforts to address the long-term consequences of AI. “We are infected across our societies with shorttermist responses to the great issue of our societies and politics,” he said, adding that electoral cycles make it difficult for politicians “to think beyond the next election”. 

O’Flaherty also noted that younger generations no longer take the international human rights system for granted. “There is no longer an assumption that the human rights system is safe, that it will survive,” he told Cherwell. He argued that political leaders increasingly treat human rights selectively, saying: “Increasingly, leaders are treating human rights, if they are respected at all, as an a la carte buffet. We take those rights because they serve our goal. We’ll ignore others because they get in the way.

The summit also heard concerns about the effects of AI-generated misinformation on communities that may have limited access to, or awareness of, the technology itself. An audience question asked human rights experts to consider the impacts of AI on populations, such as those in India, who might be unaware of its existence. The focus on the impact of AI on populations in developing countries more vulnerable to the power of big tech was a key theme of the summit. 

Eileen Carter from the South African Human Rights Commission warned that underrepresentation of African languages in large language models could exacerbate existing inequalities. She also raised concerns about the effects of misinformation and deepfakes on elections, referring to more than 360 deaths associated with unrest and the amplification of narratives. 

The third panel, which offered a civil society perspective on promoting human rights in AI systems, offered some hope. Across all speakers, the potential for AI to transform the beliefs that underpin human rights, including the rights to water, education, and an interpreter, was debated. When asked about AI’s potential to unravel and alter the definition of human rights, such as what is included in the ‘right to education’ O’Flaherty told Cherwell: “The damage that can be done by AI has hit more dramatically and more visibly than perhaps any other sector within education through the phenomenon of cognitive loss, of cognitive transfer. We’re only beginning to realise the extent to which we have allowed education to be fundamentally undermined for an entire generation. 

“It’s time to seize that now and engage it. I’m not sure that the classic understanding of the human right to education is particularly well-framed for this extraordinary development.”

 In a discussion on different countries’ regulatory approach to AI, Suresh Venkatasubramanian, professor at Brown University and former AI advisor to US President Joe Biden, argued that AI systems should not be treated as inevitable developments beyond human control. “We continue, I think, to talk about AI as a thing that emerged out of nowhere that we just have to deal with,” he said. “We forget that these aren’t coming from an alien planet and they were built by entities that choose to build them in a certain way.” He called for pressure on technology companies to make different choices about how AI systems are developed. 

Questions of accountability also emerged during discussions about AI’s potential to improve access to justice. Research presented by Philippa Webb said that only 10% of people who have access to a lawyer can get one while there are thousands of bookings for an interpreter in a court covering 150 languages. However, this progress is not cemented as “general-purpose chatbots hallucinate 58% of the time on a legal task”. The use of AI in moderating legal proceedings raised fundamental questions about humanity and authority. Thompson Chengeta from Liverpool John Moores University said that “human rights is the last line of defence so when we say we want a human rights based governance… human rights is not an idea, it is an obligation. There is a gap that can only be recovered by a legally binding instrument”.

The event culminated in a panel offering an industry perspective. Co-host Dr Caroline Emmer De Albuquerque Green questioned representatives from Meta, Google, Microsoft, and OpenAI. Michael Karimian, who works in digital diplomacy at Microsoft, discussed the role of private sectors in engaging with AI, defining corporate responsibility as something which “provides transparency and identified risks”. 

All companies supported having formal programmes to ensure that they have an AI policy in place. Within their own companies, they suggested protective measures such as specialised training to ensure that policies, such as whistleblowing, are understood. Alexandria Walden from Google described how consultations with stakeholders could be used to identify when the product breached users’ boundaries. These assessments, according to OpenAI’s spokesperson, “feedback into tangible technical input” and “benchmark it”.

Fundamentally, understanding the rationale behind human rights is imperative, though lacking. Alexandria Walden from Google said: “Whether or not they understand human rights, they care enough to infuse it in their company… we might not always get it right, but it is something we care about.” 

Where former panels discussed controls to ensure human rights are considered in the development and implementation of AI products, this panel focused on mitigation. A spokesperson from Google pointed out that technology is inevitably going to move faster, so multiple tools are needed. Companies, OpenAI’s representative noted, still encounter issues such as discrimination and free speech. Consequently, they regard this as an additional policy which companies have a structured model to deal with, but newer companies, and newer industries, haven’t learnt it yet. 

In her concluding remarks, Green called for policy makers to “make the abstract actionable” at both governmental and corporate levels. She argued that, by framing the issues posed by AI as human rights issues, we gain a “foundation” for recognising AI’s many societal impacts.



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Oxford University launches Ebola vaccine trial in Uganda

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Ugandan participants in a clinical safety study received an Oxford developed Ebola vaccine this week. 

Researchers vaccinated the first participants on 6th October in Masaka, Uganda. The phase follows the launch of a first-in-human Phase I trial in the UK evaluating the same vaccine candidate. 

They received the vaccine as part of an evaluation of the safety and efficacy of a ChAdOx-based Bundibugyo Ebola vaccine candidate developed by the Oxford Vaccine Group (OVG) and the Pandemic Sciences Institute at the University of Oxford. 

Development for this vaccine began in May this year in response to the ongoing Ebola outbreak in the Democratic Republic of the Congo (DRC). The research, led by OVG’s Professor Teresa Lambe and Professor Simon Drysdale, is funded by the Coalition for Epidemic Preparedness Innovations (CEPI). No licenced vaccine for the Bundibugyo strain of Ebola virus currently exists. 

In a statement to Cherwell, OVG said its involvement includes collaborating with the Ugandan research team to support “the study’s scientific design, clinical trial coordination, safety oversight, and evaluation of vaccine safety and immunogenicity”. The Phase I clinical trial addresses a rare strain of Ebola virus affecting communities in the DRC since May. The phase is a collaboration between the Medical Research Council/ Uganda Virus Research Institute and the London School of Hygiene and Tropical Medicine (LSHTM). 

Dr Nicole Lurie, CEPI’s Executive Director for Emergency Preparedness and Response, told Cherwell: “It [the Bundibugyo outbreak] remains the fastest-growing and second-largest Ebola outbreak ever recorded – and we currently remain without a licensed vaccine or treatment.” The Bundibugyo Ebola epidemic in the DRC has surpassed 8,600 cases, with almost half of infections proving fatal. 

The outbreak was declared a Public Health Emergency of International Concern (PHEIC) by the World Health Organisation (WHO) in May. 

OVG told Cherwell: “For more than a decade, the University of Oxford has performed many clinical trials of candidate viral-vectored vaccines. Some of the most promising vaccines used a modified chimpanzee adenovirus, a harmless version of a common cold virus. The Oxford-AstraZeneca (ChAdOx1) COVID-19 vaccine was approved for emergency use in the UK in December 2020 and was estimated to have saved six million lives during 2021 alone, and over 3 billion doses were used worldwide.” The adenovirus vector vaccine technology trialled in this study was successfully used worldwide as part of the Oxford-AstraZeneca COVID-19 vaccine. 

More funding is necessary to ensure the development and approval of the Ebola vaccine. Lurie told Cherwell: “Without sufficient additional funding, we are at risk of not being able to develop these promising vaccine candidates… CEPI urgently needs US$128M now to keep our Bundibugyo emergency R&D response moving. Without it, we are putting the DRC, and the world, at tremendous risk.”



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