Oxford Events
Oxford’s traffic measures: how can a historic city manage traffic and congestion?
There are few cities where the conflict between modern traffic and an historic street plan is as visible as it is in Oxford. Medieval streets still define much of the city centre, where narrow roads and buildings close to the carriageway leave little room for expansion. Routes that once served a comparatively small population now carry buses, bicycles, delivery vehicles, taxis and thousands of pedestrians alongside cars travelling between residential areas, workplaces, hospitals, shops and the railway station.
The physical constraints are difficult to escape. Oxford cannot readily widen its central roads without affecting historic buildings and established neighbourhoods, nor can it easily create the broad boulevards and multi-lane junctions found in some newer cities. For decades, successive transport policies have therefore sought to manage where and when motor traffic can travel, while encouraging alternatives such as public transport, cycling, walking and park and ride.
The latest development came on Monday 28 September, when Oxfordshire County Council introduced six traffic filters, replacing the temporary congestion charge that had operated at the same locations. The filters are the newest part of a much longer history of restrictions intended to make better use of the city’s limited road space. They also raise a question that has accompanied many of Oxford’s transport measures: can restricting traffic on particular routes reduce congestion overall, or does some of the pressure simply move elsewhere?
A city that chose not to build its way out of congestion
Oxford’s current transport debate has echoes of decisions made more than half a century ago. During the 1960s, major road-building schemes were considered, including proposals for an inner relief road that would have taken traffic through areas including Christ Church Meadow and Jericho. Those plans were eventually abandoned in the 1970s, helping to shape an approach that placed greater emphasis on managing traffic than on continually expanding road capacity.
The first permanent park and ride scheme in the country opened at Redbridge in 1973, allowing motorists to leave their cars outside the city and continue their journeys by bus. Bus lanes, parking controls, cycling infrastructure and restrictions on general traffic followed, gradually establishing a transport network in which access to certain roads depended on the type of vehicle, the time of day or the purpose of the journey.
By the late 1990s, bus gates had been introduced on routes including the High Street. These restrictions gave buses greater priority on some of Oxford’s busiest streets, reflecting a principle that continues to underpin the city’s transport strategy: where road space is limited, it cannot necessarily be allocated to private cars without affecting other road users.
Bus gates: the restrictions behind the familiar signs
For many drivers, the first encounter with a traffic restriction in Oxford is not a traffic filter but a bus gate. A bus gate is a section of road that only buses and other authorised vehicles may use, although the precise exemptions and operating hours vary by location. Oxford has restrictions of this kind on streets including the High Street, Castle Street, George Street and Magdalen Street, as well as at Folly Bridge.
The rules are not uniform. The High Street bus gate operates between 7.30am and 6.30pm, while Castle Street and Magdalen Street have restrictions that operate around the clock. George Street has different restrictions depending on the time of day. For drivers unfamiliar with the city, the blue bus symbol on a sign can therefore indicate more than a lane intended to give public transport priority: it can mark a legal restriction on ordinary car journeys.
Cameras enforce these restrictions, recording vehicles that enter when they are not permitted to do so. The underlying purpose is to protect the movement of buses and other authorised traffic through busy parts of the city, rather than allow every road to serve as a general route for all vehicles. Bus gates have consequently become an established feature of Oxford’s approach to managing congestion without building new roads.
LTNs take the restrictions into residential streets
Oxford’s low traffic neighbourhoods, or LTNs, extended the principle beyond the city centre and into residential areas. Introduced in Cowley and east Oxford, the schemes were designed to prevent drivers from using local streets as shortcuts between main roads. Unlike a complete closure of a neighbourhood, the intention is to preserve access to homes and local destinations while making some routes through the area unavailable to motor traffic.
In Cowley, the experimental scheme used physical closures, including planters and bollards. East Oxford’s LTNs followed, covering streets and areas including Divinity Road, St Clement’s and St Mary’s. The county council has described their purpose as creating quieter and safer residential streets where people may feel more comfortable walking, wheeling and cycling.
The effect of restricting a route, however, depends partly on where the traffic goes instead. Preventing cars from cutting through one neighbourhood can reduce traffic on its residential streets, but it may also alter traffic volumes on surrounding roads. That is one reason the schemes have been the subject of traffic counts, air-quality monitoring and assessments of travel behaviour, as well as formal decisions about whether experimental arrangements should continue.
Cowley’s LTNs were retained after an 18-month trial in 2022. East Oxford’s experimental scheme ran until 2023, when the county council decided to retain it. These decisions made the restrictions part of the city’s longer-term transport landscape, although the effects of any individual scheme can vary between streets and neighbourhoods.
Cleaner air brings another kind of restriction
Not every traffic measure in Oxford is primarily intended to reduce congestion. In February 2022, the city introduced its Zero Emission Zone (ZEZ), a scheme designed to address vehicle emissions in the city centre. It uses automatic number plate recognition cameras to identify vehicles entering the zone, with charges determined by vehicle emissions rather than a blanket prohibition on petrol and diesel vehicles.
The pilot covers a small group of central streets, including Queen Street, Cornmarket Street, New Inn Hall Street, Bonn Square and Ship Street. Charges operate from 7.00am to 7.00pm, seven days a week, ranging from no charge for zero-emission vehicles to £10 a day for vehicles in the highest charging category.
The distinction between these schemes is important because restrictions that appear similar on road signs can serve different purposes. A bus gate determines whether a vehicle is authorised to use a particular section of road; a low traffic neighbourhood seeks to prevent residential streets being used as through-routes; and the ZEZ charges vehicles according to their emissions. Each changes the conditions under which people can drive, and each is intended to address a different problem.
The temporary congestion charge
The next major change came in October 2025, when Oxfordshire County Council introduced a temporary £5 congestion charge at six locations while Botley Road remained closed for Network Rail’s work at Oxford station. The charge was intended as an interim arrangement while the planned traffic filters were delayed by the extended closure.
Under the temporary scheme, drivers without a permit could pay to pass through the designated locations, while permit holders and exempt vehicles could travel through without paying. The arrangement used camera enforcement and provided an opportunity to monitor how changes in road access affected traffic, bus journeys and park and ride use.
The council’s monitoring reported increases in park and ride use and bus patronage, alongside lower traffic volumes on some routes into central Oxford. It also recorded increased traffic or longer journeys on some outer routes. These findings illustrate a central difficulty in transport planning: changes that reduce traffic at one point in the network can have different effects elsewhere, depending on how drivers respond and which alternative routes remain available.
A fall in traffic on a particular road does not, by itself, establish that fewer journeys are being made across the city. Some people may switch to buses, walking or cycling, while others may travel at different times, choose another destination or abandon a journey. Drivers who continue to travel by car may instead take a longer route. Understanding the overall effect requires a wider view of traffic patterns, rather than measurements at the restricted locations alone.
The traffic filters replace the charge
On Monday 28 September 2026, the temporary congestion charge was replaced by six traffic filters at Hythe Bridge Street, St Cross Road, St Clement’s Street, Thames Street, Marston Ferry Road and Hollow Way. The first four operate from 7.00am to 7.00pm every day. Marston Ferry Road and Hollow Way operate during peak periods, from 7.00am to 9.00am and 3.00pm to 6.00pm, Monday to Saturday.
The most significant difference for drivers is that they can no longer pay the £5 congestion charge to pass through a filter. Instead, cars, including motorhomes, are restricted at the designated locations during their operating hours unless they have the appropriate permit or exemption. Other vehicle types, including vans, lorries, buses, motorcycles and mopeds, are not restricted by the filters. Electric cars remain subject to the restrictions; being electric does not, in itself, provide an exemption.
The filters are enforced by automatic number plate recognition cameras rather than physical barriers. During the first six months, a car detected passing through a filter without the necessary permit for the first time will receive a warning rather than a penalty charge notice. Subsequent unauthorised passages can result in a £70 penalty, reduced to £35 if paid within 21 days.
The council says that, with Botley Road reopened, every part of Oxford remains accessible by car without passing through a traffic filter. The intended effect is therefore to prevent particular routes from being used by cars at specified times, rather than to make destinations inaccessible. For some journeys, avoiding a filter may require drivers to use a different road or approach their destination from another direction.
Has the traffic simply moved elsewhere?
One question arising from the introduction of the traffic filters is whether they will reduce the overall volume of traffic in Oxford, or primarily change the routes drivers take to reach their destinations. Traffic on some major roads, including Cowley Road and Botley Road, has appeared heavy since the changes. Roadworks may account for some of the congestion on Cowley Road, making it difficult to attribute delays to any single cause. But there is a broader question about how drivers are adapting to the new restrictions.
For journeys that would previously have passed through the city, some drivers may now be travelling towards the ring road before approaching their destination from another direction. Rather than crossing the centre directly, they are effectively circling around the city, potentially adding distance and traffic to routes that remain open. Whether this is happening at a significant scale, and how much it contributes to congestion on individual roads, will require evidence from traffic monitoring rather than observation alone.
Consider a journey from Marston to Oxford railway station. Depending on the starting point, destination and restrictions in force, a driver seeking to avoid a traffic filter may find it necessary to travel southeast via Cowley Road or east on London Road, join the ring road and approach the station from the west via Botley Road. A journey that might otherwise have taken a more direct route can become a circuit around the city. The example illustrates how a restriction on one route can affect traffic well beyond the point where the cameras are installed.
This raises a question that goes beyond congestion at individual filter locations. The scheme may reduce the number of cars travelling through particular parts of central Oxford, but that does not automatically mean fewer vehicle journeys across the city as a whole. Some journeys may shift to buses, walking or cycling; others may take place at different times, be abandoned altogether or be diverted onto alternative roads. The balance between these responses will help determine the scheme’s wider effects.
The distinction matters because the outcomes are not necessarily the same. Less traffic in the centre could improve bus reliability and conditions for pedestrians and cyclists, even if traffic increases elsewhere. But if longer journeys simply transfer congestion to the ring road and other major routes, the overall effects on journey times, emissions and traffic levels may be more complicated. The council’s monitoring of traffic volumes and journey times across the network will therefore be important in assessing the trial. The question is not simply whether fewer cars pass through the filters, but whether the scheme improves how people move around Oxford without creating disproportionate problems elsewhere.
What is Oxford trying to achieve?
Viewed together, the different measures reveal a broader approach to transport planning. Bus gates are intended to give public transport priority and help buses keep moving. Low traffic neighbourhoods seek to prevent residential streets from becoming convenient through-routes. The Zero Emission Zone targets vehicle emissions in the city centre. The temporary congestion charge reduced access through selected locations while the road network was under exceptional pressure, and the traffic filters are intended to reduce through-traffic, improve bus reliability and encourage more journeys by public transport, walking, cycling and wheeling.
None of these measures creates more physical space. Instead, they attempt to determine how the available road space is used, and which journeys should be given priority. That approach reflects the constraints of Oxford’s historic layout, but it also involves choices about how the consequences of traffic management are distributed between different roads, neighbourhoods and road users.
The city has more residents, workers, visitors and vehicles competing for a network whose fundamental geography is difficult to change. Restricting one route can improve conditions for some people while making journeys more complicated for others. Whether the overall result is an improvement depends not only on what happens at the filter locations, but also on changes in travel behaviour and the effects across the wider network.
A city still learning how to share its roads
The traffic filter trial is operating under an experimental traffic regulation order and can run for up to 18 months. The county council is monitoring traffic levels, bus journey times and other effects, alongside a six-month public consultation that began on 28 September. The results are intended to help inform a decision on whether the filters should become permanent.
For more than 50 years, Oxford has tried different ways of managing the tension between a historic urban environment and modern mobility, from park and ride and bus gates to low traffic neighbourhoods, the Zero Emission Zone and traffic filters. Each measure reflects a different attempt to address the limits of the city’s road network, and each has consequences that extend beyond the signs and cameras themselves.
For drivers, the result can sometimes feel like a bewildering collection of restrictions, operating hours and exemptions. For the city, the challenge is to understand whether those measures collectively deliver the intended benefits, and how any costs are shared between central streets, residential areas and the roads around Oxford.
The underlying question remains: in a city where there is little realistic scope to build more road space, who should get to use the space that already exists, and when? The traffic filter trial is the latest attempt to answer it, but the evidence gathered during the coming months will be important in determining whether it succeeds.
PS: Take part in the traffic filter survey
Oxfordshire County Council is inviting residents, businesses, visitors and organisations to share their experiences of the traffic filter trial through a six-month public consultation, open until 28 March 2027. The survey asks whether the filters have changed how people travel around Oxford and whether they would like to see any changes to the scheme. The survey is available online, and paper copies can be obtained from County Hall and Oxfordshire libraries.
Complete Oxfordshire County Council’s traffic filter survey
What has your experience of Oxford’s traffic filters been? Have they reduced congestion, or simply moved traffic elsewhere? Join the conversation on our Facebook page and tell us what you think.
Oxford Events
PYO Pumpkin picking in Oxfordshire
Where to go pumpkin picking in Oxfordshire in 2026
Here are our favourite places to pick your own PYO pumpkins in Oxfordshire and beyond.
It’s that time of the year. That’s right, pumpkin season is here. Whether you associate it with Halloween or not, Pumpkin picking, a somewhat American concept, has taken off in the UK, with patches and pick-your-own farms springing up all over the place.
Here are our favourite places to go to make the most of pumpkin season this year. Put on your wellies, and head to one of these pick-your-own PYO pumpkin patches in Oxfordshire and beyond. Due to the rural nature of these farms, you’re probably going to need a car to get to most of them.
And whilst some PYO pumpkin patches are all about the pumpkin picking experience, others have gone all out with playgrounds, bale mazes or maize mazes and Halloween trails so that you can have a fun family day out.
Rectory Farm, Stanton St John
Rectory Farm is delighted to bring back The Pumpkin Patch for 2026. Families can wander through the pumpkin field to pick their own farm-grown pumpkins and squashes in a rainbow of colours, perfect for Halloween. Tickets are priced at £8.50 per person. Children under 2 go free and require no ticket for entry.
Millets Farm has been nurturing a large number of pumpkins in their fields this year, and now’s the perfect time for picking a pleasingly plump one. The pumpkin patches are open at weekends from Saturday 03 October, then daily from Thursday 22 October. The patch costs from £4.00 to enter, and then you pay for what you pick before leaving. Pumpkin and squash prices vary depending on the size and variety.
10&11 / 17&18 / 24 to 31 October
High Lodge Farm, Abingdon
The Midnight Moon Halloween Adventure at High Lodge Farm invites families to explore a spooky woodland trail, solve a magical mystery, pick pumpkins, enjoy crafts and games, ride the ghost train and discover plenty of autumn fun.
Put on your boots and head to the pop-up pumpkin picking event for 2026 at Hadsham Farm near Banbury. Collect a sledge and head to the pumpkin patch, where you can choose your perfect pumpkin. There are a variety of sizes which are priced between £1.00 and £10.00 each. Take your pumpkin back to the barns, where you can collect a carving kit to transform your pumpkins.
Pumpkin picking just beyond Oxfordshire
A selection of pumpkin picking experiences just beyond Oxfordshire, but close enough…
Cotswold Farm Park, Guilting Power, Cheltenham
Founded by Joe Henson in 1971 – to help protect some rare breed farm animals – Cotswold Farm Park is about an hour’s drive from Oxford and even closer to Chipping Norton. Wrap up warm and head over to the field. Explore the pumpkin trail and choose a spooky face paint design. Then grab yourself a plump pumpkin to take home for crafts and pies. The pumpkin patch is open on 02 to 04, 09 to 11, 16 to 18 and 21 to 31 October 2026.
Weedon Hill Farm, Aylesbury
Farmer Paul at Weedon Hill Farm – about half an hour from Bicester – has been nurturing beautiful pumpkins on his predominately beef and arable farm. As well as the classic orange Jack-o-lantern pumpkin, which looks fantastic when carved, you can get your hands on a whole gaggle of gourds that are delicious to eat as well. The pumpkins are displayed in ‘The Pumpkin Barn’ to keep them dry when it rains. No need to book. Free entry into the barn. Open on 03, 04, 10 to 11, 17 to 18 and 24 to 30 October 2026.
Bucks Goat Centre, Stoke Mandeville, Aylesbury
The Bucks Goat Centre is a friendly open farm situated in Stoke Mandeville (some 40 minutes from Bicester). They have a pop-up pumpkin farm with over 2,000 pumpkins to choose from. There will be pumpkins for sale from 17 to 31 October (priced from £4.00) and details on the Halloween Trail is coming soon on their website. They’ll have fun activites running all week, including Walk Wilbut the Pig and Childminder Wednesday. Book online or pay on arrival.
Roves Farm, Sevenhampton, Swindon
Roves Farm is a brilliant day out for all ages. Visit the Pumpkin Barn to choose your pumpkin. Then get creative carving your design. Bonus for the grown-ups – you get to leave the mess behind! Extra charge applies, and it’s subject to availability. Pre-booking is essential. Over the October half term (22 October to 01 November), they will be hosting a range of events and activities to run alongside the pumpkin carving event. You’ll find further details on their website.
Glebe Farm, Lower Brailes near Shipston-on-Stour
It’s PYO pumpkins time at Glebe Farm in Lower Brailes (OX15 5HR), on the edge of the Cotswolds about 10 miles from Chipping Norton and Banbury. We’re told the pumpkins are growing well with 20 varieties of pumpkin and winter squash to choose from this year – with plenty of colours and sizes from the little white “Ghost” Casperita pumpkins to the appropriately named “Warty Goblin”. You can book your entry tickets for our Pick Your Own Pumpkins by visiting their website.
Need more spooky activity inspiration? See our list of brilliant half-term & Halloween activities in Oxfordshire.
Oxford Events
20 (or so) brilliant October half term & Halloween activities in Oxfordshire
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Are you looking for what to do in Oxford and across Oxfordshire this October half term and Halloween?
Look no further. We’ve scoured the length and breadth of Oxfordshire and put together a list of the best October half-term and Halloween activities, events and things to do in Oxfordshire.
There are loads of things to do with kids – even if a downpour threatens to send you inside – including child-friendly shows and great things to do indoors with the kids over the October half-term in Oxford and across Oxfordshire.
And dare we mention that ‘Trick or treat’ season is also upon us. What to do with little ones dressed up for a celebration that may very well look and feel a little bit different this year due to the “rule of six”.
Have a look at our suggestions below and get planning. We hope this list will help you to find all the half-term and Halloween activities near you for a truly amazing half-term from Friday, 23 October through to Monday 02 November, including Halloween on Saturday, 31 October.
The Pumpkin Picking Patch at Rectory Farm
Rectory Farm is delighted to bring back The Pumpkin Patch for 2026. Families can wander through the pumpkin field to pick their own farm-grown pumpkins and squashes in a rainbow of colours, perfect for Halloween. Tickets are priced at £8.50 per person. Children under 2 go free and require no ticket for entry.
Pick your own Pumpkins at Millets Farm
Millets Farm has been nurturing a large number of pumpkins in their fields this year, and now’s the perfect time for picking a pleasingly plump one. The pumpkin patches are open at weekends from Saturday 03 October, then daily from Thursday 22 October. The patch costs from £4.00 to enter, and then you pay for what you pick before leaving. Pumpkin and squash prices vary depending on the size and variety.
The Midnight Moon – Halloween Adventure
The Midnight Moon Halloween Adventure at High Lodge Farm invites families to explore a spooky woodland trail, solve a magical mystery, pick pumpkins, enjoy crafts and games, ride the ghost train and discover plenty of autumn fun.
Halloween at Tumblestone Hollow
Children are invited to join Halloween at Tumblestone Hollow as they weave through Stonor’s gardens and into the woodland adventure playground, completing wild and mischievous challenges along the way, to win a Magical Mayhem Certificate, together with a chocolate treat.
Waterperry October Snake Hunt
Take part in the Waterperry Halloween Hunt throughout this October half term. It costs £4.50 per child with a prize. Children must be accompanied by an adult for whom the garden entrance fee applies. Open from 10.00am till 5.30pm daily.
IF Oxford Science + Ideas Festival 2026
IF Oxford returns in 2026 with events from 17 to 31 October. It is a thought-provoking and interactive science and ideas festival that creates an opportunity to bring together hundreds of researchers with thousands of people every year – with science, ideas and creative activities for everyone to explore.
Howl-O-Ween Half-Term at Stowe House
Howl-O-Ween Half-Term at Stowe House promises a frightfully fun family day out, with a Pug in a Pickle trail, Halloween treasure hunt and spooky make-and-take crafts to enjoy this October half-term.
Dracula Spooktacular – Halloween at Cogges
The Manor House is mystically transforming into the home of the most famous Vampire in history – Dracula. Step inside his castle and enjoy an immersive experience as you journey from room to room, experiencing the daily life of the charismatic count and meeting some of his friends along the way. It’s a spooktacular and entertaining experience – perfect for all the family.
Halloween at Blenheim Palace
As Halloween creeps closer and the days shorten, there’s a chill in the air at Blenheim Palace, where ghosts, ghouls and witches get ready to deliver a whole host of tricks and treats along a spooktacular trail. Your very spookiest Halloween starts here…!
Didcot Railway Centre Steam Days
Experience the magic of historic rail travel at Didcot Railway Centre this season. Enjoy unlimited steam train rides during October’s family-friendly Pumpkin Express events, or book a timed slot in December to experience the festive Steam Into Christmas program.
Haunted Half Term at Blenheim Palace
Get ready for a frightfully fun family adventure at Blenheim Palace this October. Haunted Half Term brings creepy creatures, magical activities and plenty of spooky entertainment to the Walled Garden. Meet friendly snakes, tarantulas, giant snails and frogs at the Zoolab show, then enjoy circus workshops, witchy storytelling, wizard walkabouts and more.
Ghost Fest: Potion Making
Ghost Fest: Potion Making at Oxford Castle & Prison invites families to uncover magical ingredients, solve clues and create drinkable potions with Merlin’s apprentice. You can also craft a wand, enjoy magical demonstrations and explore an interactive experience inside a real medieval crypt.
Mystic Pets: Halloween Crafting
Come along and create your own spooky friend based on the animals that appear alongside witches in tales from English folklore. Join in crafts and try out the new spooky Halloween gallery trail.
Fam Jam
This Halloween, families are invited to join a fun-filled, fancy dress Fam Jam. Guests can come dressed as their favourite spooky characters and enjoy Halloween-themed games, creative activities, and dancing — all set within a lively Halloween party atmosphere perfect for little ones and grown-ups alike.
Halloween Slime Lab at Stowe House
Halloween Slime Lab at Stowe House is a hands-on Halloween workshop perfect for creative children who aren’t afraid to get a little messy, mix their own gloriously gooey creation, choose between bubbling cauldron slime or playful pumpkin slime and then take their finished creation home to enjoy.
Ghost Fest: Spooky Tours
Oxford Castle & Prison’s annual spooktacular Ghost Fest is back with Spooky Tours! Do you dare visit for one of their evening Spooky Tours? Hear the haunting stories of their 1,000-year past and let their gruesome history come to life! It won’t be too long before their ghosts reveal themselves!
Musical Theatre Workshop – Annie
Join this Musical Theatre Workshop for an engaging and high energy musical theatre workshop run by Scott’s Performing Arts, where you will learn the number ‘Hard Knock Life’ from the musical Annie ahead of the show coming to New Theatre Oxford this December.
JukeBox: Halloween Special
JukeBox Halloween Special brings decades of feel-good music, singalong favourites and spooky fun to Oxford for a night of dancing with friends.
Dance in the Dark
Come in your favourite PJs for a slumber party in a giant sleepover den and a playful night-time adventure. You’ll meet friendly nocturnal creatures, some slithering slugs, magical moths, and fantastical fireflies. Discover the magic of the dark, whirl and twirl, catch a shooting star and learn to be brave at bedtime.
The Spooktastic Halloween Show
Dantastic Productions and the hilarious panto comic Dan Whitley return to the Kenton theatre with a brand new high energy, interactive, musical, Halloween adventure – The Spooktastic Halloween Show.
Half Term Halloween Crafternoon
Join a frightfully fun afternoon of creativity at this Halloween Crafternoon packed with Halloween-themed arts and crafts, creative activities and plenty of seasonal fun.
Stars at Stowe Stargazing
Experience an unforgettable night of stargazing at Stowe with UK Astronomy. Enjoy a captivating talk on the mysteries of our solar system, then explore the night sky through telescopes on the South Front. Perfect for astronomy enthusiasts and curious minds alike.
The Halloween Red Light Boiler
The Halloween Red Light Boiler is an adult-oriented indoor Halloween club night featuring techno and garage music.
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Pumkin picking in and around Oxfordshire
It’s that time of the year. That’s right, pumpkin season is here. Whether you associate it with Halloween or not, Pumpkin picking, a somewhat American concept, has taken off in the UK, with patches and pick-your-own farms springing up all over the place. Here are our favourite places to go to pumkin picking in and around Oxfordshire.
The post 20 (or so) brilliant October half term & Halloween activities in Oxfordshire appeared first on The Oxford Magazine.
Oxford Events
Stage Watch: John Partridge and Mollie Gallagher on bringing The Silence of the Lambs to Oxford
John Partridge has spent almost four decades inhabiting some of theatre’s most recognisable characters. Now, as The Silence of the Lambs comes to New Theatre Oxford, he is taking on one of the most indelible figures in modern popular culture — Hannibal Lecter — alongside Mollie Gallagher, making her professional stage debut as Clarice Starling.
We spent time with John and Mollie to explore the process of bringing these iconic characters to the stage, the complex relationship between them, the strange intimacy of performing behind glass and what happens when a cinematic classic is reimagined for the theatre.
There are roles for which an actor can draw upon a character’s established history, and there are those in which the history of the performance itself becomes part of the challenge. Hannibal Lecter belongs firmly in the latter category.
Since Anthony Hopkins’s Oscar-winning performance in the 1991 film adaptation of Thomas Harris’s The Silence of the Lambs, Lecter has become one of the most recognisable villains in popular culture: cultivated, articulate and unnervingly composed, his menace deriving as much from restraint as violence.
For John Partridge, who now takes the role in a major new stage adaptation, the problem was therefore not simply how to play Lecter, but how to make him his own.
“When I first heard about it being put on, I thought, ‘Ooh, that would be fantastic!’” he recalls. Ahead of his audition, Partridge was sent the script and asked to prepare two scenes. He enlisted his friend Tamzin Outhwaite to read with him; when she discovered what the material was, her reaction was immediate. “Oh my god!”
Partridge’s own reaction has proved rather more considered. He was a teenager when The Silence of the Lambs appeared in cinemas, part of the generation for whom Hopkins’s Lecter quickly became inseparable from the character itself. “I’m a child of the 70s, so when the film came out in 1991, I was one of those core Silence viewers,” he says. “It lives in our zeitgeist.”
That familiarity could easily become a constraint. Instead, Partridge found a way of using it as a starting point. He was intrigued to learn that Hopkins had drawn on such unexpected influences as Truman Capote, Katharine Hepburn and HAL from 2001: A Space Odyssey when constructing his Lecter. The revelation gave Partridge permission to undertake a similar act of imaginative disassembly.
“My three are Cary Grant, Elizabeth Taylor, and John Malkovich,” he says. “Lecter is intelligent, mocking and acerbic, but also serious and malevolent. Now, I try to forget any other version of Lecter and just put myself firmly in that cell.”
That cell is one of the defining features of the stage production. For much of the play, Lecter is physically confined behind glass, a visual image familiar from the story but transformed by the theatre’s particular relationship between actor and audience. Cinema can place the viewer wherever the director chooses; theatre leaves the audience in the room, sharing the same space and the same passage of time as the performers.
Partridge initially wondered how he could overcome the obvious theatrical limitation of placing his character inside a box. The answer, he says, was to stop thinking about projecting beyond it and instead draw the audience towards him.
“When I was first placed in the box, I thought, ‘Oh my goodness, how do I push my performance beyond it?’ Then I realised that rather than trying to push, I have to pull the audience into the box.”
It is an approach that also reveals something about Partridge’s interpretation of Lecter. The character is not merely a monster imprisoned for the protection of others; he is a man who considers himself intellectually and aesthetically superior to the people who have confined him. He loves music and art, possesses considerable social grace and remains capable of exquisite courtesy even while discussing acts of extraordinary brutality. His physical confinement therefore becomes part of the psychological contest.
The stillness required of him is also a significant departure for an actor whose career has frequently involved expansive physical and vocal performances. Partridge trained in ballet at the Royal Ballet School before studying musical theatre, and at 16 joined the original UK tour of Andrew Lloyd Webber’s Cats. His subsequent stage career has encompassed A Chorus Line, Grease, Starlight Express, Tommy, Cabaret and Everybody’s Talking About Jamie, alongside television work that includes his long-running role as Christian Clarke in EastEnders.
“Lots of the roles I’m known for are quite gregarious,” he says. “I’ve played a lot of larger-than-life characters. Lecter is larger-than-life, but it’s very, very different.”
At 55, Partridge sees the role as an opportunity to draw together experiences accumulated over a long career rather than discard them in favour of something entirely new. “If you’re lucky enough to be in this business for a long time — I’m 55 now, I went into Cats when I was 16 — parts like this come along where you can roll up everything you’ve done, and colour with all the crayons in your colouring box.”
His dance training has consequently become part of the performance in a more restrained form. Lecter’s movements are economical, but they are not without precision; the physical discipline of ballet can be repurposed as control. “I can use my dance background, my physicality, in a new way to inhabit Lecter,” Partridge says, while drawing on “the actor I am now, with all my experience” to bring him to life.
If Lecter is defined by his control, Clarice Starling enters the story having to learn how to establish her own authority. Mollie Gallagher, best known for playing Nina Lucas in Coronation Street, makes her professional theatre debut as the FBI trainee whose investigation brings her into Lecter’s orbit.
For Gallagher, the role carries its own cultural weight. She has always loved the film, and the character of Clarice was familiar long before she was asked to play her. “She’s such an iconic heroine,” she says. “You can’t get much cooler than Clarice. She’s a badass.”
Yet Gallagher has deliberately avoided simply reproducing Jodie Foster’s performance. Her preparation has involved changing the way she holds herself and speaks. Clarice’s voice sits lower, her physicality is more grounded, and her movements are more deliberate.
“I’m quite airy, whereas Clarice is the complete opposite,” Gallagher says. “She’s grounded at all times.”
The transformation has extended beyond technique. Gallagher describes Clarice as highly intelligent, articulate and psychologically disciplined, qualities that require her to move beyond the instincts she associates with herself. “Weirdly, she makes me feel stronger and more confident. Now, in any situation in life, I can just think, ‘What would Clarice do?’”
There is, however, a personal point of connection. Clarice is an outsider within the FBI, a woman from West Virginia who has not inherited the wealth, status or institutional authority surrounding her. Gallagher identifies with the character’s working-class origins and with the experience of having to establish credibility in environments where she feels she is being judged before she has spoken.
“I feel like I have to prove myself every day — coming from my background and also being northern,” she says. “When I’m speaking to someone, I feel I have to articulate more to make them listen to me — basically speak a bit more ‘proper’.”
That understanding gives the central relationship a particular texture. Clarice is not simply the investigator seeking information from an imprisoned killer. She is also someone who has spent much of her life learning how to be taken seriously, now confronting a man who seems almost unnervingly capable of seeing through the carefully constructed version of herself she presents to the world.
Gallagher describes her conversations with Lecter as the point at which Clarice becomes most vulnerable. Her history, particularly the death of her father, is something she rarely discusses, yet Lecter draws it out of her. “No matter how powerful, smart and strong you are, that is really scary,” she says.
The relationship therefore develops into something more complicated than the conventional opposition between detective and criminal. Gallagher describes an unusual friendship emerging between the two, with Lecter becoming something like a confidant and therapist for Clarice even as she remains determined to extract information from him. By the end, she suggests, there is a sense of loss when that relationship disappears.
For Partridge, the theatrical potential of that exchange is almost musical. “It’s inherently theatrical. It’s like a dance: I invite her to dance with me.” He describes the scenes between Lecter and Clarice as “a tight tennis match”, with each character attempting to anticipate the other’s next move.
The chemistry between the two actors appears to have developed quickly. Gallagher says that from the first read-through they could look at one another and immediately find the connection. Partridge describes her as an instinctive actor, noting that she, like him, did not follow the conventional route into drama training. Gallagher’s first professional theatre role is therefore opposite an actor with decades of stage experience, yet she says Partridge has made the process unusually easy.
“He’s amazing — I couldn’t ask for anyone better to do this with,” she says. “He is the loveliest man, and then he summons this darkness. Sometimes we’ll be chatting, and he’ll do this look, and I’ll be like, ‘Oh no, Hannibal’s here!’”
The production’s adaptation by Gina Gionfriddo is equally important to that dynamic. Rather than attempting to reproduce the film scene by scene, the playwright has created a version for the stage that combines Harris’s material with new writing. Partridge believes the two elements have been integrated almost invisibly. “She’s managed to weave her words in with Thomas Harris so seamlessly — it’s as if Buffalo Bill has stitched it together himself.”
That theatrical reinvention extends to some of the story’s more problematic elements. The production has changed Buffalo Bill’s treatment of gender identity from the original novel and film, removing the implication that a transgender identity itself is connected to the character’s violence. Partridge says the decision was important to the production’s contemporary perspective.
“We do not need to be villainising our trans brothers and sisters in that way,” he says. “Our story is much stronger for the changes we’ve made.”
The production also retains the story’s interest in behavioural science and criminal profiling, which occupies an intriguing position within its 1980s setting. The detectives who believe that violent offenders can be understood through their psychology are treated with scepticism, while Lecter dismisses profiling as a form of “junk science”. Yet the investigation depends upon precisely the kind of psychological understanding that the established authorities are reluctant to embrace.
For Partridge, the emergence of behavioural science is one of the story’s most interesting elements. “That science changed the world,” he says. “Profiling, understanding the mind of a killer, was a game-changer.”
The broader social context is also something Partridge has considered closely. He points to the production’s depiction of attitudes towards women, policing and gender during the 1980s, and draws connections to contemporary debates around misogyny, gender equality and the rights of LGBT people. These are his interpretations of the themes rather than a claim that the historical and contemporary contexts are identical, but they illustrate why the production is not being approached simply as a nostalgic recreation of a celebrated film.
For Gallagher, the enduring appeal is more direct. She is a committed fan of horror and thrillers, and says that when she was younger, “horror, horror, horror” was always her answer when asked what she wanted to perform. The opportunity to originate Clarice on stage therefore combines a character she has admired with the genre she already loves.
It also arrives at a moment when theatre audiences have shown an appetite for adapting familiar cinematic thrillers for live performance. Partridge sees The Silence of the Lambs as occupying a distinctive place within that trend.
“It’s the godfather of them all — the holy grail of psychological thrillers,” he says.
Whether that reputation can survive the transition from screen to stage is ultimately something the audience has to decide. The production’s task is not to compete with the film on its own terms, but to exploit what theatre can do differently: the proximity, the shared silence, the absence of an edit and the knowledge that the actors are performing the encounter in front of you, night after night.
That becomes particularly significant when the central figure is a character whose power has always depended on the sensation that he is studying the person watching him.
When The Silence of the Lambs arrives at New Theatre Oxford, John Partridge will once again enter Lecter’s glass cell. Mollie Gallagher will sit opposite him as Clarice Starling, bringing a character she has admired from the screen into an entirely different medium.
For Partridge, the attraction of the role may ultimately be its contradiction. Lecter has been seen before by millions, yet the theatre offers the possibility of seeing him anew — not through the camera’s eye, but at close range, in real time, with the audience sharing the same room.
The question is no longer simply what Lecter will do next. It is what happens when the audience is close enough to watch him think.
The Silence of the Lambs comes to New Theatre Oxford from 19 to 24 October 2026.
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