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Slow down, you crazy child: What Oxford student theatre can learn from garden plays

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Student theatre strives to be as professional as possible, but the annual garden play offers something unique: permission to have fun. In Trinity Term, as students pivot between the library and Examination Schools, another ritual takes over college quads. Outdoor productions appear across the city, transforming lawns and gardens into temporary stages. For director and producer Magdalena Lacey-Hughes, these productions represent something increasingly rare in Oxford drama: the freedom to be creative without the pressure of being perfect. 

Garden plays are as much a part of Oxford life as exams when the academic year draws to a close. After watching the Queen’s College garden play’s performance of Guys & Dolls on its closing night, I met with its director, Lacey-Hughes, expecting to discuss the challenges of outdoor theatre. Instead, our conversation turned to a bigger question: why does Oxford drama take itself so seriously? 

After arriving at Oxford eager to throw herself into student theatre, Lacey-Hughes found the Oxford drama scene surprisingly difficult to navigate. “I never really got my foot in the door until Trinity of first-year,” where she choreographed Fiddler on the Roof, the Queen’s garden play that year. “I think I just really didn’t understand how student drama worked here. It was very confusing because it is super decentralised.” It was through subsequent productions inspired by this one that Lacey-Hughes met George Robson, and the pair collaborated to launch Crazy Child Productions in Michaelmas.  

Though her passion for the innumerable opportunities offered by Oxford’s extensive drama scene is tangible when she talks about her projects, she is candid about the anxiety which surrounds the field. Students are deeply invested in producing high-quality work, but that ambition can create its own culture: feedback from Oxbridge Onstage last term noted that “Oxford’s drama is very serious and often quite dark.”

For Lacey-Hughes, part of the issue lies in Oxford’s fixation with professionalism. “I think it comes with the slight pretentious air that everything here has,” she reflects. “There is this real emphasis on putting on plays that have huge legacies so that they can reinterpret themselves.” Over the past year, she has noticed the same impulse when people discuss production companies. “People ask ‘what do you do?’ and you would respond ‘we try to make student drama as professional as possible’. In reality, that is not achievable.”

It’s rather ironic here as Lacey-Hughes is hardly arguing from the sidelines: Guys & Dolls operated on a budget comparable to some Oxford Playhouse productions, complete with a live orchestra and professional technical support. Yet what stood out most was not the scale of the production but its atmosphere, as audience members were pulled onstage, handed props, heckled, and encouraged to become part of the performance. The result was collective enjoyment shared by the case and audience alike. 

She attributes her talent for generating fun to her own experience and familiarity with different aspects of productions. “You want to expect a lot from people, but you also have to respect that they have a lot to do alongside rehearsals.” Cast members balanced the production with choirs, rowing, journalism, and exams. Drawing on her role as Welfare Officer for Oxford University Drama Society (OUDS), she believes that “respecting time and making people feel valued in the space is very important.”

What, then, prevents student theatre from embracing that same sense of playfulness? For Lacey-Hughes, the problem is a culture: “I do think that there is a slight lack of understanding and appreciation for things that are just inherently creative.” Looking at the prevalence of tragedies and dramatic reinterpretations of established classics, she argues that Oxford often mistakes seriousness for artistic value. “We think things are only impressive when people are able to cry onstage,” she says, “rather than when they are able to make you laugh.”

Part of this seriousness stems from the structure of Oxford drama itself. For newcomers, success is often less dependent on talent or funding than understanding an unusually decentralised system. Pressure mounts when there is, in fact, a ‘right way’ to produce student drama. “It’s very confusing – you have to know it to be a part of it,” Lacey-Hughes explains. Production companies sit at the centre of that system. Prior to each term they bid for venues, apply for funding, and build reputations over time. The official OUDS advice makes one thing clear: without a Student Production Company, you cannot apply for funding. In theory, anyone can establish one, but the reality is that the necessary experience, contacts, and institutional knowledge often accumulate within established groups, making it easier for some productions to succeed over others. 

It is partly this culture which inspired Crazy Child Productions, the company that Lacey-Hughes runs alongside George Robson.  Far from the rigidity of other production companies, their company is characterised by an intention rather than a theme. “We are just kind of doing everything really,” she laughs. Their productions range from canonical student dramas such as The Glass Menagerie to student-written and translated work. Lacey-Hughes grins as she tells me about a recent production, Stories From an Abandoned Warehouse, “it was actually the first time Stories has ever been staged in the UK.”

Reflecting on their company’s purpose, she emphasises accessibility: Crazy Child Productions work with students who want to stage a single project without building an entire production company around it. Recent productions have included “some friends who wanted to do one thing and not set up a whole production company,” while Stories was organised by a postgraduate student who did not have the time to establish a whole brand. “We don’t intend to take it out of Oxford,” she says. “We want people to use it and the resources which we have built up.”

The playful nature of garden plays offer escape from these pressures of Oxford theatre. “The pressure is off a bit more,” Lacey-Hughes believes. Freed from some of the expectations attached to studio-based productions, gardens provide space for experimentation: earlier this term, Lady Margaret Hall hosted an unrehearsed performance of Twelfth Night, while St Edmund Hall staged The Harrowing of Hell.26 in a crypt. 

The freedom of garden plays stems partly from their refusal to behave like conventional theatre. “You aren’t going to feel as immersed when it is seven o’clock outside, the sun is setting, there’s a bird over there and you can hear the ambulance on the road.” Rather than undermining the experience, she believes these interruptions create a different relationship between audience and performance. “It is a whole different type of world-building,” she explains, “because the immersion is pretty much shattered.”

That freedom comes at a cost. Outdoor productions are technically demanding. Lacey-Hughes explains the difficulties of hiring an external professional in sound design while the weather itself became a concern. “On the first night our orchestra tent was breaking due to the rain,” she recalls. Such a small team meant that “a lot of that fell to me; I was holding up the tent for around two hours on the Wednesday.”

College regulations can limit staging decisions as well, particularly around audience movement and health-and-safety policies. Yet Lacey-Hughes maintains that these restrictions often produce better creative solutions. “One thing I changed this year was bringing the orchestra into view. I wanted them to be there, and it worked for the show itself having them be appreciated.”

“In some ways, you are allowed more creativity because you have a completely different space to work with, but also colleges are much stricter.” In Guys & Dolls, Queen’s itself becomes part of the performance. “The window is a feature each year – it is the thing to look out for,” she says. This year, she reorientated the stage so that the window was on display the whole time; when actors were not using it as part of the set, residents were using it as, well, a window. “Initially I was annoyed,” she laughs. “Then I was like, ‘fine’. We should have started charging them for a ticket.”

The same elements which make garden plays less immersive also make them creatively exciting. “Even a black-box theatre is limited in certain ways,” she argues. “That is what makes creativity really powerful, when you use it well and when you have limitations. You cannot be creative when you have all the opportunities available to you.”

Perfectionism and professionalism are factoring pressures in student societies beyond theatre. In an urge to create portfolios and eagerness to enter industries immediately upon graduation, the rush to seem accomplished appears to overshadow the earnest and crucial learning experience of student societies. In a busy Michaelmas ahead, Crazy Child Productions does not seem to be slowing down: they are bidding for the Oxford Playhouse an O’Reilly show as you read, meanwhile two first-year students have already booked the Burton Taylor Studio. So what do they want their production company to be known for, for their audiences to take away? After a moment’s consideration, Lacey-Hughes responds, “‘You can’t be everything before your time’ is a really cringe answer, but that is definitely part of it.”



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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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