Ready for some jazz hands? The Oxford Gargoyles

oxford-gargoyles-jazz-a-cappella_31554The Oxford Gargoyles Jazz A Cappella The past few years have seen a surge in interest in a cappella in the UK, with films such as Pitch Perfect helping to popularise the genre. For the uninitiated, the term ‘a cappella’ doesn’t just mean singing without instruments, but pharmacy canada jobs denotes a style of vocal music typically featuring effects, such as beatboxing, and is increasingly accompanied by choreography and showmanship. Step out onto the Royal Mile during the Fringe and you’ll find it near-impossible to avoid. Impossibly perky students dressed in colour co-ordinated outfits dominate the busking stages whilst cialis blog thrusting flyers at passers-by, and rival groups serenade unsuspecting individuals on the street. Whilst it would be generic pharmacy easy to assume this is a relatively niche care boutique viagra entertainment form, student a cappella is weirdly ubiquitous at the Fringe, and competition is viagra covered by insurance to fill up venues grows stiffer by the year.

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no strangers to this unexpectedly competitive generic celebrex scene, arriving uses buy viagra for viagra in Edinburgh in just over a

week to begin their eighth consecutive year performing at the Fringe. The black-tied jazz a cappella group from Oxford University are hoping

to capitalise on the successes of the past year. Fresh from being crowned BBC Open Choir of the Year, the group’s recent activities have included recording their eleventh album, Musical Statues, and touring the USA.

oxford-gargoyles-jazz-a-cappella-25017-300I had the opportunity to watch their fifteenth anniversary concert earlier this year, where they previewed cheap generic viagra several of the viagra generic viagra in canada arrangements that will appear in their Fringe show. The Gargoyles’ repertoire ranges from arrangements of pop, canada pharmacy soul, jazz standards and the occasional Disney number. Headed by Musical Director, Rebecca Sharp, their hour-long show interweaved intricate scatting with witty choreography whilst making use of their impressive soloists. Rejecting the temptation to simply transcribe songs, note for cialis 5 dosage note, from their original forms, the real appeal of the Gargoyles is their focus on jazz and musicality. It is not uncommon for their arrangements to split into twelve-part harmony and their songs, both jazz standards and pop alike, are underscored by rich jazz harmonies and

swung to cialis prices perfection.

As a student group, a cappella necessarily needs to flagyl tablet is used for be slotted around the demands of degrees and the Gargoyles face the annual challenges of a large turnover in membership. Henry de Berker, the Gargoyles’ publicity manager, notes that the annual change in personnel

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also means that, “each year has a different personality, canadian no written prescription needed both personally and nexium musically” which can be incorporated into performances. The combination of regular rehearsals, tours and their Fringe performance means that the individual members of the group develop close relationships over the year, through living and working in close proximity. The Gargoyles certainly canada pharmacy seem to have fun both on and off-stage, dressing up as waiters to flashmob a title ball and even making an appearance on Flog It! Musically, there is a huge advantage to mountain canada pharmacy performing

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with friends. Trust and familiarity play as big a part in musical performances as they do in straight drama. According viagra does not work to de Berker, this year’s crop of Gargoyles seem to have developed a mischievous streak, which they have channelled into viagra online their show.

The Oxford Gargoyles Jazz A Capella, Edinburgh Festival Fringe 2He continues, “For us, the Fringe represents a great opportunity to cipro medication bring our music to thousands of people who have amitriptyline online come to the festival looking for something fresh and exciting that will impress them. We all love getting out and talking to people about the show, and there’s nothing better

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people you’ve met on the mile sat in the audience.”

The group are celebrating their fifteenth anniversary by bringing back some of their best arrangements from previous years, such as the beautiful And So It Goes (check out the video below) as well as premiering brand new ones. Energetic, musically impressive and refreshingly different, xenical weight loss results the Gargoyles are one to watch.


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The Oxford Gargoyles are performing at C Venues from the how soon does cialis work 31st July to 17th August at 2.20pm.

Flowers, lawnmowers, and violent secrets – Gardening: for the Unfulfilled and Alienated by Brad Birch


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Our co-editor Imogen O’Sullivan talks to director Hannah Banister about sheds.


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is the venue for Undeb cialis commercial 2015 Theatre’s production of Gardening: for the Unfulfilled and Alienated, written by Brad Birch: Undeb’s writer in residence, and a graduate of the Royal Court Young Writers’ Programme. Undeb Theatre is a new writing company from Wales that produces innovative work focusing on the experience of a theatrical event, and this one-man show, playing six times each day to a two-man audience, certainly looks set to be a unique and exciting experience.inflatable christmas decorations canada

The one-man in question is Owain, described in three words by Gardening’s director Hannah Banister as ‘complex, simple, and surprised’. Whilst this may seem a contradiction in terms, Hannah explains that Owain is fundamentally a man of simple pleasures who discovers in himself an extraordinary talent for gardening, a doxycycline asia skill which brings with it both unexpected success and the revelation of his own darker secrets. Owain’s unique charm lies in contradiction; in pharmacy schools in canada ubc the surprise of being ‘an unachieving man who achieves a lot’.

Gardens 2

When I met with Hannah very early in the rehearsal process, her description of the preparation that goes into a one-man show sounded understandably intense – the energies of a director, usually shared across a larger cast, are instead entirely focused into the development of one character and his relationship with the audienceinflatable tunnels, and, in this case, his relationship with his shed. Whilst this makes for an exhausting rehearsal period, Hannah also talks about the powerful sense of rapport and collaboration such a small cast promotes. She describes the rehearsals as an open conversation, and celebrates the increased efficiency of so much more time going into the development of one


Hannah tells me that her Owain (actor Richard Corgan) ‘quickly tapped into the darker side of his character’ – one of viagra online reviews the most surprising elements that develops out of this gently quirky black comedy. However, whilst the revelations about Owain’s darker side are both crucial and fascinating, Hannah’s other particular focus is on bringing out the image of ‘the lonely man doing his do’ – the online levitra neighbour we all see pottering around his garden shed. She talks about her desire to hone the complexity of Owain’s character, delving into his life to explain the particular draw of gardening and what it means to him. Despite the dark undertones that emerge through the performance, Hannah is keen to emphasise that her audiences should be ‘a bit in love with Owain’. His amiable character should encourage

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physical world to alter the dynamics of performance, a technique that is virtually impossible within the confines of the shed. With nothing to hide behind in terms of performance, she admits she’s had to be more rigorous with the text than ever before, a challenge that has been eased by the balance and pace of Brad Birch’s writing.

I ask Hannah whether the knowledge that the intimate performance space will highlight every nuance of emotion to her small audiences has altered her directorial decisions, and she responds that Gardening is like ‘screen acting live’. She explains that the most important thing for her is to ensure the limited staging and intimate atmosphere don’t detract from the scale or emotional depth of Owain’s story. With the limitations of cast size and space, the performance has to be quite static, but static does not have to mean flat. Hannah describes how, during early rehearsals, she encouraged Richard to use a much larger rehearsal space than the tiny confines of the marked-out shed. This gave him the vast space necessary in order to award the big themes of the play with the weight that they need, before this metformin from canada sense of the epic is then condensed and intensified within the walls of a garden shed. Hannah’s hope for this close relationship between audience and actor is that the intensity will override the potential for awkwardness by engulfing the audience in affection for Owain; ‘it should be funny and it should be chatty and it should be a bit claustrophobic’.

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Whilst, at the point of my interview, the ordering levitra online shed had yet to make an appearance in rehearsals, celebrex and diarrhea its presence is felt strongly. Hannah talks about the importance of dressing the set, and the challenge faced by designer Madeleine Girling to make every prop both realistic and relevant because ‘the shed itself has a life and a character within the play’. Though Hannah confesses to be a terrible gardener herself, she does talk about her father’s keen interest in gardening, and the collection of pots and jars she remembers from his shed, and it is this sense of the familiar and the homely that she is keen to infuse into the production. When I asked Hannah why she thought it was that gardening in particular seems to captivate so many, she replied that ‘you do see a man come alive in his garden, and you see how much he values his shed!’. It is the process of nurturing, and making time to take care of something, that holds value for Owain.

The uniquely intimate performance space of Gardening looks like it will immerse its tiny audiences in the life and soul of Owain, with Hannah setting herself the challenge of seeing ‘within the constraints of somewhere so

small and domestic, just how poetic and surreal we can make it feel’. She expresses a hope that her audience members will ‘take away

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Hannah quotes a line cut from the first draft of the script: ‘it goes from seed to stalk to flower and straight to happiness’, to explain that the essence of gardening is the satisfaction you get from seeing something beautiful arise from your own hard work: ‘you get out what you put in’. I can only hope Hannah has a similar sense of satisfaction tadalafil when Gardening takes off at Edinburgh.


‘Gardening: for the Unfulfilled and Alienated’ is on at The Pleasance Courtyard from 1st-25th August (not 6th, 13th, 20th). Tickets are available from



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by Richard Lakos

2,500 years of political philosophy in just over an hour and a half…A Theory of Justice: The Musical

408640_152858578197926_1082345706_nI have a

theory. Or rather, I had a theory – that “musicals” with the tough-sounding language of philosophical academia

in their titles were best left to fresh-faced, eager philosophy students who would scurry along to the theatre with lined paper and spare ink cartridges to take notes on this new-found fountain of knowledge.

As it turned out – this was a terrible theory.

Esteemed philosopher John Rawls has a much better theory – a theory of justice. Or at least he will do by the end of this musical: one hour and forty minutes of catchy songs, infectious enthusiasm and unflinching comedy.

Seeking inspiration for a self-defining philosophical frame-work (and a jolly ending to a jolly bactrim without prescription musical), Rawls accidentally embarks on a romping trail though the history viagra purpose of ideas, meeting the jazzed-up versions of an all-singing, all-dancing Mill, Locke and Rousseau, to name but a few. He is hounded by an buy tadacip online equally intellectually ambitious Robert Nozick, played by a suitably evil Luke Rollason. (The will-he/won’t-he drama of Nozick attempting to find his own philosophical theory before

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Rawls does is about as close to plot tension viagra 50 of 100 mg as this joyous riot of a production gets). Rawls also seeks the aptly named love of his life, Fairness. Played by Rosalind Isaacs, the heroine’s pensive soprano solos add an edge of refinement to the resounding chorus of belting voices, which are well-suited to the stage of musicals.


I first saw A Theory of

Justice in Oxford, where the show was cialis package insert a sell-out and raised standing ovations. Whilst it was the University’s philosophy students who made up the majority of those knocking eagerly

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be found stumbling out the Oxford Playhouse into the bitter February air, eyes sparkling and voices raised in the umpteenth chorus of “I have a theory/ a theory of justice”.

The stage had been beautifully decked

out to point towards each historical era of canada online pharmacy Rawls’ travels, a set which reached its pinnacle cheapest antabuse of achievement when a bewildered hero stumbled across Plato and Socrates lounging among Greek columns, expounding ideas to a delightfully toga-adorned society of three. The trio’s particular buy levitra online line of camp hilarity is just one of the many highlights that we look forward to in recurring scenes.

Of course a new audience, a new setting and a couple of google searchviagra levitra uses replaced cast members mean that A Theory of Justice will be viagra a different experience in Edinburgh to the production that was first rolled cialis generic versus brand name out in Oxford. Yet I am convinced that the highly competent directing of Esme Hicks will ensure another roaring triumph. I even have another theory – that the changes in the performance justify my skipping merrily off to see the musical all over again.



Georgina Wilson

Pick of the Free Fringe: Comedy

The Fringe is famous for its comedy shows, with tickets for major comedians such as Russell Kane and Reginald D Hunter going for up to £17 a pop. We love comedy, but at that price it becomes bit of a strain on the student pocket, especially when there’s so much we want to see! If you fancy a chuckle that won’t lighten your wallet, have a gander at our pick of the Free Fringe – by no means an exhaustive list, but one that includes some of our favourite returning acts from previous years. Plus, with all that money you’re saving, you can buy us a drink to say ‘thank you’!


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Who Austentatious
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Event Website
Time 13:30
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Pant-wettingly hilarious and very, very clever; Austentatious is an cipro 250 mg 14 tablet improvised celebrex dosage Jane Austen novel based entirely on audience suggestions. Following

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their smash 2012 run, Austentatious are back to present some of Jane Austen’s lesser known works (Pride and Predator, Northanger Rabbi). Having gained rave reviews from The Times and The Scotsman, as well as the honour of having been seen a grand total of twelve times by last year’s Ed Fringe Review editors, cipro 500 mg this

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Who Rory and Tim: On the House
Genre Sketch show
Where The Dram House
Time 18:15
Duration 1 hour
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Confusingly-named trio Rory and Tim return to cheap viagra online the Fringe for a third year running, having reduced audiences to stomach-cramping levels of laughter. We’ve seen them in Oxford and at the Fringe and just can’t price of viagra 100mg get enough. Witty, refreshing sinus infection and flagyl and, at

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Genre Comedy, new writing
Where The Fiddler’s Elbow
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Suitability PG
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captain morganTwo actors. One musician. Forty-four characters. Captain Morgan and First Mate Hammond quest for secrets of time-travel in a rip-roaring adventure comedy with monsters, sword fights and shivered timbers. They’ve been featured on BBC Radio, and their smash-hit preview garnered a string of rave reviews in Bristol, so we’re pretty pharmacy confident these guys will deliver.




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Who The Cambridge Footlights
Genre Stand-up
Where The Dram House Upstairs
Time 18:30
Duration 1 hour
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an Edinburgh Fringe staple, and are known for being a breeding ground for young, promising comedy talent.

But, did you know that in addition to their main shows, the Cambridge Footlights also present an hour of FREE stand-up, songs, monologues and more…?

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Who Max Fletcher
Genre sketch show, solo show
Where The Dram House Upstairs
Event Website www.failureandhowtoachievei…
Time 14:45
Duration 1 hour
Suitability 16+

maxFollowing on from a successful run at last year’s Free Fringe, Max Fletcher returns with a smart and fresh new online viagra solo comedy show. Approach with caution, ladies and gentleman. This man is funny.


Anjali Joseph, Marketing Manager of