Cambridge Edition October 2022 - Web

Get the lowdown on autumn's bountiful crop of cultural events, from great gigs to thrilling theatre and amazing art exhibitions. We've also got the latest from the local food scene, news & views from the Cambridge property market, interviews galore and much more inside!

YOUR MONTHLY FIX OF

LOCAL LIFE

OCTOBER 2022

Season’s Eatings New food trucks, harvest events & top local dining tips

DISCOVER THIS MONTH’S UNMISSABLE GIGS, EXHIBITIONS, FESTIVALS AND HALLOWEEN HAPPENINGS, PLUS PLENTY MORE INSIDE! the street Word on

WELCOME

Autumn days

EDITORIAL Editor in chief Nicola Foley 01223 499459

here’s a bountiful crop of cultural events to enjoy this autumn – so I recommend getting out and catching one of the many great exhibitions, gigs and theatre productions coming our way. From thrilling circus acts and A-list musicians at the Junction, to spectacular outdoor light installations at Anglesey Abbey, plus Greek mythology-inspired sculpture at The Heong Gallery, there’s plenty to explore. Also travelling back to ancient Greece is the Cambridge Greek Play, which returns to the Arts Theatre this October with a double bill of The Persians and Cyclops . A unique dramaturgical tradition, this triennial production is performed entirely in the original language and with pinpoint accuracy, giving the audience a chance to see ‘something that is deemed academic and experience it as alive, fun and entertaining’, says director Dan Goldman – find out more on page 21. Inside this issue, we also chat to electro-pop duo Let’s Eat Grandma ahead of their Cambridge gig (page 35), and learn about The Folklore of British Insects from author Chris Firth and illustrator Rebecca Hobbs, who are on a mission to share the wonders of the arthropod world via their beautiful new book. In Home Edition, we find out what’s cooking in the world of kitchen design and get expert intel on the local property market, while this month’s Savour & Sip brings news of a boba tea bar, two street food trucks to check out, a Halloween cocktail experience – and loads more. Enjoy the issue and see you next month!

Cambridge Edition Magazine Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ, 01223 499450, cambsedition.co.uk • All rights reserved. Material contained in this publication may not be reproduced, in whole or in part, without prior permission of the publishers. • Views expressed in this magazine are not necessarily those of Cambridge Edition or Bright Publishing Ltd, which do not accept any liability for loss or damage. • Every effort has been made to ensure all information is correct. • Cambridge Edition is a free publication that is distributed in Cambridge and the surrounding area. nicolafoley@bright-publishing.com Assistant editor Miriam Balanescu Editorial assistant Alex Fice Editorial director Roger Payne Chief sub editor Alex Bell Deputy chief sub editor Matthew Winney Sub editors Harriet Williams & Martin Puddifer ADVERTISING Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Ad manager Maria Francis 01223 492240 mariafrancis@bright-publishing.com CONTRIBUTORS DESIGN & PRODUCTION Senior designer Lucy Woolcomb lucywoolcomb@bright-publishing.com Ad production Man-Wai Wong & Kieran Bitten MANAGING DIRECTORS Andy Brogden & Matt Pluck Mark Box, Charlotte Griffiths, Anna Taylor & Elisha Young

EDITOR IN CHIEF

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Contents

04 Starters Our favourite Instagram pics of the month, plus brilliant buys from local indies 07 Culture Club Art, theatre, interviews, book picks, cinema hits and a celebration of National Poetry Day 41 The Folklore of Insects Local couple Chris Firth and Rebecca Hobbs introduce their fascinating new book 42 Humans of Cambridge Photographer Mark Box shares his latest snaps of city residents 46 Black History Month A look at the hidden heritages of Cambridge, and some events marking this critical cultural moment 49 Food & Drink Gastro goings-on, tips from Elisha Eats – plus a celebration of harvest time

59 Multicultural City The first of a new series exploring what it’s like to live in Cambridge as an expat 61 Family Frolics Halloween fun, half-term activities and other ideas for entertaining your brood this October 62 Festive Treats Looking ahead to Christmas, we round up some fantastic party venues and gift ideas 71 Education Advice and opinion from local schools on making the most of open day season 78 Eco Cambridge Find out what’s in store for Cambridge Zero Climate Change Festival 81 Home Edition The latest from the local property market, inspiration for interiors and gardening tips

Illustration by Lucy Woolcomb, inspired by an Instagram photo by @pretty_little_cambridge

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LOCAL LIFE

STARTERS

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04 OCTOBER 2022 CAMBSEDITION.CO.UK

LOCAL LIFE

October

THIS MONTH’S MUST-HAVES FROM LOCAL INDIES

1. Isse candleholder brown glass, £18, Iris & Violet Embrace a spot of 70s chic with this ochre glass candlestick 2. Caroll embroidered cushion, £75, Iris & Violet Made from 100% cotton, the Caroll cushion features an intricate embroidered pattern. Ideal for jazzing up an armchair! 3. Rita jumper, £54, Lilac Rose Add a splash of vibrant colour to your outfit with this fine-knit Sugarhill jumper 4. David Stonehouse mug, £26, Kettle’s Yard A stoneware espresso mug made by Cambridge-based potter David Stonehouse, stocked at Kettle’s Yard and inspired by the gallery’s collection 5. The Isla, £135, Cambridge Satchel Company A gorgeous, warm orange with contrasting cream stitching, this is the perfect handbag to see you through autumn 6. Cotton PJs, £59.95, Ark Cosy up with a cup of tea and catch up on your favourite box set in these beautifully soft, paisley-print pyjamas from Ark

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Culture Club WRAPPED

IN MYSTERY Unveil the story behind Gavin Turk’s striking new sculpture outside Cambridge station (page 10)

BOUNDLESS CREATIVITY out of the box FROM DEATH-DEFYING STUNTS TO CHILLING DRAMAS AND PROBING ART EXHIBITIONS, THERE’S PLENTY TO UNPACK THIS MONTH

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CULTURE CLUB Arts & Culture THE MUST-SEE EVENTS AROUND CAMBRIDGE THIS MONTH

12 Oct

CAMBRIDGE JUNCTION The Stage is Set

The Junction’s autumn season is in full swing, with gigs aplenty to keep you entertained. Polly Paulusma performs on 4 October, with a set that highlights the artist’s mastery over folk music – she’s even recently completed a PhD on how Angela Carter’s singing influenced her writing, which spawned an album in 2021, followed by 2022’s The Pivot On Which The World Turns . Next up is Andy Irvine on 5 October, an icon of traditional music with over 50 years in the industry. Sheffield brass-blowers Renegade Brass Band follow on 6 October, after a string of appearances at some of the UK’s hottest festivals – from Glastonbury to Secret Garden Party – establishing themselves as the country’s top hip-hop brass band ensemble. Heading up the new folk boom, Lau bring their entrancing fusion of acoustic folk and post-rock electronics on 12 October. Newton Faulkner takes the mic on 16 October with a solo set comprised of just himself, his acoustic guitar and vocals. He’ll be supported by Sam Richardson, who has toured with Wolf Alice and the legendary Supergrass. On 19 October, folk singer, songwriter and activist Grace Petrie offers her unique take on life, love and politics, with a warmth and wit that’s won over audiences across the country. See Americana rock band Morganway on 22 October, with their striking harmonies, energetic rhythms and catchy songs surging together in a rousing act. Closing the month on 31 October is Aoife O’Donovan, acclaimed singer-songwriter known for her ethereal voice. junction.co.uk

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CULTURE CLUB

The Heong Gallery GAVIN TURK: IN SEARCH OF ARIADNE

of thread to help him find his way back out of the Cretan labyrinth when he goes in search of the Minotaur. After Theseus finds his way out of the maze, he takes Ariadne with him on his journey back to Athens – only to abandon her on the island of Naxos. The reclined figure represents the moment Ariadne awakens to the realisation that Theseus has left her, before being taken away by Dionysus as his consort. For Gavin, Ariadne’s role in Greek mythology as the interpreter of the labyrinth makes her an appropriate symbol or starting point for the process of unravelling representation itself. The exhibition continues this thread, inviting visitors to search for and question their preconceptions of art, sculpture and the wider world. “A lot of my work revolves around the idea that people are going to come to it with a whole lot of art in their head, which will affect the way they see things,” he says. “I want to give them a mechanism to unpick their misconceptions, presenting them with the idea that art might be a tool that helps people challenge preconceptions, ideologies, or points of closure – where they think reality and truth lie.” In Gavin’s work, classical storytelling provides a useful lens through which we can begin to question our present situation. “At the moment, there seems to be a big need to look forwards and towards a human evolution, or transition towards a slightly different way of thinking. I suppose I’m taking people back to a point in the past, in the hope it might be a key to leading us towards a more positive future.” In Search of Ariadne opens on 6 October. The Heong Gallery is open Wednesday to Sunday, 12-5pm and is free to visit

Though one of the most accessible forms of art, public sculpture is often overlooked or subconsciously obscured from view. The latest exhibition at The Heong Gallery, In Search of Ariadne , plants the spotlight firmly on a new, permanent installation by artist Gavin Turk outside Cambridge railway station, which provides a starting point for questioning our preconceptions about art, form and meaning. Ariadne Wrapped is a painted bronze sculpture that depicts a reclining figure draped in a cloth and wrapped in string, like a parcel in transit. The sculpture’s reclined form is one that has been documented frequently throughout art history, from Michelangelo to Henry Moore. Toying with our sense of recognition for a familiar form, Gavin subverts expectations by literally covering it from view, shrouding the figure in an air of mystery and obscuring detail. The exhibition at The Heong Gallery explores metaphysical, art historical and social underpinnings of Ariadne Wrapped , by situating the sculpture in the context of Gavin’s past work and exploring the influences of other artists’ fascination with the reclined figure. “While looking at paintings by Giorgio de Chirico, I found not only the recurring motif of a colonnade – which suddenly I noticed in the building of Cambridge station – but also this archetypal sculpture of a reclining woman,” says Gavin. “In the paintings, this figure is generally centre-stage, but not clearly defined – often it’s crudely painted and lumpen, which sort of reinforces the idea that it’s symbolic of something.” As Gavin did more research into the figure, he discovered the link to Ariadne, a character in Greek mythology known for giving Theseus a ball

BEHIND THE IDEA Explore the thought process in Gavin Turk’s work at The Heong Gallery – and Cambridge station

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CULTURE CLUB

NOT TO MISS

SARAH KEYWORTH: LOST BOY 3 October, Cambridge Junction, 8pm, £16 FLO & JOAN: SWEET RELEASE 5 October, Cambridge Junction, 8pm, £26 JESSICA FOSTEKEW: WENCH 8 October, Cambridge Junction, 7.30pm, £15.50 JON RICHARDSON: THE KNITWIT 13 & 14 October, Cambridge Corn Exchange, 8pm, £26 MAISIE ADAM: BUZZED 14 October, Cambridge Junction, 8pm, £16.50 SOFIE HAGEN: FAT JOKES 19 October, Cambridge Junction, 8pm, £18 JOANNE MCNALLY: THE PROSECCO EXPRESS 3 November, Cambridge Corn Exchange, 8pm, £27 RUSSELL KANE LIVE: THE ESSEX VARIANT! 4 November, Cambridge Corn Exchange, 8pm, £28

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CULTURE CLUB

12-13 Oct

ROCKY HORROR NAIL-BITING STUFF

Anglesey Abbey’s ever-popular Winter Lights, Nature by Night, Nature by Light , returns this year from 9-21 December, and will see the estate transformed by a series of light installations, projections, sculpture, performance and sensory experiences – the perfect tonic for the winter blues. Focusing on nature, this year’s lights will bring to life the stories, poems and illustrations of Cambridge-based author Robert Macfarlane and artist Jackie Morris through an audio-visual installation created by award-winning duo Ross Ashton and Karen Monid of The Projection Studio. “Jackie and I are thrilled to see the art and poetry of The Lost Words and The Lost Spells find their way into the Anglesey Abbey gardens – as part of the annual Winter Lights festival – for the second year running,” says Robert Macfarlane. “For me, it’s a homecoming of a kind for The Lost Spells , which was written just a few miles away, in my south Cambridge home. This WINTER WONDERLAND NATURE BY NIGHT, NATURE BY LIGHT

A show designed to have you watching through your fingers, High Performance Packing Tape eschews all the typical rigmarole of health and safety to present you with a series of death-defying stunts. Using ready-made materials, performer Lee Wilson will be placed into mind-bending predicaments – from climbing precarious towers to suspending in mid-air from materials that will inevitably snap. “We want to bring the best international work to Cambridge, and this autumn we’re focusing on Australia,” says the Junction’s artistic director Matt. “This show from Branch Nebula will have you on the edge of your seat (until the inevitable standing ovation!) combining the nail-biting best of circus, slapstick, physics, physical and visual theatre.” See it at the Junction on 12 and 13 October.

year, I can’t wait to see Jackie’s magical art projected onto Anglesey Abbey itself.” Combining a love of nature and technology, the trail promises to be an enchanting experience that will reflect the beauty of the gardens, while stimulating the senses, says Eddie Barcan at Splendid Events. There will even be live music from Cambridge Folk Festival and Cambridge Jazz Festival, featuring the Cambridge Youth Jazz Orchestra. Food and drink will be on offer in the Heritage Orchard, featuring delicious treats to enjoy along the route, with the gift shop open for late-night Christmas shopping. Tickets are available at nationaltrust. org.uk/AAWinterLights.

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CULTURE CLUB

THERE’S A GLUT OF GREAT ENTERTAINMENT COMING TO CAMBRIDGE’S STAGES THIS MONTH. HERE’S WHAT TO EXPECT… Theatre round-up Raise the Curtain

the world-shattering impact of the arrival of Inspector Goole, an enigmatic detective investigating the death of a young local woman, at the prosperous Birling family’s lavish dinner party. It’s a classic thriller that has haunted audiences from generation to generation; see it 11-15 October. At the end of the month, from 25 to 29 October, don’t miss Noises Off – Michael Frayn’s celebrated play – starring much-loved actor Felicity Kendal. A riotous show, Noises Off follows a touring theatre company through a series of shambolic rehearsals and a catastrophic performance, witnessed entirely from backstage, before the grand finale. Directed by Lindsay Posner – one of the UK’s most accomplished directors of comedy – it promises to be a crowd-pleaser. The Town and Gown offers an ever-diverse and thought-provoking programme, with themed cabarets and a show for Black History Month. Unknown (A Play About Homelessness) offers a poignant look at a pressing social issue on 17 October, with a dramatisation of the true story of one young person’s journey from an abusive childhood to a life on the streets in Bath. From 18-20 October, following a successful run at Edinburgh Fringe, Joshua (And Me) explores what it’s like to be a sibling to someone who is autistic – moving and insightful, it’s well worth a watch. Finally, from 25-29 October, Cambridge Theatre Company brings you an uplifting musical performance of Calendar Girls in the Great Hall at The Leys. Following the death of a much-loved husband, a group of ordinary Yorkshire women decide to create a nude calendar for their local Women’s Institute. This decision takes them on a whirlwind of unexpected fame, bringing with it personal and emotional ramifications – while causing the women to blossom in unexpected ways. Based on the incredible true story – and famously made into a 2003 film – this delightfully funny show promises to be a real treat this autumn, so grab your tickets now!

At the ADC Theatre from 11-15 October, Cathy and Heathcliff will be gripped by the throes of desire against the dramatic backdrop of rugged moorland and Gothic mists in Andrew Sheridan’s electric and entrancingly poetic rendering of Wuthering Heights . Evoking a thrilling, dreamlike environment, the script fuses fragmented dialogue with haunting music, maintaining the intensity of Emily Brontë’s original text, while adding a modern edge. From 19-22 October, the Cambridge University Musical Theatre Society will present Jonathan Larson’s Tick, Tick… Boom! , a semi-autobiographical play about a struggling theatre composer who becomes increasingly aware of his life ticking by as he waits tables. This staging is a refreshing interpretation following the 2021 hit film directed by Lin-Manuel Miranda. For a suitably spooky show for Halloween, don’t miss Dragtime! Presents: Haunted Haus! , which runs from 26 to 29 October. Starring some of the best new drag talent in Cambridge, the show promises a cabaret-style set featuring singing, lip sync, spoken word, pole dance, burlesque, live music and plenty more. Comedy fans should also secure their tickets to The Cambridge Footlights International Tour Show 2022: Are We There Yet? – which sees last year’s comedy cohort return from a summer journey around the world to tickle Cambridge’s funny bones once more, from 4-7 October. Over at Cambridge Arts Theatre, 4-8 October, catch hilarious musical comedy Rock of Ages . This version stars Corrie’s Kevin Kennedy as Dennis Dupree, and is packed full of 25 classic rock anthems – think Don’t Stop Believin’ , We Built This City and The Final Countdown . A global smash hit, the show has been to Broadway, London’s West End and Las Vegas – now it’s coming to Cambridge for a rousing evening of rock ‘n’ roll! Following this musical riot, something more sobering from JB Priestley: An Inspector Calls offers an eerie, yet pertinent examination of privilege and conscience. It follows

4-8 Oct

11-15 Oct

17 Oct

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MUSIC EVENTS NEAR YOU 1. CITY OF CAMBRIDGE SYMPHONY ORCHESTRA AT WEST ROAD 8 OCTOBER Gustav Holst’s The Planets will be performed in all their cosmic glory at West Road this month, conducted by Robert Hodge and featuring a dazzling performance by violin soloist Fenella Humphreys. Narrator James Mayhew will introduce the planets and illustrate the music with interactive art projected onto a large screen. 2. OLD RIVERPORT UKULELE FESTIVAL 2022 15 OCTOBER Ukulele aficionados should head to St Ives Corn Exchange for a day of jamming, workshops and live performances. There will also be open mics, refreshments at the Riverport Cafe Bar, trade stands and a concert – with headliners Marc Gallagher, Plastic Jeezus and The Hedge Inspectors. 3. PURCELL AND A PINT 22 OCTOBER Eboracum Baroque will be piling into Michaelhouse Cafe on Trinity Street for a riotous evening filled with drinking songs, fiddle tunes and folk. You’ll be transported back to the alehouses of the 17th century with a selection of instrumental tunes and songs by Purcell and his contemporaries. Craft beer will be provided by Calverley’s Brewery.

PRIDE AND PREJUDICE* (*SORT OF) CAMBRIDGE ARTS THEATRE, 14-19 NOVEMBER, 7.30PM, TICKETS FROM £20 The Bennet sisters steal the show in this bold retelling, which has received standing ovations in the West End and an Olivier award.

BLOSSOMS CAMBRIDGE CORN EXCHANGE, 15 NOVEMBER, 7.30PM, £32.50 Fresh from their sensational Glastonbury show, Blossoms are set to take the city by storm with hits like Your Girlfriend .

THE FAIRHAVEN SINGERS Schubert Fest

SUZANNE VEGA CAMBRIDGE CORN EXCHANGE, 23 FEBRUARY, 7.30PM, TICKETS FROM £35.50 Seize the chance to see a leading lady of folk- music revival. A masterful storyteller, Vega’s songs are engaging and pertinent.

One of Cambridge’s leading choirs, the Fairhaven Singers, return on 8 October for their autumn concert – a celebration of the 225th anniversary of Franz Schubert’s birth. The Autumn Schubertiade will see musical director Ralph Woodward and the choir present a concert devoted to the composer’s haunting, melodious music. They will be joined by mezzo soprano Bridget Hardy, tenor Alessandro Cortello, oboist Rose Hilder and clarinettist Anna Thirkettle in the glossy acoustic of Downing Place United Reformed Church. “We’re looking forward to sharing Schubert’s magical tunes,” says Ralph. “Schubert is the master of expressive song, and you’ll hear music that is tender, sad, wistful, joyful and seductive.” Tickets cost £15 (free for under-18s) and can be bought at fairhavensingers.org.uk

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LIFE SCIENCE Kill or Cure ALEX FICE SPEAKS TO DR ANNA M DEMPSTER, FELLOW OF WOLFSON COLLEGE AND CURATOR OF A THOUGHT-PROVOKING ART EXHIBITION THAT PROBES THE THIN BOUNDARY BETWEEN LIFE AND DEATH IN MEDICAL SCIENCES

When it comes to modern medicine, we have lots to be grateful for. The treatments we receive today have only been made possible as the result of millennia of curiosity, experimentation and trial and error. The latest art exhibition at Wolfson College, Kill or Cure , explores how the natural world has informed, inspired and transformed the medical sciences, and investigates how

TOP MINDS Professor Jane Clarke (bottom right) discusses the Kill or Cure exhibition

plants, animals, natural substances and resources have the ability to save a life – or take it away. Drawing on the personal experience of a close family member being taken into intensive care last year, the exhibition’s curator Dr Anna M Dempster came up with the idea for Kill or Cure after observing how the same drug can keep a heart beating or cause it to fail, depending on the dose. “I wanted to take a somewhat dark experience and translate it into something positive – which reflects how a lot of art comes about,” comments Anna. “I wanted to create an opportunity to explore these ideas

“It was the first time Wolfson College – or any college in Cambridge – had tried such an open call,” says Anna. “I was really delighted with the response. By Easter break, we had the difficult task of selecting pieces for the exhibition from a large number of international submissions. “It might seem strange to mix professional and amateur artists, but there is a long tradition of this in the UK with the Royal Academy Summer Exhibition in London,” she adds. “For me, there is something quintessentially British about mixing the high- and low-brow – it’s slightly irreverent to established hierarchies and ways of doing things.” Highlights of the exhibition include a mesmerising digital work by Mat Collishaw, Columbine , the first of his works to be displayed in Cambridge. There is also a piece by Charlotte Verity; according to Anna, she is one of the most accomplished and remarkable contemporary painters working today. “Her elegant and subtle paintings hide a deep sophistication and complexity, which reflects our current world, its uncertain state and anxieties in thought- provoking ways.” A group of artworks by Argentinian artist Julieta Hanono highlights the relationship between the Qom (an indigenous people of Argentina and wider South America) and the natural world. There is also a moving video by Berlin-based artist Adrien Missika, which shows

from different perspectives – both scientific, but also aesthetic – in a way that communicates with different audiences and the wider public.” The theme reflects Anna’s long-standing interest in the relationship between the arts and sciences. “Even though they are often treated as distinct and opposed, I believe that art and science are concerned with the same fundamental questions about the nature of things. They are both fascinated by the same phenomena, and characterised by curiosity and experimentation,” she observes. “There are few better places to explore relationships between art and science than in a city like Cambridge, which is known for its world- class research and as a hub of entrepreneurship and innovation. Critically, it is also welcoming to diverse people and cultures; we are very lucky to live in a city which welcomes people from all over the world, is accepting of different ideas and willing to share them,” she adds. Reflecting this ethos, the exhibition features 36 contemporary artworks and two installations by 32 artists from different parts of the world. It includes contributions from leading international artists as well as pieces created by students and staff at the University, plus Cambridge residents in response to an open call for submissions back in April of this year.

the artist cleaning dust-clad plants growing in the concrete underpasses of Mexico City – a call to action for us to take better care of the natural world and remedy the pollution we have created. As well as providing the opportunity to see a selection of works that have never been displayed in Cambridge before, the exhibition provides the perfect excuse to venture beyond the gates of a college and discover a new side to the city. “Coming into a college can seem daunting, but Wolfson isn’t like any other in Cambridge!” says Anna. “Slightly off the beaten track, Wolfson College famously has some of the friendliest porters. They will welcome you when you arrive and direct you upstairs to the exhibition, which is displayed across a number of rooms overlooking the grounds and gardens.” It’s a peaceful location, one that’s conducive to a moment of quiet reflection on the ideas presented in the exhibition. Kill or Cure is open to the public at weekends, 10-5pm, with the final days on 8-9 October. Contact the Porter’s Lodge at Wolfson College to view outside these hours

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LATEST ART EXHIBITIONS 1. DEFACED! MONEY, CONFLICT, PROTEST 11 OCTOBER TO 8 JANUARY The Fitzwilliam Museum’s latest display shines a light on the interplay between money, power and dissent over the last 250 years. Highlighting radical figures through history, from Thomas Spence and the Suffragettes to current artists and activists, the display reveals the role money has played in promoting social and economic equality, or satirising those in power. 2. THE WOMEN’S ART COLLECTION: LIFE IS STILL LIFE OPEN NOW UNTIL 12 FEBRUARY An art form commonly associated with women and the home, still life has been dismissed throughout the history of art. The latest exhibition at Murray Edwards College aims to turn this on its head, revealing still life as a site for radical experimentation, through the works of 15 artists working between the 40s and the present day. 3. HADDENHAM ART GROUP ANNUAL EXHIBITION 4 TO 15 OCTOBER Set in the leafy surroundings of Haddenham Arts Centre, this affordable art fair will highlight the creativity of locals working in a range of styles and media. Pieces by over 25 artists will be on display, and some of the creators will be on hand to discuss their work.

Don’t Miss! AN INTERNET STAR AND CLASSICAL VIRTUOSO FEATURE THIS MONTH, ROUNDED OFF WITH SPOOKY FUN

ELLIE DIXON Cambridge Junction, 10 October, 7pm, £9.50

NEON MOON HALLOWEEN – THE UNDEAD DISCO Cambridge Junction, 29 October, 8pm-2am, £32 (adv) The city’s hottest cabaret club returns with its wild Halloween show, featuring circus and burlesque performers, followed by a swing and bass DJ set. Spooktacular costumes are a must!

ISATA KANNEH-MASON Saffron Hall, 7 October, 7.30pm, tickets from £12

Known for her musical versatility and upbeat visuals, Cambridge-born Ellie Dixon has risen to online fame thanks to her earworm melodies, witty lyrics and vivacious personality – see her perform in her hometown this month.

Marking her first Saffron Hall solo recital, Isata Kanneh-Mason will present a programme themed around childhood featuring music by Clara and Robert Schumann, Fanny Mendelssohn, Mozart, Debussy and Chopin.

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All Greek to Me ONCE EVERY THREE YEARS, THE CAMBRIDGE GREEK PLAY RETURNS – MIRIAM BALANESCU SPEAKS TO DIRECTOR DAN GOLDMAN TO FIND OUT WHAT’S IN STORE BACKSTAGE

tradition first taking root in 1882, the Cambridge Greek Play was not, as one might expect, founded

by classicists. Two archaeologists, seeing other Greek stage productions, set about reconstructing ancient Greek theatre with pinpoint accuracy, starting off with Sophocles’ Ajax . Since then, this dramaturgical form of time-travelling has become a treasured staple of Cambridge’s cultural heritage and snowballed in scope; over time, the all-student productions welcomed professional directors. Swarms flock to see it, among them thespians, school students and the simply curious. “The joy of the play is it brings something dead to life,” enthuses Dan Goldman, director of this year’s programme. “To experience something that is deemed academic and experience it as alive, fun and entertaining is what we hope for.” He also believes it will spark, for students, a long-term interest in Greek culture and theatre. This is not Dan’s first time directing the Greek Play: back in 2019, the founder of the Tangram Theatre Company was at the wheel of Oedipus at Colonus , set in the thoroughly modern surrounds of a hospital. “You learn so much doing it the first time,” Dan says. “You make many mistakes, because it’s such a strange beast of a show.” The year-long process sees the director pitch to the Greek Play committee, haul a creative team on-board, cut lines down, then send students off for the summer with Greek to learn – all before intensive six-week rehearsals. “When you work with students, what you get is plasticity,” explains Dan, who has previously collaborated with a mix of

TRAGIC TIMES The 2019 Cambridge Greek Play saw a rendition of Oedipus at Colonus set in a hospital

sorry for the enemy that lost, saying you should never have attacked in the first place, is quite incredible,” muses Dan. “I chose the play before the war in Ukraine, but there are strong similarities. The main reason I went with it was Covid-19, and our incompetent leaders standing at lecterns and saying ‘X’ number of people died today – this national tragedy emerging because of incompetence.” Expect the unexpected with this year’s plays – which have been given a sci-fi flavour. “We’ve gone for something that is timeless, almost futuristic, in the way that Star Wars has sand planets and people are dressed for those.” More 300 than classic theatre, Dan says, “we’ve got an enormous Cyclops puppet, this 12-foot monster”. On why the Cambridge Greek Play endures, Dan believes it’s a combination of the city’s elite past and students seeking sanctuary from the stresses of academia. “Cambridge is still quite a sheltered space and theatre is an area where you get to be anarchic and chaotic,” Dan insists. “Theatre is anti-establishment – and Cambridge couldn’t be more establishment.”

both professionals and amateurs. “What you might not get is heavy use of craft, experience and technical know-how – the counterpoint of that is bravery, open- mindedness and a positive attitude. As the cast have had fewer opportunities to be on stage because of the pandemic, there’s an even more raw, open mentality.” Dan’s picks are rare relics: The Persians is the only survivor of Aeschylus’ Phineas trilogy, the shortest existing tragedy, while Euripides’ Cyclops is the last remaining satyr play, marrying comedy, tragedy – and some explicit content. Traditionally, following the performance of two harrowing tragedies, satyr plays were a way to lighten up and let loose. “We’ve found a way that we’re going to do the private parts,” says Dan, comparing the play to a “palette cleanser”. Having already directed Sophocles, Dan was excited to “complete the trilogy” of tragedians. The first, The Persians , sees a king return home in disgrace having invaded Greece with his formidable military force, to no avail. “The fact that it’s the Greeks telling this story and feeling

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SCREEN TIME

GRAB THE POPCORN AND CHECK OUT THESE MUST-SEE RELEASES FOR THE BIG SCREEN FESTIVAL FLICKS

CAMBRIDGE FILM FESTIVAL

NOW IN ITS 41ST YEAR, CAMBRIDGE FILM FESTIVAL IS ANY CINEASTE’S DREAM. MIRIAM BALANESCU MEETS LEAD PROGRAMMER ELLE HAYWOOD TO FIND OUT WHAT FILMIC TREASURES THE CFF TEAM ARE REELING IN FOR 2022

Free submissions are open to those from Cambridgeshire, while a discount is offered to BAME and minority directors. Boy from Heaven , by Swedish-Egyptian director Tarik Saleh, is one of the jewels in the festival’s crown, while two documentaries from Ukrainian directors will be also shown – The Hamlet Syndrome and Pushing Boundaries . “The festival gives audiences a chance

here’s no question that Cambridge is a cinematic city – from its

many appearances on-screen to an impressive clan of resident filmmakers – but Cambridge Film Festival has been at the epicentre since 1977. Weaving several strands this year, from gala screenings to international festival highlights, there’s something for everyone. Elle Haywood joined the festival as a volunteer submissions reviewer

to see cinema that doesn’t always get UK distribution,” says Elle. Special strands will look at themes of connection and disconnection, resilience, the wildly wonderful and the monstrous (a series comprising over 50% of this year’s female- directed titles, with a particularly feminist lens). Festival favourite

while completing a master’s degree, rising up the ranks to become lead programmer. Also onboard as part of the programming panel are Empire editor Amon Warmann, Bulgarian film critic Savina Petkova and the Cambridge Film Trust’s Mike O’Brien and Isabelle McNeill.

An enthralling coming-of-age film from Icelandic director Guðmundur Arnar Guðmundsson, which navigates friendship and abuse with unflinching honesty. BEAUTIFUL BEINGS

Camera Catalonia returns, while the outstanding contribution award will go to Emma Thompson, with a special series of screenings in her honour. This year’s programme upholds a long legacy of quality cinema in the city. “The festival was a real beacon of this independent cinema movement when it started, bringing guests over for Q&As and interviews,” explains Elle. “It was a time when there were a lot less films being produced, so you got to really showcase the best of the best.” People of all backgrounds flock to the festival, from families to film buffs. Unsurprisingly, a host of industry professionals are drawn to Cambridge, making its first industry day this year, in partnership with the BFI Network and Film Hub South East. “It’s the start of new relationships,” says Elle. “This means we can follow people on their filmmaking journey. We have a festival to celebrate people creating amazing work.” Cambridge Film Festival returns to Arts Picturehouse Cambridge on 20-27 October. Tickets at camfilmfest.com

“Everyone’s got diverse experience, some from an academic background, festivals or publishing, so it’s been the accumulation of everyone’s knowledge, insight and tastes,” says Elle. Flooded with over 1,000 submissions, the festival prides itself on showcasing the national alongside the international, lesser- known gems along with big blockbusters. All short films and a small percentage of features arrive through submissions, which must be sifted through by the programming team (including a crew of volunteers). “It’s a bit of a monolith of a task, but it’s enjoyable,” says Elle. “We get a rich mix.”

LITTLE NICHOLAS: HAPPY AS CAN BE

Nabbing the top prize at Annecy International Animation Film Festival, Nicholas cavorts around 50s Paris with family and friends.

THROUGH THE LENS Festival programmers Abigail Pollock (left) and Elle Haywood (right) are organising a smorgasbord of cinema for the city this month

22 OCTOBER 2022 CAMBSEDITION.CO.UK

SCREEN TIME

THE BANSHEES OF INISHERIN Martin McDonagh makes his return with this comic masterpiece, which will open this year’s festival – probing what happens when two friends are suddenly not friends anymore.

Concentrating on memory, family ties and the passage of time, Aftersun has been lauded by critics. This is a delicate, tender exploration of how much we can truly know the ones we love, starring Paul Mescal and 12-year-old Frankie Corio in her debut role. AFTERSUN

TRIANGLE OF SADNESS

This yacht-bound satire and Palme d’Or winner features an unbelievable cast of the filthy rich shipwrecked and stranded on an island – what could possibly go wrong?

Picturehouse Picks FIND OUT WHAT SCREENINGS ARE NOT-TO-MISS AT CAMBRIDGE’S ARTS CINEMA THIS MONTH NATIONAL THEATRE LIVE: JACK ABSOLUTE FLIES AGAIN This aviation romp from Richard Bean MARTIN McDONAGH DOUBLE BILL

AMSTERDAM Christian Bale, Margot Robbie, John David Washington, Robert de Niro, Anya Taylor-Joy – and even Taylor Swift – appear in this true- story-inspired mystery mayhem from David O Russell, director of Silver Linings Playbook and American Hustle . When Christian Bale’s character is accused of murder, escapades ensue – a lot of which, the trailer claims, ‘actually happened’. 7 October

Before Martin’s big return this year, refresh your memory of his masterpiece In Bruges on 17 October , starring Colin Farrell and Brendan Gleeson as partners (this time in crime). Your second helping, The Banshees of Inisherin , opens on 21 October , following two sparring former pals. Expect ratcheting tension, pitch-black comedy and equine creatures galore.

( One Man, Two Guvnors ) and Oliver Chris ( Twelfth Night ) is sure to split your sides with laughter. In June 1940, after an airborne fight, Jack returns home flying the flag of victory. It’s when he touches back down to earth, however, that he meets trouble – in

the form of heiress Lydia Languish. 6 October (encore 18 October)

CAMBSEDITION.CO.UK OCTOBER 2022 23

SCREEN TIME

EMILY ATEF – ONE OF EUROPE’S LEADING DIRECTORIAL STARS – HEADS UP THIS YEAR’S CAMBRIDGE FILM FESTIVAL WITH HER LATEST FEATURE FILM, MORE THAN EVER INTO THE LIGHT Bird of Passage

he German-French-Iranian film director Emily Atef is no stranger to portraying atypical relationships. Her oeuvre has

Being a foreigner is an amazing place to be confronted by yourself she travels by train alone from France to Norway – a country where it’s never night. “It’s far away from anything she knows, where nature is so immense that you feel humble. That makes it easier to let go,” explored marriages under the strains of international adoption ( Wunschkinder ), an Irish woman in Poland in pursuit of her long-lost one-night stand ( Molly’s Way ) and partnerships formed on suicide pacts ( Kill Me ). More Than Ever , about a couple put through the wringer when one is diagnosed with a rare lung disease, does not feel like a drastic departure. The difference this time around, however, is that it’s Emily’s first proper love story, she says – though undoubtedly with a morbid edge. “I was always interested in that moment of life at the end, how one gets ready for that new experience and journey,” Emily recalls. “We’re often taught through religion that it’s a dark experience, but somehow, even as a young adult, it interested me to see how one can find a way to experience that as peacefully and beautifully as possible. We had a Belgian shepherd when I was a child. When he became old, he disappeared. A friend of ours, who was a vet, told us that Belgian shepherds are close to their wolf ancestry and that wolves, when they feel it’s their time, leave to avoid endangering the pack. That’s how the idea came – a young woman trying to find her place.” When wife Hélène discovers her illness,

’TIL DEATH DO US PART Emily Atef’s signature explorations of relationships and the human condition are brought to life in More Than Ever, starring Vicky Krieps and the late Gaspard Ulliel

Emily says. It’s a destination she traversed in her twenties on a motorbike tour. The sublime light of the region also imbued the film with another layer of meaning. “When you’re there, living it, you think you’re on drugs,” Emily laughs. “With this idea that when you die, you see light, I like that Hélène goes to it. But it’s not as harmonious as she imagined.” More Than Ever has been ten years in the making. Though her work has garnered a sizeable stack of awards, funding was a continual issue, potentially because of its macabre leanings. “Funders were afraid to see it and, after Covid-19, people are scared, too,” Emily explains, venting her frustrations at the limits of contemporary cinema. “I have nothing against Marvel, but when there’s only that... I was trying to go to the cinema and was thinking, where are all the other films? Why are we all watching only Marvel, as if we were all 13-year-old boys? I hope people get tired of that and there is more diversity.” The female experience – and ‘women in existential crises’ – are a constant undercurrent in Emily’s features, something she returns to in this contemplation on love and carving out one’s own path. “I’ve been a frustrated audience member of films in my youth, my childhood and as an adult – not only cinema, but TV. For so many years, the

only heroes we saw – that I would have to feel and hope for – were boys,” says Emily. “We’re half of humanity and half of the stories to tell.” Emily’s French-German- Luxembourgish latest also follows in the cross-cultural steps of her previous films, blending languages and bringing together the brightest talent from different nations. “I’m half French,” says Emily. “I’ve always wanted to do a French film, but everything prior to this had been German because I studied and live here.” Co-lead Gaspard Ulliel sadly passed away before the premiere at Cannes this summer. “We were in the editing process and when you edit, you’re with these actors every day, every breath, every eyelash,” Emily recalls. Starring opposite Luxembourgish luminary Vicky Krieps, the pair lend the lead roles a stirring emotional intensity not easily forgotten. On the horizon for Emily is her first novel adaptation – an exploration of the hypocrisy directed toward female desire. She is returning home: born in Berlin, moving to LA aged seven, then France aged 14, Emily suggests that such cultural shocks can reveal many things about ourselves: “Being a foreigner is an amazing place to be confronted by yourself and have the space to really see what you want.”

24 OCTOBER 2022 CAMBSEDITION.CO.UK

ADVERTISEMENT FEATURE

THE GIFT OF LIFE This Organ Donation Week, get involved – and go pink! – to help raise awareness about this act of kindness and its critical importance

rom 26 September to 2 October this year, Organ Donation Week will return to draw notice to the pivotal impact the practice

makes for individuals and their loved ones. Encouraging people to submit their decision on the NHS Organ Donor Register, the week will also unite people in celebrating its importance, showcasing support for organ donation up and down the country – while also educating the public about how the process works. According to NHS records in 2017, more than 50,000 lives have been saved through organ transplants, with thousands either saved or transformed in the UK every single year. Between April 2021 and April 2022, the Cambridge University Hospitals NHS Foundation Trust facilitated 41 actual solid organ donors, which resulted in 89 patients receiving a life-saving or life- changing transplant. However, with nearly 7,000 patients waiting for a transplant but only 1,618 receiving one this year, every day in the UK someone dies waiting for an organ transplant. Currently, there simply aren’t enough donors. This year, the Organ Donation Week campaign urges people to go pink to show support – whether wearing, baking, drinking or painting pink. Get creative and spread the word! #organdonationcambridge TWO LIVES CHANGED If you’re considering registering for organ donation, it’s important to talk with your family first and have their support. Holly, a Cambridge local, supported her husband’s choice to register. “Andy was larger than life; at 6ft 7in he made an impression wherever he went,” Holly says. “The pearly white smile would make

us all. Andy wanted his body to be donated to research, with his organs given to those that needed them – if you could use his teeth, someone would have gained a hell of a smile. There’s a lucky person out there who has his heart – and in some way that means Andy gets to live on.” John’s life was saved through NHS organ donation. “Nearly 12 years ago, I was diagnosed with alpha-1 antitrypsin disorder, TRUE COLOUR Wear pink to show appreciation and support for Organ Donation Week (above). Cambridge local Holly lost her husband Andy (right), but thanks to him another person now has a healthy heart

your saddest days turn into laughter. Being a police officer, death would pop up on a regular basis. Andy wanted to help people, believing that just because they may have done something bad doesn’t mean they are a bad person. He always encouraged us to be involved in life, bringing out the best in A lucky person out there has Andy’s heart – and in some way that means he gets to live on a genetic condition that I knew nothing about, but which caused my liver to stop working,” he says. “I was told, without a transplant, I would have about six months to live. As it happens, it was seven months before a suitable match was found. A very courageous and caring family agreed to donate their loved one’s organs. Although I don’t know this family, they are never far from my thoughts.”

SCAN THE QR CODE TO BE TAKEN TO THE ORGAN DONATION REGISTER

CAMBSEDITION.CO.UK OCTOBER 2022 27

POETS OF CAMBRIDGE

STANZA STYLE

AHEAD OF NATIONAL POETRY DAY ON 6 OCTOBER, MIRIAM BALANESCU SPEAKS TO SIX CAMBRIDGE-BASED BARDS TO DISCOVER WHAT MAKES THE REGION SO POETIC MASTERS OF THE VERSE

ambridge has long been a touchpoint for poets, from

Wordsworth’s residence recorded in verse (“The long-backed chapel of King’s College rear / His pinnacles above the dusky groves”) to Xu Zhimo’s melancholy departure (“I am willing to be such a waterweed / In the gentle flow of the River Cam”). This legacy shows no sign of faltering, with those of all melodic strains hurrying to this poetic hive. So, what makes it a lure for lyricists? Cambridge’s history has a part to play, but also its inclination towards progression and inventiveness, its rich landscapes and the communities it fosters.

WORDSMITH Wendy Cope is one of the highest-profile poets today

WENDY COPE

childhood, that’s quite liberating,” Wendy says. “Lots of poets are preoccupied with death and go on about it. I mean, Larkin was going on about it from quite an early age.” The collection opens with a moving work on poetry as an insight into human nature. “The important thing about poetry is that it should be telling the truth,” Wendy states. This is an idea that has remained core to her. Now, Wendy is piecing together a complete collection of her work. Though, in the wake of the pandemic, she has settled into a gentler rhythm. “I realised it had become quite stressful travelling around doing readings all the time,” she says. “So, I’m doing a lot less of that – and a lot less of everything. I really like a quiet life.”

“I’m not as funny as I was when I was younger and I think, actually, it’s because I’m less miserable,” Wendy claims. “There’s something about my second, best-selling book, Serious Concerns , which is really quite miserable. There’s a sort of state you can get into where you’re so miserable, you might as well make jokes about it. “I don’t like being dismissed as somebody who is just a comic poet,” Wendy insists. Anecdotal Evidence certainly proves anyone who thinks otherwise wrong, interspersed with poignant contemplations of childhood, fragments of the everyday and reflections on what lies after life. “My parents are both dead now. From the point of view of looking at writing about your

One of the nation’s best-known, most- adored poets is a resident of a town just north of Cambridge. Wendy Cope moved to Ely with her husband around the time of her latest collection, Anecdotal Evidence , enticed by the inexhaustible tomes of the University Library. She has even written a poem named after her new home, dedicated to historian Mac Dowdy. This most recent body of work shows a considerable shift from her first, Making Cocoa for Kingsley Amis, a 1986 collection punctuated with witticisms and satire. “I was going to an evening class where we looked at work by various poets,” recollects Wendy, of her time as a primary school teacher. “I just had the impulse to write parodies of them.

CAMBSEDITION.CO.UK OCTOBER 2022 29

POETS OF CAMBRIDGE

ELISABETH SENNITT CLOUGH On the edges of Cambridge and outside the university’s domain, a fierce poetry scene is brewing. By spearheading the Fenland Arts Development Scheme and the Fenland

passion kindled by creative writing tutor Caron Freeborn at the Open University. “It was the proverbial door opening,” Elisabeth says. “I don’t think poetry is healing, otherwise all the poets would be healed, but there is a kind of therapy in finding something where you can express yourself.” Running through her poems are darker undercurrents, stoked by the rain-lashed landscapes of the Fens. “I do feel sometimes I’m excavating myself to write a poem that isn’t flat,” says Elisabeth. “Poetry’s duty is to expose what a lot of people either don’t know about or don’t want to confront.” At the fore of Elisabeth’s initiatives – including the Fenland Poet Laureate scheme – is supporting under-recognised communities. “There are places that are very marginalised in terms of funding and opportunity,” she explains. “It’s about developing a visible community.”

Poetry Journal , Saboteur award-winner Elisabeth Sennitt Clough is right at the epicentre of a community shaped by the Fens and fields. “I first started writing about the Fens when I was thousands of miles away, living in California on the West Coast,” laughs Elisabeth. “When I was growing up, I wanted to get out of the Fens so desperately.”

MEGAN BEECH A young spoken-word artist who first slammed onto the scene in 2011, Megan Beech Having worked in the likes of Indonesia, Florida and the Netherlands, Elisabeth’s roots have remained firm. “Because the Fens are such a sparse environment, it’s really easy as a poet to enter it imaginatively,” she explains. The writer of Sightings , The Cold Store and the upcoming gothic Fen collection My Name is Abilene first had her

Vavengers. “Spoken word breaks down these hierarchies or theocracies we have in the traditional publishing world,” Megan continues. “It’s a great equaliser to talk about things that need to be discussed. I find that I get those points of view across to people who maybe aren’t expecting to hear those things.” Fostered by Clive Birnie at Burning Eye Books when the press came into being, much has changed on the slam poetry scene. “Compared to five years ago, when my last book came out, the possibilities for what we call a performance poet are completely different,” Megan says. “That’s been through the hard work of small presses.” This hiatus was while Megan undertook a PhD on Charles Dickens at Cambridge. She points to other spoken word poets, whose careers have been multifarious: viral poet Vanessa Kisuule, Kae Tempest and even Michaela Coel and Jack Rooke. Freedom is what, for her, spoken word enables: “I don’t want to judge myself too much by the criteria of the snobbery that says, poetry isn’t allowed to rhyme or be about women’s bodies.”

has been garlanded with praise from the likes of Mary Beard (the title of Megan’s first 2013 collection is in tribute to the classicist), Lauren Laverne and Laura Bates, proclaimed a feminist icon by the Evening Standard and The Guardian and appeared on the BBC and Sky. Megan’s journey began when she won a competition judged by Philip Pullman, aged just 11. “I did music for a while and was very mediocre,” Megan laughs. “But I was interested in that dynamic of how you can transform an audience just with the words you say.” She counts Billy Bragg, with his combination of political railing and music, among her influences. “For someone who struggled a lot when I was younger with anxiety, depression and not being able to express myself, there seemed something quite vital about that medium and the immediacy of it.” For Megan, slam poetry is the perfect vessel to vocalise women’s causes, performing frequently for an anti-FGM charity called The

30 OCTOBER 2022 CAMBSEDITION.CO.UK

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