Drama based on the rise and fall of Thatcher has been in production ever since the year she lost power. By the very nature, ‘Thatch- iopic,’ as coined by my theatre colleague, can be bitty and could potentially reduce long-standing working relationships and battles to single scenes or moments.
Dead Sheep is a focused theatre piece in which the relationship between Margaret Thatcher (Steve Nallon), Geoffrey Howe (Paul Bradley, best known for playing Elliot Hope in Casualty), and his wife, Elspeth Howe (Carol Royle) take centre-stage. The triangle, where Howe finds himself in the middle of, is a tug-o-war that eviscerates Howe and forces him to choose one side. Torn between political loyalty and spouse angst, Bradley delivers a formidable and emotionally dynamic performance that was purposely understated to enhance the subtlety of the personality.
The highlight and perhaps selling point was casting Margaret Thatcher as a man.
Steven Nallon did an astounding job playing her, it was as if the Iron Lady herself was present before us with the line delivery as well as the movement, stunned and entertained the audience throughout. A couple of belly laughs were had.
Three actors played narrators (Graham Seed, Christopher Villiers and John Wark) as well as politicians/minister in her cabinet. This entertained the spectators, but at times detracted from the action. Sometimes we just wanted to be shown the story as opposed to being told beforehand. It ruined the drama for us, in part.
Overall, a successful and refreshing take on the ‘iron’ age of British politics, and as Jonathan Maitland (Writer) said: “But there is one corner the tractors seem to have missed.” What it was like for Geoffrey Howe at the right side of the force not to be reckoned with.
★★★ | No Man’s Land takes place over an evening of drunkenness and a morning of sobriety, as Hirst, an upper class writer, and Spooner, a down on his luck poet, exchange stories, anecdotes and reminiscences over copious amounts of scotch; and subsequently, the following morning’s breakfast. Their stories of mutual experiences, acquaintances and relationships are tainted with the distinct flavour of one-upmanship as the pair debate what may or may not be a shared history in Harold Pinter’s absurdist play.
Picture Credit Luke Fontana (PR Supplied)
No Man’s Land reunites Sir Ian McKellen and Patrick Stewart on the London Stage and it is not difficult to see why Pinter’s play resonates with the two lead actors, containing its long passages of complex prose to articulate their way through; and a pair of strong lead characters truly dominating the stage throughout the duration.
With an abundance of strangely compelling verbal sparring between the two, McKellen’s magnetism and stage presence remains completely undeniable with a seemingly effortless performance which demonstrates why he is such an esteemed theatrical figure; whilst Stewart’s (appropriately) muted performance during the first act flowed into a more confident and surefooted second act, with the opportunity for him to revel in the demonstration of his craft. In the two supporting roles, Damien Molony and Owen Teal held their own as Foster and Briggs (a pair with a somewhat homoerotic undertone to their characters), stepping up to the challenge of sharing the stage with the two heavyweights. Sean Mathias’ direction gave a steady steer around Stephen Brimson Lewis’ quasi-symmetrical and somewhat charming set.
The difficulty with the play is that the narrative is inaccessible to the Pinter novice. Pinter’s absurdist play is just that, never really explaining the set-up, the characters, their identities, or their motivations. Their role in each other’s lives remains unclear and the play leaves the audience to draw their own conclusions and reach their own interpretations. Discussions with others have produced a number of differing explanations and theories, with the post show chatter as varied as the scripted anecdotes portrayed on stage. On a personal level, a play with a straighter narrative and less deliberate obscurity would have been far more preferable. I couldn’t honestly say that I enjoyed the actual play itself; but that did not detract from the sheer joy and superb opportunity of seeing two of this country’s finest actors doing what they do best.
No Man’s Land is more of an experience rather than a gentile evening in the West End. An intensively poetic and wordy script provides for a sometimes difficult and challenging watch for those not familiar with Pinter’s work, but whilst the play is not for everyone, the opportunity to see two titans of British theatre is well worth it, and not one to be passed by lightly.
And I can’t take my eyes off of you. That is how the song went as covered by Gloria Gaynor. I was dancing to it in the new Nissan Navara in a well known supermarket carpark. The Navara is a handsome truck. It has those classic rugged good looks I like to see in trucks and real men. This is a truck for men. So what the hell am I doing driving it?
There is something very indescribable about a truck when you try to describe it. It’s not your usual vehicle that you’d associate gay men driving as a pleasure vehicle. It lacks modern niceties that you would get in a premium 4×4 for people. In that I mean soft touch areas and a compliant ride with the ability to tow the caravan or jet ski.
What you get in the Navara is a truck with attitude. It might be hardwearing and functional but look beyond its purpose and you find that Nissan have given the modern truck driver softening little touches. In this £27,000 truck you get heated leather seats, climate control, cruise control, one touch entry along with another 62 other items of importance in exterior, safety, audio, interior, comfort and technology. This price also includes sunroof, bedliner and interior touches in mats and kick guards. In total though there is far to much to list. What it all adds up to is in the making of an impressive truck for not a lot of money. Nissan must be doing something right here because the roads are littered with Navara’s.
It keeps on getting better too. The Navara posses size. A lot of size. It’s big. I did worry about leaving it on the street where l live for it engulfed a little French hatchback. At over 5 meters long it is a bit of a brute. Thankfully it comes fitted with Nissan’s 360 degree camera. I never fully appreciated this. On the Micra it seems excessive. In the Pulsar that we tested I felt it had a use. In the Navara is it epic. Parking was a total breeze. If you see someone struggling to park one then you can be safe in the knowledge that they don’t have this bit of kit.
On the move there was little to complain about. The engine is fuss free. Vocal when pushed, however there is little gained going too far beyond 4000 rpm. The 2.3 litre 4 cylinder twin turbo will hustle the truck along quietly confusing your senses until you look at the speedometer. Nissan claim 112mph max speed and there is little doubting that it would get there without too much fuss.
The 7 speed automatic did all that was needed. Manual inputs were never needed in normal driving. I am sure off road it would help. Normal mode is rear wheel drive with four wheel drive high-low available on an easy to reach rotating knob. To select it on the move you just turn the knob only stopping if you need to select low ratios. Thankfully there is a a foolproof catch on the low mode. What I did find was that like most 4×4 trucks, in the wet it is best to drive in 4×4. This is only because the rear is unweighted and 450Nm of torque from a lowly 1500rpm has an easy ability to spin the inner wheel. Traction control kicks in quickly to prevent exciting snaking of the rear like a drag racer.
On the road its ride was surprisingly jiggle free. For a vehicle with a sole purpose to be a hard working horse capable of taking heavy loads, 5 people, tow something and yet not shake your spleen free from the muscles it attaches to, the ride was more than civilised. You could jump in the Navara and just drive cross country in comfort. With documented economy averaging 40.3mpg it wouldn’t need refuelling too often either. Quite an achievement for a heavy vehicle. The on-board computer registered an average of 35mpg while it was with me. l could live with that.
I don’t doubt the Navara’s ability to go off road. Over hangs at the front were small, The rears a little longer. There is a handy metal bumper that shouldn’t get ripped off as easily as a plastic one would. That said I did take it off road. Down to the back of the garden in fact to load it up with gardening waste. It felt the right thing to do instead of loading up the trusted hatchback. What wasn’t so good was trying to get it into my local council dump. Even in Crocs I was still seen as a heathen by the authoritarian from the council. Apparently even privately owned pick-ups come under the commercial vehicle nonsense. In the end I returned with the trusted hatchback. And Doc Martins.
There are a few nice touches abound the Navara. The rear seat squab tilts up allowing for items of a certain size that you want protected from prying eyes and the elements. It opens up the rear amazingly. The rear seat though lacks under thigh support for those with long legs. I couldn’t travel on it for long. Personally I do think the chrome inner door handles a bit out of place. There is no other chrome anywhere.
When it all ended and the keys were handed back to Nissan I searched for jobs in farming. I listen to the Archers so I obviously understand farming issues. I want to be a farmer and drive around my I and all day in a Navara. Ok l don’t want to be a farmer but I’d happily take the Navara for all its ups and downs. I want a pick-up truck.
Likes
360 degree camera
Civilised to drive
24 month service intervals
Loathes
My local authority
Lacking door protective strips
Poor under thigh support on rear seats
The Lowdown Car – Nissan Navara NP300 Tekna Double Cab Price – £27,163.17 (as tested) MPG – 40.3mpg (combined) Power – 190 bhp 0-62mph – 10.8 seconds Top Speed – 112 mph Co2 – 183 (g/km)
If you missed “Kenny Morgan” this summer then you have a second chance. The play is back for four weeks at The Arcola Theatre in Dalston and remains an evocative and beautiful treat of a play with a host of polished performances.
CREDIT: Idil Sukan
Kenny Morgan was a young actor who had had a promising career in 1940’s British films. He had also had an on/off relationship for ten years with Terrence Rattigan, a high profile British playwright. In 1949 Kenny gassed himself to death in a down at heel Camden Town flat that he was sharing with a young actor who he’d left Rattigan for. Terrence Rattigan’s play “The Deep Blue Sea” echoes Kenny’s story to a degree but with gender switching to suit the times (and the Lord Chamberlain’s office).
Set in a mould encrusted flat with gas pipes defining the space, this play depicts Kenny’s despair. Sounds grim but it’s not. It’s witty and warm as well as devastating. Paul Keating is superb as Morgan, delicately easing us into his despair and leaving the audience frustrated and helpless but never less than sympathetic. Mike Poulton’s script is tight and detailed and achieves a difficult task: retaining dramatic tension even when we know the inevitable ending. The dialogue and set feel wholly authentic, transporting the viewer to 1940s London along with its restrictions. There’s something claustrophobic and terrifying about Kenny’s world where being gay is illegal and can land you in prison, as can attempting suicide.
Although Kenny is a different beast from most of us in contemporary Britain, there are plenty of parallels and as well as the beauty of the piece; this makes it well worth a visit. Who hasn’t felt heartbroken and despairing and been laid low by loving the wrong man? Kenny has fallen for a man who doesn’t even claim to love him, has stopped sleeping with him and is still sleeping with women and men behind his back. Not an unusual story. Neither is the story of his relationship with Rattigan. Unable to be out in public Rattigan maintained elaborate ruses to keep his homosexuality both from the public and from his family. I’m sure I’m not the only one who’s met men like that? Who hasn’t struggled to understand someone else’s depression or even their own? Although his misery is tangible, it’s difficult not to want to try to solve Kenny’s issues.
The play isn’t as bleak as it sounds on paper. There are fine comedic moments and the pace is brisk. There are also touching moments of human kindness as the people around Kenny try their best to help. My recommendation is to just see this. You’re unlikely to see a finer play with a gay theme any time soon.
Kenny Morgan plays at the Arcola Theatre until 15th October
SAUSAGE PARTY – Very adult full length animation movie about life inside a supermarket for the foodstuffs; Think South Park with a lot more sex jokes and liberal use of the c word… and it is making a fortune.
Nutshell – A sausage and his mates start to question that there future may not be all there beliefs and food gods tell them when they are eventually purchased and taken out of the supermarket. On top the desire of the lead character sausage to get inside a female soft bun is all encompassing. Think an 18 cert version of Family Guy or The Simpsons and it is one of the funniest films you will ever see.
Running Time – 89 minutes; Certificate – 15.
Tagline – ‘She’s Got Buns, Son” and “Check Out His Package”.
The Gay UK Factor – Loads of dick jokes, f***ing jokes, used condoms and a load of swearing – you get a f*ck, motherf*cker and a ‘see you next Tuesday’ in the opening minute and it doesn’t let up. There is a Jewish guy and a Muslim guy who obviously hate each other until they start gay ass banging using hummus for lube that would be heard from both sides of the Israeli West Bank. This is 100% boys only humour and the last 10 minutes is a scream with the biggest sex orgy ever put on screen.
Cast – (Voices) Seth Rogen, Kristen Wiig, Jonah Hill, James Franco, Salma Heyek, Paul Rudd, Michael Cera, Bill Hader, Edward Norton – now that is an awful lot of funny folk.
Key Player – This is Seth Rogen’s baby and he is involved in all parts of it. If you like his type of humour or indeed any of the adult animated TV shows currently filling the airwaves then this treatise on atheism, religion and unbridled lust is for you.
Budget – $19 Million, Already made 5 times its budget back and only released in one territory – a bona fide blockbusting hit. Hot Dog this is starting to look like the most profitable movie of the Year – who knew adults would flock to such a gross out cartoon.
Best Bit – 0.75 mins; You will cheer when the foodstuffs finally turn on the shoppers, which leads to the bad guy’s ass being seriously douched on the way to that massive ginormous orgy.
Worst Bit – 0.04 mins; There is an opening big number which is trying to be South Park and is not catchy or funny and with no other songs in the movie just seems out of place.
Little Secret – This is the first CGI film in history to get an R Rating (The next rating is X which excludes it from many cinema chains)….Guess what, it has become the highest grossing R Rated animation in history beating the South Park Movie and it cost absolute peanuts. An average Pixar film like say Finding Nemo or Toy Story costs 100 million to make this came in at less than one fifth and is really busting blocks worldwide.
Movie Mistake – All the characters are apparently aware of the concept of humans eating, and that they are foodstuffs themselves, yet act horrified when they discover that they are to be eaten later on… big plot hole.
Further Viewing – Cross them off, Family Guy, American Dad, The Simpsons Movie, South Park: Bigger Longer & Uncut, Meet The Feebles (Except the AIDS stuff), Team America: World Police, Watership Down and even Beavis & Butthead if you must.
Any Good – Humour is the ultimate marmite. This really has split the reviewers and fans right down the middle. Hopefully, you like us will laugh until your sides hurt or will be wandering what all the fuss is about. Time to suck the sausage, test your gay reflex and see.
Po-Low not so Mint for £70. The Gay UK’s First Car.
CREDIT: Stuart M Bird
Writing about cars and testing various marques might sound glamorous but beneath the glitz of a new car is the darker world of the second hand car market. Sometimes 7 hands. Sometimes even more.
Working in the motor trade, from time to time you get offered some real gems. My current mobile is an old Golf that a customer wanted us to dispose off. l couldn’t allow that to happen. Four years later and a couple of mechanical failures later we are still together. That kind of thing doesn’t happen often. My ears pricked up when l heard another customer’s Volkswagen was going on the market and l decided to take a chance without the editors knowing. Oops.
It’s called “Bangernomics”. In a nutshell it is to buy something cheap and hope for the best. More often than not it is done when you are in desperate need of some wheels. I’ve bought my fair share of bangers over the 20 odd years l have driven. Sometimes they come with an MOT longer than a month. Sometimes they come with some history. More often than not they are pieces of shit.
For this dabble into bangernomics l give you The Gay UK’s first car purchase. A red 1996 Volkswagen Polo L for the princely sum of just £70. Or to put it another way, 7.3 days worth of train fare bought us a Volkswagen.
CREDIT: Stuart M Bird
For that money you don’t get electric windows. In fact none of the windows opened because the regulators had failed. There is no central locking because it is a poverty model and at present the boot does not open. Over inflate the tyres and there is your power steering and the glove box is now a very spacious hole because the lid is missing.
All is not lost. What we do get for that £70 is a CD radio, remote adjustable door mirrors and it has some 10 months MOT. That’s it. No one said it was perfect. In fact no one said it was alright either.
At the garage we scrutinised the car from 10 paces. You’ll not find any corrosion on Polo. The nearside rear wing my be a little rusty due to an altercation with an immovable object but that is it. Its once all over red paint I am sure was the talk of the showroom. Twenty years later and it has held up quite well for red paint that it. A colour that UV rays like to fade. This one did show signs of touch up here and there using parts from a blue car. Judging the car today you wonder how bad the donor car was if it kept this one alive!
Amazingly, for an unloved, the interior is holding up quite well. I say quite well in as much as the fabrics still look capable of withstanding another 20 years. This car comes from a time when VW over engineered everything even down to the carpets. One air vent doesn’t quite aim in the direction you’d like it to.
It started quite well on the drive home. That little engine of 998cc felt quite spritely. You could say it was eager. This enthusiasm soon died down. Actually the enthusiasm abruptly ended when the engine got warm. This was where the horrendous flat spot from 1/4 – 3/4 throttle became apparent.
On the move is where you discover what it is like to drive a car that once had 50 brake horse power. Some of those horses have left either on their own accord or legged it to the lasagne factory. Those that have stayed are loyal horses that give you all they have and that isn’t much.
Seriously it isn’t.
The Polo struggled to go over 65mph and only gun-ho shouting, bouncing and rocking like some wild western cowboy managed to push those horses to give an extra 5mph. All that excitement was lost when 5th gear was selected some horse power that was made was lost while several horses took a mid drive nap.
CREDIT: Stuart M Bird
Small engined cars can bring out the best in you though. Once you find out how to get the momentum going you find it a game of cat and mouse to keep it going. With this you discover the handling of the Polo. That non-assisted steering is woefully indirect were grand gestures of the steering wheel are needed to navigate anything with a bend.
It was good to know that the oil pressure light worked. What l did find after the thrash home was that there was hardly any oil in it. On removing the filler cap it was full of a mucky substance reminiscent to treacle. Thankfully it was not terminal or more worryingly a sign of a blown head gasket. Just good old fashioned lack of maintenance. Three litres of oil later – that is the equivalent to a full oil change – and this annoying rattling noise sort of vanished. It did prove to me what an amazingly tough engine this Polo has.
It’s motoring on a budget. Get over the failings and something like our Polo could work its way into your heart.
CREDIT: Stuart M Bird
To sum it up, is it any good? It is a dreadful car. I tried a social experiment and left it opened and unlocked everywhere I went. No one stole it. No one left me a couple of quid in it either. As a dumper car it’ll perform perfectly. It’ll take you and the dog to the park and back on a muddy wet day. Garden waste will not be a problem. You won’t loose any sleep scratching it while on the dump run. Trouble is I have a tendency to want to leave it there.
Likes
Cheap
More reliable than public transport
Park anywhere ability
Loathes
It’s a VW for £70. What is there to dislike?
The Lowdown Car – Volkswagen Polo L Price – £70 MPG – 40 I suppose Power – 30+ bhp probably 0-62mph – Many seconds Top Speed – 70 mph Co2 – Some, probably quite a lot (g/km)
London is slowly being engulfed by water while two young men attempt to survive in a society that’s gone a bit loony in the new film Set the Thames on Fire.
CREDIT: Multitudemedia
Billed as ‘an agony in 3 acts,’ this dystopian fantasy slash black comedy is set in the future where the London we know of today is gone, and there’s water everywhere because the Thames has overflowed, with Monument almost covered half way up in water. There are two levels of society, the rich and the poor, and Art (Michael Winder) and Sal (Max Bennett) fall in the later category. They meet at a cocktail party for the rich – Art is hired to play the piano while Sal, who has just escaped from a psychiatric hospital, gets by on his very good looks.
The men form a bond, and Art invites Sal to stay with him in his dilapidated flat. The landlord, Mrs. Hortense (Sadie Frost) wants the rent from Art but is satisfied when Sal pays her in sexual favors. The men dream of one day leaving for Egypt, escaping the cruel city that London has become, and even more so to escape the evil and ugly Impresario (Gerard McDermott) who now rules over the kingdom. But they encounter many eccentrics and weirdos in the pocket of the city in which they live; a fortune teller (Sally Phillips) who expresses disbelief in her daughter’s stupidity; a mad transvestite (the excellent and scary Noel Fielding) who is quite deranged and who expects both men to perform sexual acts on him; a magician (David Hoyle); and masked policemen who roam the city and kill on the spot – no questions asked.
Set the Thames on Fire is a buddy movie where two young men try to survive, and attempt to leave, a city that’s pretty much no longer habitable, with the Thames rearing it’s ugly head. It’s first time director Ben Charles Edwards who brings us a film that’s both different yet compelling. Great turns by both leads and a great supporting cast make this film reminiscent of one of Terry Gilliam’s films (Brazil) where society is not what it is today.
Set the Thames on Fire is in cinemas from 16 September, on demand from 19 September and on DVD from 26 September
★★★ | Brasserie Blanc- Southbank, great for Meat but leaves vegetarians out in the cold.
Brasserie Blanc – Southbank
Brasserie Blanc, belonging to Chef Raymond Blanc, have multiple locations across the country, their Southbank branch recently under going a refurb. The restaurant itself is easy on the eyes and feels airy thanks to the large floor space. But, both peckish and avid fans of french food, we are more interested in what’s on the menu!
The cocktail menu is rather enticing with drinks like the rose petal Martini (£8.50), coming out candy floss pink concocted out of Beefeater gin, lychee liquor, rose vermouth, fresh lemon and cranberry. Sounds good right? It was. My friend crowning it one of the best cocktails she has ever had. I went for a non-alcoholic apple & ginger fizz (£4)- generous ginger giving life to the sweet fizzy apple, so refreshing. If i had been drinking alcohol, I would have gone for the rhubarb & honey Martini. Check their website for details on £5 cocktails from 5pm.
The A la carte menu is very well put together with French classics, although i’m not entirely sure the menu is well equipped for vegetarian diners. To start, Potted Cromer Crab (£9.50), layered with avocado, guacamole, prawn butter and served with toasted pain de campagne. The texture was super smooth and creamy, herbs running through it like coriander make the dish light, and a strong taste of the sea made this a worthy start to the meal.
Also starting was Maman Blanc’s Salads (£7.50) – I do love a good legacy dish. Six different kind of salads arranged around the plate, with gorgeous bright colours. I’m not entirely sure the dish comes together as a whole but the individual elements were delicious; sharply dressed tomatoes, pickled veg much like a dry piccalilli, celeriac remoulade, cucumber & dill, potato & creme fraiche and a carrot ‘slaw. You could easily recreate this dish at home, which i may well do for a Summer soiree at some point. There was a dominant onion / garlic flavour and i could have done with a lot more seasoning.
Brasserie Blanc – Southbank
Our eyes nearly popped out of our heads, and my jealousy set in as my friends Steak Tartare ‘Maison’ (£21.50) arrived at the table, made with free-range Cornish beef too. Everything about this dish was on point, and the presentation was particularly stunning. The silky spicy beef is then adorned in delicious trinkets like cornichons, capers, shallots, herbs, and done so with such style.
All of which made my main course even more disappointing than it already was. I was having a vegetarian day and ordered the Chickpea & Coriander Cake (£12.50) – A huuuuuge portion, which would have been great if the dish were at all nice. Two big patties, just about holding their shape together. The dish was bland and I didn’t understand the incestuous idea of the chickpea patties lying on top of a bed of chickpeas. There’s only so many chickpeas you can handle, and now I’m saying the word chickpeas a lot. See the problem here? TOO MANY CHICKPEAS. It did not agree with the aubergine puree it was served with, it was sour and pungent, almost like it was stale. Poor show considering this is the only vegetarian option on the a la carte menu for main dishes.
We shared the Pistachio Souffle (£7.50) for dessert, and were glad that we did share, as this green wobbly atomic cloud gently lands at the table. I was a bit dubious about the idea of a pistachio souffle, but the hint of chocolate in it really bring it all together. Light as you’d like, extremely sweet but then the main aftertaste is pistachio nuts. I really liked the journey of flavours this dish takes you on.
Our personable and sweet server, Marchin, was lovely to chat with and looked after us very well, it was he that suggested the souffle and we were glad he did. The restaurants location meant a lovely stroll along the river after our meal. I would return to Brasserie Blanc, but definitely as a meat eater for that tartare, and most definitely as a drinker for that rose petal Martini.
Almost every other block in London has a chicken restaurant, whether it’s Nando’s (they’re all over the place, unfortunately), Clockjack Oven, Bird, or Chickenshop. However, another bird is making its debut in London – turkey.
Sauce PR
Strut & Cluck, which has free range turkey dishes on its menu, has thrown open its doors in trendy Shoreditch. It bills itself as a restaurant inspired by eastern Mediterranean home cooking, as well as dishes that come from the Israeli owners’ own family.
On a strip of Commercial Street that has Nando’s and Costa right across the street, and the posh Hawksmoor next door, Strut & Cluck is a warm and cozy restaurant that has a relaxed, cool ambiance and is easy on the eyes. The story behind the idea of the restaurant is based on mom and family chef, Limor, who started serving her family turkey as a healthy alternative to chicken. Thus the restaurant Strut & Cluck was hatched.
Giving it a try a week after its official opening, me and my dining companion were welcomed by the friendly staff to the back section of the restaurant – an indoor porch-like setting – with wooden tables and large bay windows. We were presented with a cup of Arak – a sweetened anise-flavored alcoholic drink. It was sweet and had a bit of a zing to it. We then ordered four starters and two main courses from a menu that categorises its food as Nibbles (light starters such as olives and popcorn), Roasted & Tossed (Mediterranean taster dishes), On the Bone (Turkey), and No Bones (pastrami, kofta, escalope and schnitzel). The star starter was definitely the Charred Cauliflower – cauliflower that’s been charcoaled, with lemon zest infused créme fraiche, nigella seeds, and pomegranate. I’ve not eaten anything like it before, it was stunning. We ordered the half portion and it was enormous! Also delivered to us was a dish called Far East-Middle East – lettuce cups filled with spicy hand pulled turkey, topped with roasted almonds, pomegranate and Labneh (Lebanese cream cheese). It was a bit spicy yet cool and delicious. We also had Spread of Labneh, which came with cherry tomatoes and sourdough dipping bread.
The mains were just as fabulous. We decided to share as it would’ve been a crime not too. Limor’s Classic Slow-Roast Thigh turkey was simply superb. It’s a large turkey thigh, served on a bed of caramelised red onions with sweet potatoes. The skin was crispy while the inside was very moist and tender. We also ordered the Hand-pulled Shawarma with dates and pine nuts, served on a bed of freekeh (wheat) and a dollop of Labneh. It was a true Mediterranean dish encompassing many regions. The table next to us, meanwhile, had ordered the Charcoal-Grilled Escalope, and it looked scrumptious.
After feeling absolutely stuffed and satisfied, we went for desert. The staff recommended a Baked Haroset (a small cake made of fruits and nuts which is usually served as a Passover dish), and Seasonal Fruit (charcoaled!). I was served plums over almond crumble with a scoop of ice cream (gelato if you want – I went for the passionfruit). The almond crumble that came with it was dry and flaky and hard to eat with the fruit – perhaps a syrup or cherry sauce would’ve given it more of a flavor? The Haroset, of Palestinian origin, which was nut and apple grated, is also served with either ice cream or gelato. While it did not wow us, it was nice, light, and not too large. There’s also a selection of excellent cool, refreshing cocktails, some with ingredients such as turkey bourbon, fruit jam, and jalapeños! Beers, wines and juices are also offered.
Why Strut & Cluck over those cloney chicken places? Turkeys are a super food, being one of the most nutrient-dense sources of protein. Turkey also contains essential amino acids as well as phosphorus, potassium, magnesium, and iron, and is also a great source of lean protein. It also contains all the B vitamins, and Strut & Clucks’ turkeys contain no growth promoters or artificial additives.
Our waiter Francesco was very friendly and explained the unique and unusual menu to us. With starters costing in the range of £5 and £8 and mains no higher than £12, Struck & Cluck is a very affordable, and excellent, lunch or dinner choice. It’s a journey of flavours that your taste buds will not have experienced before. In Israel, Turkey is eaten all the time, in America it’s pretty much eaten on Thanksgiving, however, in London, it’s practically unseen and unheard of. With Strut & Cluck, founded by husband and wife Amir and Limor, let’s hope that this will change, as Struck & Cluck fuses together turkey and Mediterranean flavors, with an emphasis on Israeli food. Strut & Cluck is a delicious, sensible, and much much better alternative to Nandos!
Strut and Cluck has seating for over 70 people, and there is also a ten-seater private dining room).
Reviewed by: Tim Baros
Address: 151-153 Commercial St, Shoreditch, London E1 6BJ
There are seven men who strip down to their briefs every night on the Southbank – in a show called ‘Briefs!’
At the London Wonderground right near the London Eye, ‘Briefs’ is one of the world’s hottest all-male boylesque extravaganzas. For the fourth straight year, these men are packing in audiences, and packing it in their briefs, to perform their stunts and magic tricks whilst leaving very little to the imagination! This Australian sixtet (plus one New Yorker) is led by the glamorous and vivacious and sarcastic hostess Shivannah. She is our guide throughout the show, with multiple outfit changes that outsparkle the spotlights!
And her boys put on quite a show! For starters, we get Louis Biggs who has a thing for unscrambling a Rubick’s cube in his briefs, to Evil Hate Monkey (yes, that’s his name in the program) who does acrobatics that take him up and down, legs spread in the air, and another who does yo yo tricks that are a bit too close to his bits for comfort. And the best for last is the finale where heavily tattooed Mark ‘Captain Kidd’ Winmill splashes all about in a large champagne glass, and, just a word of caution – don’t sit in the first two rows!
‘Briefs’ is a show of glitter, flesh, high heals, very naughty jokes, and undressed men put in compromising positions, all for the benefit of their audience. It’s circus, physical theatre, showmanship and fun, lots of it, and it’s burlesque – with balls! The men have spent the last year touring the world and they’re fame is ever increasing, so now’s your chance to go see them. It’s a limited run that’s ending on September 24th – so get tickets now! ‘Brief’s’ is oh so sexy!
Briefs plays at the Southbank until the 24th September
Set in 14th century Verona, the rivalries between two families, the Montagues and the Capulets, are intensified when Romeo and Juliet fall for each other. But coming from rival families means that their love faces insurmountable odds, and when the conflict escalates after a street fight ends in bloodshed, with Romeo killing Juliet’s brother, a chain of tragic events is set in motion, as the lovers try to escape the confines of their family loyalties.
Photo Credit – Andy Ross
Departing from their signature style, Northern Ballet presents a piece which is stripped back to the absolute minimum. Set against a purely white backdrop of linear shaped screens, splashed only with the occasional coloured lighting wash, the minimalist presentation and lack of any real set, props or backdrops only served to focus the audience’s attention to the frenetic, visceral and energetic choreography and performances. With no smoke and mirrors to hide behind, choreographer Jean-Christophe Maillot lays his work bare on the stage, and this move pays off, providing an incredibly fresh and thoroughly contemporary piece of dance. The choreography encompasses the romantic, the dramatic and the passionate; and the whole thing is dotted with the occasional pieces of humour, which helps to provide respite from the dramatic mood slightly. The costumes, with a hint of John Paul Gautier running through them, stand out from the white background to easily define the family loyalty of each character, and the use of a contrasting colour palette (predominantly cream and black) mirrors the themes which underpin the story; love and rivalry; comedy and tragedy; life and death.
Most notable amongst the slew of energetic performances was Javier Torres as Tybalt, who portrayed his character with a bullish arrogance. There was also a noteworthy and incredibly supple performance from Mlindi Kulashe as the priest tortured by his own guilt. The cast’s performances were tightly in unison and technically impressive, in particular, the Dance of the Knights, which was an exciting set piece performed with precision moves and breakneck speed.
Romeo and Juliet is wholly reliant on its performances and choreography, which does not disappoint. Overall, the show has more of a feeling of modern dance than traditional ballet, but this does not detract from the skill of the performers or from the sheer spectacle of the edgy, angular and visually striking set pieces which are juxtaposed against the traditional score by Prokofiev in a clash of modern and traditional.
Romeo & Juliet is currently playing at Sheffield Lyceum (www.sheffieldtheatres.co.uk) until Saturday 17th September, before continuing its national tour. Northern Ballet will be continuing to tour throughout the UK this year with a variety of productions, including Romeo and Juliet, Wuthering Heights and Beauty and the Beast. Visit the company’s website at www.northernballet.com for full details.
