The Jungle, which has transferred from The Young Vic to the West End, immerses its London audience in the middle of the refugee encampment which was built up near Calais from 2015 to 2016. Playwrights Joe Murphy and Joe Robertson created the Good Chance Theatre in The Jungle in 2015, offering entertainment, music and workshops for the residents of the camp, which at its height numbered over 8,000. Rather than focusing on the activities on their theatre, the playwrights have written a fictionalised account of the founding of the camp by a few enterprising refugees from Afghanistan, Syria and Sudan, amongst other countries, and its demise a year later by French police with bulldozers. In between, a handful of well- meaning British people arrive, ranging from fresh out of Eton Sam to friendly alcoholic Boxer. The playwrights wisely do not centre the story on them but instead have Safi, a Syrian migrant and English literature major, act as narrator.
The Playhouse Theatre is completely transformed with audience members sitting on wooden benches (thankfully with throw cushions) around the action. On one side is Salar’s Afghan Café and the tables that some of the audience sit at double as walkways for the actors. Televisions dotted around the place play Bollywood Films. Delicious smells emanate from the kitchen, cast members offer round sweet chai and fresh bread. As the play begins, its starts at the end: the French authorities have ordered a “soft eviction” of the camp, saying the environment is unsafe. They have offered only 1500 homes around France, most of which will go to women and children. Meantime, a boy has been killed on the motorway, trying to get a “Good Chance” by smuggling himself into the UK in a lorry. The police arrive with tear gas and the makeshift city is destroyed.
The play then starts somewhere at the beginning, telling different story strands while still trying to move the whole cohesively forward as the refugees deal not only with their own dire situation but with the arrival of white British people who have decided to organise them. Young Sam plans to map out the city and build houses. Eighteen year old Beth starts a school and teaches English. Boxer is good at mending and building, while Paula looks after the children, many of whom are unaccompanied. It’s never clear exactly what Derek does other than bark orders and break up fights. Many of the young men are technically children but are looked after by the older men, such as fifteen year old Norullah, a cheerful trouble maker who works in Salar’s café and has become like a son to him. We hear the devastating story of Okot who escaped from Sudan only to be tortured in Libya as his captors demanded more money from his mother. Beth makes it her mission to help him get to the UK with the help of Kurdish smuggler Ali.
Crises small and large occur but, as Safi says, there is hope as well: the Muslims gather to pray together, no matter what their sect, Omid happily plays his guitar which he smuggled from Iran, everyone is learning English and every now and again there is good news from someone who has made it to the UK. Everyone has a mobile phone which they check constantly, searching for news from home and finding entertaining relief from their boredom of being in this limbo. We are reminded of how the British people can leave at any time when Sam suggests that he and Beth go to a hotel for night - just as friends of course – as they having been living in squalor for months and need a break. When Beth goes to rescue Okot from the police station, she takes both him and Safi to a hotel just to clean up the teenager who has been beaten by the police and needs a rest. It is illegal for refugees to be taken to a hotel as they have no passports, but Beth risks it anyway.
Although the play is happy to laugh at the sometimes misguided good intentions of the British, it is clear that they are there because their country is doing little for the refugees and they feel a need to help. Paula, most likely modelled on real life volunteer Liz Clegg, is the most effective in her clear intention to help the children. Sam takes on more than he can chew but although he comes from a privileged background, probably much like the Oxford educated playwrights, his heart is usually in the right place and he just wants to make a difference, as does Beth. The scene where she teaches the boys English by having them describe how they try to hide out in lorries is entertaining yet also drives home the point of how desperate and determined the migrants are.
There are outstanding performances that hold the play together and bring it authenticity. Chief among them is Ammar Haj Ahmad, a Syrian actor, who plays the kind hearted Safi. It is clear he will have a major career after this production and has already made a mark on the UK theatre scene. John Pfumojena, a Zimbabwean born actor, is brilliant as Okot. His monologue describing his perilous journey to
Calais through which he says he “died many times” is delivered absolutely straight which makes it all the more moving. Mr Pfumojena is also the musical director and composer for the production, clearly an artist to be reckoned with. British-Iranian actor Ben Turner is excellent as the fiery but warm hearted Salar as is Mohammad Amiri as his young cheeky assistant Norullah. There is a nice mixture of trained, highly experienced British actors playing the migrants with performers who are actual refugees, such as singer Mohamad Sarrar and Kung Fu master Yasin Moradi. Amongst the British characters, Rachel Redford as Beth and Jo McInnes as Paula stand out.
If I have one criticism it is that the play tries to do too much and may have benefited from telling the story from one person’s point of view. Although we do have sympathetic Safi at the centre, there is always lots of activity going on, actors running around and shouting in an attempt to depict the chaotic atmosphere of the camp, but it is sometimes too much. It seems petty to find fault when the creative team, directors Stephen Daldry and Justin Martin, along with the playwrights and the designer, Miriam Buether, have worked hard to recreate the experience of The Jungle to share with the world.
This is an important play which poses questions with no easy answers. Did the British volunteers help or make a situation worse? When refugees could have claimed asylum in mainland Europe, was it right to encourage them to risk their lives trying to get to the UK? The camp has now been destroyed but migrants still gather in the thousands in Calais, trying to cross to England. Although there is not much hope at the end of this play, the playwrights are still running their Good Chance Theatre for refugees in France. And hopefully audience members will feel moved after the performance to make a difference in their own way to help the refugee crisis by volunteering or donating.
Every time we have visited Planet Hollywood London we have always had a great time as the atmosphere is vibrant and the food is good. It is always busy, and the evening we visited was no exception. Our children were very excited to join us, and enjoyed the buzz and party vibe as we entered the restaurant after a busy and sunny day in Camden. There were a number of other families, parties and couples around us also enjoying an evening out together.
Planet Hollywood, the world’s one and only dining experience inspired by the glamour of Hollywood, was launched in New York on 22nd October 1991. This innovative restaurant chain was launched with the backing of Hollywood megastars Sylvester Stallone, Bruce Willis, Arnold Schwarzenegger and Demi Moore.
Planet Hollywood London opened its doors in its’ original Trocadero Centre location on the 17th May 1993 in London’s buzzing Piccadilly Circus, and I really remember my first visit to this ‘place to be’ in 1993 for my 20th birthday celebrations. Earlier this year they celebrated 25 amazing years in London. In 2009, Planet Hollywood moved into its new home on the Haymarket (which is only a 3-minute walk from Piccadilly Circus).
As you walk through the entrance (by The Terminator) there is a large and welcoming cocktail bar. The main restaurant is a large space, and also comprises several themed areas: The Bond Room, British Room and the Beach Bar Style, Cabanas room. There are over 85 pieces of iconic movie memorabilia on display plus the popular Wall of Celebrity Handprints. Our booth was next to the chalice and whip from Indiana Jones and The Last Crusade – one of my all-time favourite movie franchises and hero!
As we settled in we took in the atmosphere and some time to peruse the cocktail menu. With many traditional and speciality cocktails to choose from, on this hot day, I really fancied a Long Island Iced Tea, and my wife enjoyed her sweet and minty Mojito. The boys guzzled some delicious alcohol-free cocktails, recommended by our waitress.
With its impressive historic celebrity backing in mind, you would hope that the quality of the food matches the reputation of the venue, and luckily it does! The menu (it’s a book) is extensive, with a wide range of choices, but again the friendly waiting staff are on hand to give useful advice. The starters include Nachos, Garlic Pizza, Chicken Crunch, Buffalo Wings & Texas Tostados. We started with the VIP Platter (£21.50) – perfect for a family of four, providing a good sample of the other starters on offer. It includes five cheese dip with Corn Tortilla Chips, Buffalo Wings, Texas Tostados, Chicken Crunch and Potato Skins. This was a substantial platter and we especially enjoyed
the spicy kick of the Wings. We also ordered (at the request of a very hungry 15-year old) Fried Jumbo Shrimp (£10.95) - six large Shrimp accompanied by a spicy sriracha sauce and served on cabbage slaw to complement the spicy sauce. I was allowed to sample one, and the shrimp was deliciously meaty, and tasted great with the sauce.
There is a mouth-watering selection of main courses, including Burgers, Steaks, Grills, Specialities & Fish, Sandwiches & Hot Dogs, authentic Asian, Pasta, Salads, Pizzas, and even an extensive Gluten Free Menu. Basically, a meal to suit every taste and appetite! There is also a great Kids Meal Deal for only £9.50, a good value pre-Theatre Menu, and a Group Menu for parties and bigger gatherings. They also offer special menus for Thanksgiving (22 November) including Pumpkin Soup and Traditional roast turkey.
Planet Hollywood is probably best-known for its Burgers. Their Burgers are served in a fresh baked brioche bun with a trio of assorted fries or a House Salad (you can upgrade to Sweet Potato Fries for £1 extra). They are also made from the finest dry-aged grass-fed UK
beef from Royal Warrant holding butcher, Donald Russell. You can choose 200 grams or 280 grams options, and they are priced from £13.50 with a variety of appetising options including Surf & Turf. There is also a Veggie Burger (£11.95) or Cajun Spiced Chicken Burger (£12.95). My youngest son selected the BBQ Bacon Cheeseburger, topped with Hickory Smoked Bacon, barbeque sauce, cheddar, lettuce, tomato, onion and pickle. This will satisfy any burger lover (count me in on this one), and was successfully cleaned up by our son.
I chose the Surf and Turf Prime Sirloin Steak (260 grams) - 28 days matured grass-fed beef, chargrilled to medium, and served with shrimp, creole mustard sauce, a trio of assorted fries, grilled tomato and green beans (£27.50). The steak was delicious, succulent and complemented well with the sauce.
Options from the Grills, Specialities and Fish menu are all very appealing. Our eldest son (the hungry 15-year old), chose the BBQ Pork Ribs (£17.95) which offered a full rack of tender baby ribs smothered in a deliciously tangy sweet barbeque sauce and served with
fries and coleslaw. This boy loves his meat, and unsurprisingly his meal was heartily enjoyed, proven by the empty plate! My wife selected one of their Sizzling Vegetable Fajitas (£14.95) which were served with grilled mushrooms, broccoli sizzling onions, red and green peppers, fresh guacamole, pico de gallo, sour cream, mild red and white cheddar cheese, Mexican rice and flour tortillas, and she thoroughly enjoyed her choice. The portions were all large, and the pricing is very reasonable.
The wine selection offers plenty of choice, and we enjoyed a bottle of Pinot Noir (Australian, £27.50) with our meal. The large bar also caters for a fantastic range of beverages including beer, cider, Martini and Champagne.
I knew we would have to save some room for dessert - we had promised the kids after all! The dessert list offers a fabulous selection, and the range will appeal to any sweet-toothed individual. If my main meal hadn’t have been so big, I would have ordered the Toblerone Cheesecake, but instead we helped the kids select, and ‘sampled’ theirs. We enjoyed a ‘Super Nova’ Shake - Chocolate Comet (£8.50), which is a hand-dipped chocolate milkshake, covered in chocolate brownie frosting, candy, chocolate peanut butter cups, brownies and a cookie straw. The chocolate on the side of the mug just cracked off and we all shared the chocolate filled with the treats. We also sampled the hand-dipped
Strawberry Milk-Shake; thick and creamy with 3 scoops of ice cream (£5.50) ... yummy and prevented a chocolate overload! The Key Lime Pie Star Jar and Double Chocolate Chip Brownie are also now appealing as I write this review, but next time I visit, I am planning to indulge in the Chocolate Brownie Super Sundae (£13.95), which I may, or may not share! It looks like a meal in itself.
As you enjoy your meal there is always something to entertain you, from the music videos, movie clips and messages on the screens (tell them beforehand if you are going for a special occasion), to the memorabilia that surrounds you. The music is loud (courtesy of the DJ), and there were many songs the whole restaurant embraced and enjoyed together. I can recall tracks from Abba and Dirty Dancing, which particularly excited the group of ladies next to us! From memory, they also run a camera over the restaurant, which you could see on the large screens – maybe it’s something they do later in the evening, and it all adds to the fun and party-like experience.
The service throughout was very good, and seems to work as a well-oiled machine. Staff are cheerful, pleasant and helpful with menu choices, and cater very well to the kids.
Planet Hollywood also undoubtedly houses some of the most fascinating and important pieces of film history, and there are always the high school placemats where we managed to
work out each famous face! Take some time to look around if you can.
Whether dining with friends, family, colleagues or clients, Planet Hollywood is an ideal venue for large or small groups, with parties easily accommodated, for either lunch, pre-theatre or dinner. It is a fun venue, which is more than just a restaurant. If you haven’t yet visited, add it to your list – either book before or get there early, as it can get very busy.
Witness for the Prosecution was originally adapted by Agatha Christie in 1951 for the stage from a short story she had written in 1925 entitled Traitor Hands. Her producer, Peter Saunders, was so keen to see the story adapted that he wrote his own version which she rejected to write her own. Apparently, she was drawn to the challenge of keeping the suspense of a murder mystery going before a live audience in a theatre, rather than in a book which can be read at leisure. The play was a huge success and one can see why; it is enormous fun. This site-specific production, set in the Council Chamber of London County Hall, makes the courtroom scenes a more immersive experience, even using audience members as the jury.
Leonard Vole, a personable and handsome young man, has been accused of murdering Emily French, a middle aged wealthy woman he had recently befriended, making frequent visits to her Hampstead home. When he had heard about the murder, he went to the police station to see how he could help and is instead arrested a few days later as it transpires he is the sole heir of Emily French’s fortune. Leonard has faith in the justice system and in his barrister, Sir Wilfred Robarts, saying “You don’t get convicted for things you haven’t done, not in England.” He also is sure that his devoted wife, Romaine, will provide an alibi as he was with her when the murder supposedly took place.
Janet Mackenzie, the housekeeper to Miss French, paints quite a different picture of the unemployed Vole, as a conniving, gold- digging seducer who is indubitably a killer; she heard his voice at the time of the murder.
When Romaine arrives for an initial meeting with Robarts, she is smiling and cheerful, dressed in a black leather jacket and not at all the distraught wife. She states that she already has a husband. Leonard rescued her from the Russian zone in Germany for which she is grateful, but she is not married to him. She implies that Emily French was sexually attracted to Leonard and that he knew exactly what he was doing. Robarts is perplexed by this alluring and confident woman, worried that she does not have his client’s best interests at heart, as she undercuts everything that Leonard has said.
When Romaine does appear in court it is as a witness for the prosecution, testifying against Leonard, that he came home on the night of the murder with blood on his cuffs, saying “I killed her.” Robarts believes that Romaine, a professional actress, is lying and trying to set up Vole for some reason. Without revealing too much, it is safe to say, the plot thickens.
Despite actors having to lug furniture in and out for changes of scene, the chambers work remarkably well for the setting, making the atmosphere all the more real. There is also lovely work from sound designer Mic Pool who adds audience gasps and off stage footsteps as well as eerie music to remarkable effect. Although I usually feel sorry for actors whose only job is to stand around, the various police stationed around the court as well as the stenographer and clerks added to the court room experience.
Richard Clothier is excellent as Sir Wilfred, a good, solid lawyer who will go all out to defend a man he truly believes is innocent. Harry Reid portrays Leonard Vole as a likeable, naïve and charming man whose only fault is that his kindness gets him taken advantage of. He really brings home the very sinister side to the story, that one can be accused of a murder and have
no way of proving one’s innocence. Despite having little stage experience, Mr Reid has just the right combination of naturalness and size in his performance. Although a good part of the beginning is exposition as Leonard tells his long story, it kept me completely absorbed. Lucy Phelps as Romaine Vole has a difficult job as her character is very changeable. It must be obvious that Romaine is hiding something and yet it seems she gives the game away too quickly in her first scene. It may be suitable that her character is always theatrical but it also meant she was less believable when she testified.
Credit must go to director, Lucy Bailey, for keeping true to the spirit of Agatha Christie by imbuing the production with real energy and urgency while drawing us into this strange tale with its twists and turns, never forgetting the danger of the death penalty for a possibly innocent man. Christie is a master craftsman of the murder mystery but more than being a who dunnit, this play is a psychological drama about deceit and the very real fear that people are not who we think they are. Although Witness for the Prosecution is wildly entertaining it is also just the right amount disturbing, which makes it a timeless tale.
Image: Current cast in Witness for the Prosecution by Agatha Christie at London County Hall. Credit: Ellie Kurttz.
For classical music lovers it doesn’t get much better than the BBC Promenade Concerts, affectionately known as the Proms. A British national treasure since Victorian times, this world’s greatest festival of classical music roars into London’s Royal Albert Hall mid July, setting off 90 concerts and two months of non- stop musical feasting.
The original Proms’ promise, to create a joyous celebration of music and reach the widest possible audience, means there are plenty of affordable options, including half- price for under 18s and 1300 ‘promming’ (standing) tickets for every Prom at £6.
Each Prom Season gets bigger and more imaginative. This year welcomes a gobsmacking choice of orchestras, choirs and premier musicians from around the globe. There are 90 artist debuts and 42 world premieres, intimate late night Proms, lunchtime Proms, Prom ‘Extras’ and loads of free concerts and events for families.
As well as the usual generous helpings of Beethoven, Bach and Mozart, amongst this year’s delights are a Tango Prom, Havana meets Kingston Prom, Folk Music Prom and a jazzy evening with multi-instrumentalist sensation Jacob Collier. Reach-outs to other venues include Proms at Lincoln’s Drill Hall and Gilbert and Sullivan staged in the beautifully restored Victorian Theatre at Alexandra Palace in north London.
The Proms love anniversaries and 2018 is no exception. This year’s Proms feature works by 24 women composers to honour the 100th anniversary of Women’s Right to Vote. Debussy and Lili Boulanger will be honoured on the centenary of their deaths.
The Proms offer a massive grand salute to American composer, conductor and musical personality, Leonard Bernstein, who would have been 100 this year, including celebratory performances of West Side Story and On the Town. As a child growing up in 1960s America, this writer vividly recalls the joy of watching Bernstein’s groundbreaking Young People’s Concerts on national television. Several Proms will introduce new audiences to music as a tribute to Bernstein, the inspirational educationalist.
As ever, the season culminates in that beloved ritual known as the Last Night of the Proms. Last Night festivities, complete with traditional fancy dress, party poppers, balloons and flag-waving sing-a-longs to ‘Rule, Britannia!’ and ‘Land of Hope and Glory,’ are always sold out. That’s where Proms in the Park come in, created in 1996 so that the overwhelming numbers of Last Night fans won’t miss out on the fun. In addition to the Royal Albert Hall finale, audiences can choose from four open air spectacles nationwide. Park Proms in Belfast, Glasgow, Swansea and London’s Hyde Park bring the four UK nations together in song and spirit with the help of tirelessly enthusiastic compere Michael Ball and live big screen linkups.
Hyde Park’s stellar headliners will be Gladys Knight, Josh Groban, Matt Goss and Joseph Calleja. For the grand finale, Prom audiences join celebrities, choirs and fireworks as Prommers across the land sing, wave Union Jacks, pop poppers and let go of all that British reserve for another year.
Never mind if you can’t make it to the Last Night in person— you can join the party via giant video screens around the country or sing along by telly, tablet, smartphone, laptop or radio, thanks to the BBC.
Further information:
BBC Henry Wood Promenade Concerts, 13 July-8 September 2018
I have worked at Canary Wharf on and off for over 25 years, from when it didn’t have the Jubilee Line, and at weekends the only way in or out was by bus that took an hour to get from Canary Wharf to Bank. Now it has grown three fold, and is about to welcome Cross Rail, but what hasn’t changed in all that time is its style. Canary Wharf is a place with grandiose buildings with vast atriums, high ceilings, an abundance of marble and unfeasibly large doors that are almost impossible to push open!
Although Boisdale is located in Canary Wharf, its charm is how different it is, as it has the feel of a Mayfair men’s club in the heart of Canary Wharf and is certainly unique to all the bars and restaurants here.
Boisdale is situated on two floors overlooking Cabot Square, and regardless of whether you are on the first floor on the terrace surrounding the oyster bar or in the restaurant on the second, the view out over Cabot Square fountains is a wonderful backdrop. The oyster bar is an art deco connoisseur’s dream, and has arched bar mirrors the shape of the window leading to the terrace where those looking for an after work drink or an informal bite to eat can sip a drink and watch people making their weary way home.
If you take the elevator to the second floor rather than the first you come out into one the more majestic restaurants you will find. Canary Wharf restaurants are all glass and white walls whereas here the walls are Boisdale’s distinctive lacquer red and dark green with
rich mahogany panelling, more at home in St James’ rather than the modern Canary Wharf, but Boisdale dares to be different and stands out because of it. The feeling is warm and classy and the colourful walls are adorned with pictures of stars who have played the venue along with a few artistic nudes! Your route to your table is flanked on one side by an awe inspiring 12 metre long glowing amber whisky bar. The bar holds approximately 1,000 different bottles of malt whisky and I think can rightly claim to have one of the most extensive and magnificent whisky selections in the world.
The Boisdale is not just a restaurant and bar, it is a music venue as well, and regularly has jazz, blues and soul music sourced by its patron of music, Jules Holland. It also has bands/singers and that list of performers is impressive. We visited when Alexander O’Neal was playing and took advantage of their Dinner and Show Club, and other famous artists in recent months include Melanie C (the one Spice girl who could sing), Rita Coolidge and Marcella Detroit (from Shakespears Sister).
Our evening started with dinner followed by a performance from one of THE soul singers of the 80’s. For starters I selected the Mini Roast Dumfriesshire Blackface Haggis with mashed potatoes and bashed neeps, and my wife the Crispy Szechaun Pepper & Chilli Squid with lime and chilli mayonnaise. Haggis is not everyone’s cup of tea, indeed it is not my favourite, but as Boisdale has Scottish roots and I was promised it was something special I plumped for it and was glad I did. The tastes were rich and rewarding and the special secret ingredients and spices resulted in a very special sauce, and earthy neeps and creamy potatoes were perfect accompaniments. The Szechuan and Chilli Squid was light and crispy and packed a fair punch, and the lime in
the creamy mayonnaise added a slight hint of sharpness which married with the heat nicely.
Portion sizes are generous and none more so with our selections for mains. My wife opted for the Truffle Aberdeenshire Rib-Steak Hamburger with black truffle mayonnaise, gruyere de comte cheese, roast mushrooms and thrice cooked chips, and I the 12oz Dry Aged Aberdeenshire Ribeye Steak with thrice cooked chips. The burger was a gooey delight as the juices from the meat soaked into the bread, and my steak melted in my mouth and had that lovely chargrilled flavour with a slightly crispy outer skin. The chips were gorgeous and the light fluffy potato encased in
a crispy skin was perfect.
As said the portions are generous, so we
paused for a while before tackling dessert and enjoyed the happy buzz generated by contented diners whilst sipping on a crisp and light house Sauvignon Blanc. When we were ready my wife was served the Apple Tarte Fine with Burbon Vanilla Ice Cream and I went with the Dark Chocolate & Caramel Marquise with Honeycomb. The tartness of the apple and the sweetness of the pastry were perfect partners and that contrast was also exhibited with the sweet caramel and the bitter dark chocolate in the marquise. The marquise was indulgently smooth, and although I had eaten well, it was just so good I felt I could have eaten another slice!
Alexander O’Neal, featured on our cover, played a great set, and as we left we remarked that Boisdale has something for everyone and is a perfect way to spend an evening, as where else can you get such a perfect combination of drink, food and music, all set in an eclectic mix of styles and colours which combine to provide a unique venue. But don’t take my word for it, try it for yourself.
The Jungle, which has transferred from The Young Vic to the West End, immerses its London audience in the middle of the refugee encampment which was built up near Calais from 2015 to 2016. Playwrights Joe Murphy and Joe Robertson created the Good Chance Theatre in The Jungle in 2015, offering entertainment, music and workshops for the residents of the camp, which at its height numbered over 8,000. Rather than focusing on the activities on their theatre, the playwrights have written a fictionalised account of the founding of the camp by a few enterprising refugees from Afghanistan, Syria and Sudan, amongst other countries, and its demise a year later by French police with bulldozers. In between, a handful of well- meaning British people arrive, ranging from fresh out of Eton Sam to friendly alcoholic Boxer. The playwrights wisely do not centre the story on them but instead have Safi, a Syrian migrant and English literature major, act as narrator.
Every time we have visited Planet Hollywood London we have always had a great time as the atmosphere is vibrant and the food is good. It is always busy, and the evening we visited was no exception. Our children were very excited to join us, and enjoyed the buzz and party vibe as we entered the restaurant after a busy and sunny day in Camden. There were a number of other families, parties and couples around us also enjoying an evening out together.
I chose the Surf and Turf Prime Sirloin Steak (260 grams) - 28 days matured grass-fed beef, chargrilled to medium, and served with shrimp, creole mustard sauce, a trio of assorted fries, grilled tomato and green beans (£27.50). The steak was delicious, succulent and complemented well with the sauce.
I knew we would have to save some room for dessert - we had promised the kids after all! The dessert list offers a fabulous selection, and the range will appeal to any sweet-toothed individual. If my main meal hadn’t have been so big, I would have ordered the Toblerone Cheesecake, but instead we helped the kids select, and ‘sampled’ theirs. We enjoyed a ‘Super Nova’ Shake - Chocolate Comet (£8.50), which is a hand-dipped chocolate milkshake, covered in chocolate brownie frosting, candy, chocolate peanut butter cups, brownies and a cookie straw. The chocolate on the side of the mug just cracked off and we all shared the chocolate filled with the treats. We also sampled the hand-dipped
Strawberry Milk-Shake; thick and creamy with 3 scoops of ice cream (£5.50) ... yummy and prevented a chocolate overload! The Key Lime Pie Star Jar and Double Chocolate Chip Brownie are also now appealing as I write this review, but next time I visit, I am planning to indulge in the Chocolate Brownie Super Sundae (£13.95), which I may, or may not share! It looks like a meal in itself.
Witness for the Prosecution was originally adapted by Agatha Christie in 1951 for the stage from a short story she had written in 1925 entitled Traitor Hands. Her producer, Peter Saunders, was so keen to see the story adapted that he wrote his own version which she rejected to write her own. Apparently, she was drawn to the challenge of keeping the suspense of a murder mystery going before a live audience in a theatre, rather than in a book which can be read at leisure. The play was a huge success and one can see why; it is enormous fun. This site-specific production, set in the Council Chamber of London County Hall, makes the courtroom scenes a more immersive experience, even using audience members as the jury.
For classical music lovers it doesn’t get much better than the BBC Promenade Concerts, affectionately known as the Proms. A British national treasure since Victorian times, this world’s greatest festival of classical music roars into London’s Royal Albert Hall mid July, setting off 90 concerts and two months of non- stop musical feasting.
I have worked at Canary Wharf on and off for over 25 years, from when it didn’t have the Jubilee Line, and at weekends the only way in or out was by bus that took an hour to get from Canary Wharf to Bank. Now it has grown three fold, and is about to welcome Cross Rail, but what hasn’t changed in all that time is its style. Canary Wharf is a place with grandiose buildings with vast atriums, high ceilings, an abundance of marble and unfeasibly large doors that are almost impossible to push open!
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