19 October 2018 – 15 January 2019 Admission Free, 10 am – 5 pm, Mon, Tues, Fri and Sat www.islington.gov.uk/heritage

Visiting a famous, seemingly boundless museum, housing artwork by historic and contemporary artists, can be an overwhelming and exhausting experience. There is so much to see, indeed too much to see; we feel as if we do not have enough time to appreciate all these revered treasures in one visit. We ask ourselves: do we have the patience and energy to digest it all? The galleries are crowded; time to gaze is restricted. Frankly, we may not even like what we see although we are ‘meant’ to like what we see.

In contrast, visiting smaller museums can be a refreshing and relatively more intimate experience. The small ones are unlikely to be too crowded, and their focus, be it a particular craft (such as The Fan Museum in Greenwich), person (for one try the Florence Nightingale Museum in Lambeth), theme (there is the quite unique Museum of Comedy in Bloomsbury) or local history, is always enlightening because it is narrowly focussed and often unusual. Local history, in particular, allows us to feast on snapshots of every day culture.

Even if the tiny semi-precious museum gems do hold artwork by the great, the collections are not as vast as those of the majestic ones; we have the time to absorb what we see; and one cannot help but be moved by the sense of civic pride that emanates from the writing on the exhibit panels and the enthusiastic, often volunteer, staff. It has not been easy to find the funding to keep the building open, the collection intact, and curate exhibitions.

London has many such museums, in the centre and in outlying boroughs, housed in historic houses, libraries, and municipal buildings. One such commendable discovery is the Islington Museum. It is not only home to a permanent exhibition about local history but changing exhibitions with a local link. A recent one explored Holloway Prison, a former borough institution, unfortunately now closed amidst much controversy. (Holloway Prison was not only the largest women’s prison in the United Kingdom but also all of Western Europe.) The current exhibition, Raids, Rations and Rifles – Islington during the First World War runs until 15 January 2019. It is particularly relevant as Armistice Day, Remembrance Day and Remembrance Sunday fall on the same date in 2018, and, in fact, November 11, 2018 is the centenary of the armistice when the fighting in World War I ceased. Remembering is all the more poignant because of these coincidences.

What we learn is locally distinctive, not the prime ‘stuff’ of the capital’s Imperial War Museum, or the National Army Museum, where political strategy, weaponry and military logistics are prime topics in a national and international context. Moreover, what is local may inspire us to find out more about its significance in a wider historical and social context.

Perhaps our food banks, for example, could be developed to resemble the National Kitchens that were established by the British government during World War I in light of the shortage of food, especially imported food? They were intended to feed people inexpensively and economically. People of all ages and from all walks of life would eat in what were restaurants for “ordinary people in ordinary circumstances”. While standing on line, they would be served by volunteer workers and then eat their meals while sitting at long communal tables. The fare was meant to be nourishing, certainly not adventurous; food wastage during food preparation was unforgiveable.

Food production was also undertaken. Cornish pasties, for example, were made so that they could be ‘taken into the field’. In Islington, a National Kitchen, set up in 1918, made black puddings. It used the by-products of the cattle and livestock brought to the slaughterhouses at the borough’s Caledonian cattle and livestock market. Black pudding is traditionally made with fresh blood, usually pig’s blood, but possibly cow’s or sheep’s blood, some form of fat and rusk, such as oats or barley, and seasoning. The mixture is then put into a casing, beef intestine for example, and boiled. This can be fried or baked. Making a pudding with animals’ blood ensures that the blood does not go to waste. Indeed, blood pudding is a good source of protein, zinc and iron. Nowadays, oddly enough, blood pudding is included in many trendy British brunch menus.

Two years earlier a fair was held at the market site to raise money for the Allied Wounded Soldiers Relief Fund, a charity that helped to establish hospitals and provided money for ambulances. Two of the organisers were Harry Gordon Selfridge of the department store fame and the novelist Arnold Bennett. Among the sale items were 2,220 tons of coal and a champion British bulldog. At Mrs Arnold Bennett’s stall one could find books autographed by GK Chesterton, Sir Arthur Conan Doyle and Joseph Conrad. There were 25,000 people attending and £30,000 was raised, which in our time is the equivalent of £1.5 million ($1.95 million)!

Various enterprises in Islington contributed distinctively to the war effort. Exploring the variety of contributions reveals much about how people lived in the past.

The Whitbread Brewery in Chiswell Street was proud that some of its handsome and muscly draught horses, over one hundred – the Whitbread Shires - were commandeered for service. In common with other horses commandeered, they laboured behind the lines. Horses could move easily through mud, transporting medical staff, the wounded, supplies and artillery on wagons. Sadly, none of the Whitbread Shire horses ever returned. Disease, poor nourishment and hygiene, dire weather conditions, and the strain of the relentless work rather than gunfire caused many fatalities. In 1991, the Clerkenwell stables closed and the remaining horses were sent to a permanent home in Paddock Wood in Kent. Incidentally, many thousands of American horses were shipped to Britain to help with the war effort.

Dove Brothers, a large, well respected construction firm in Cloudesley Place, known for its civil engineering projects, shops, offices, Anglican churches and non-conformist chapels, turned its production over to producing wooden propeller blades. (Metal ones were manufactured after the war.) Both men and women worked at the site doing what was a highly skilled job. Workers had to ensure that the angles of the blade were shaped and balanced exactly such that the planes would work most efficiently. Municipal buildings were used in unusual ways to help the war effort. In 1917, The Bank of England took over the vacant St. Luke’s Asylum for the Mentally Ill in Old Street so that it could be used as printing works; war bonds were among its publications. The first such bond was printed by King George V during a Royal visit to the works in December 1917. Selling war bonds to the population was a means of raising money for the war effort; good patriots should show their support by buying war bonds.

The North Library in Manor Gardens became a hospital annex to the adjacent Great Northern Hospital for war casualties. It contained 80 hospital beds; its gardens were used for huts to house hospital orderlies. By 1919, 2,045 men had received medical and surgical treatment at the annex. The Central and West Libraries became recruiting stations. The Ministry of Food used the South Library for the Local Food Control Committee which regulated the supply of food.

The borough was also home to anti-war movements. In 1916 and 1917 unsympathetic and violent protesters disrupted meetings for pacifists at the Brotherhood Church in Southgate Road. The most eventful clash was after a meeting attended by 250 delegates, including the philosopher, historian and pacifist Bertrand Russell. It was sparked by the nearly 8,000 who gathered outside. In spite of police presence, delegates were physically assaulted and much church furniture was destroyed. Several months later the church was set alight and so damaged that no more meetings could be held there. Elsewhere in the borough the North London Herald League held mass anti-war meetings, one of which was addressed by the suffragette Sylvia Pankhurst. These meetings were regularly attacked by the members of the Anti-German Union who referred to the protestors as "peace cranks". One local notable resident and peace activist was Baron Archibald Fenner Brockway (1888–1988). He became a Labour MP for Leyton East in London, and years later the MP for Eton and Slough. Brockway spent time in the local Pentonville Prison for refusing to pay a fine for distributing anti-conscription leaflets. Later Brockway became a founder member of the movements War on Want and the Campaign for Nuclear Disarmament.

Islington is proud of the fact that the oldest regiment in the British Army, The Honourable Artillery Company (HAC), incorporated by Royal Charter in 1537 by King Henry VIII, was located in the part of City Road that lies in the borough. Its battalions greatly contributed to the war effort. Many of its members received military awards. Two notable members were the actors Nigel Bruce, known for his portrayal of Dr Watson with Basil Rathbone as Sherlock Holmes in a series of Hollywood films, and John Laurie, well known for his character Private Frazer in the Dad’s Army television comedy.

In the glass topped table displays in the Islington Museum are a variety of war memorabilia, including one soldier’s photo album. Soldiers were banned from taking photographs after 1915 in order to stop the British from seeing horrific images of war. This serving photographer smuggled his film in a hollowed out shaving stick. There are medals and cap badges on display and also a newsletter from the internment camp for 750 German and Austrian internees in Cornwallis Road. You can view a charming film montage showing various local patriotic events taking place during the war such as a garden party for the wounded. Quite a few of the people look very dour!

After the ceasefire, many celebrations took place in the streets of Islington; in the borough there are three prominent war memorials. Nearly one million people lost their lives in the war and almost 10,000 were linked in some way to Islington. Sadly, the residents of the borough experienced great economic hardship after the war, and although welfare programmes had begun to improve the lives of many, the darkening clouds of World War Two were threatening the advent of a stormy future.

As a resident of Islington, it was gratifying to view the exhibition; I have often walked past the sites we learn about in the Museum. Indeed, strolling through the borough alerts one to another distinguishing venture related to World War I: the plaques installed in many Islington streets, thanks to a grant from the Heritage Lottery Fund, listing those service men and women who lived in the street and died in World War I.

The exhibition is a poignant and timely reminder of the sacrifices made by the people of Islington and elsewhere in order to bring peace to all corners of the world. We will remember them and all those who have fought and continue to fight in the spirit of humanity.

Article by Jenny Kingsley.

There is another fascinating museum in Islington which is well worth a special trip: the London Canal Museum, where you can see inside a narrow boat cabin and learn about the people who lived and worked the waterways and the horses that pulled the boats. The museum is housed in a former ice warehouse, which was built in 1862 for Carlo Gatti, a famous ice cream maker. There are exhibits exploring the history of the ice trade and ice cream. Visit www.londoncanalmuseum.org.uk for further information.

Images credits: Islington Local History Centre

Top image: Great Northern Hospital annexe at North Library, Manor Gardens. Last troops leaving the library in March 1919.

Middle image: The Honourable Artillery Company on a recruitment march in Finsbury Square, 1914.

Bottom image: Islington-born Evelyn Hilda Hutchings, aged five years, dressed as ‘Victory’, 1918/19.

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.

57-60 Haymarket, London, SW1Y 4QX - Telephone: 020 7287 1000 - Visit www.planethollywoodlondon.com

Review by Lydia Parker

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.

www.goodchance.org.uk  

www.helprefugees.org

Image: The Jungle by Marc Brenner

Reviewed by Lydia Parker

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.

By Judith Schrut

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

Proms in the Park, 8 September 2018

bbc.co.uk/proms

Photo: BBC Proms at the Royal Albert Hall, credit BBC, Mark Allan