Burr & Co.

For the REAL DEAL aka proper tea in a teapot, deliciously smooth coffee, and a fabulous selection of baked goods, look no further than Burr & Co., the newest addition to the Russell Square coffee scene.

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A Proppa Cuppa

Ok, so up until this point the ‘scene’ has basically consisted of Pret, Nero, Starbucks or Leon — all fine when you want a caffeine fix but hardly hubs of culture. Burr & Co., part of the newly renovated Kimpton Fitzroy Hotel, is a different story. With more than enough seats — and comfy ones at that — and plugs a plenty, this a place where you can truly rock the freelance lifestyle and feel somewhat sophisticated doing so.

Granted, the coffees are a little more expensive than your average chain latte, but they taste a hundred times better for it. The baked offerings are unique — everything from giant cookies and classic scones, to the more avante-garde pumpkin pie croissant and pistachio tart adorned the counter on my recent visit.

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To croissant or to doughnut, that is the question…

For the savoury lovers, there are sandwiches and sausage rolls — a million miles from a Greggs rendition — and if it is just ONE OF THOSE DAYS, they even have wine on tap.

The toilets are snazzy, music chilled, tables in abundance and staff friendly. What’s not to love?

It’s been a while…

A good few months have passed since poor London’s My Lobster has had a well-deserved update — but BEAR with me (see photo — yes, I still have an immeasurable amount of wit, obviously).

Bear

It’s a busy life, here in the big city, juggling all sorts of jobs and duties, friendships and events, all whilst trying to do a PhD. This doesn’t mean, by any stretch of the imagination, that I have not been taking advantage of all London’s fantastic offerings. From plays to ballets, restaurants to cafes, I have certainly been doing my ‘research’.

I hope the brief hiatus hasn’t made you think I’ve stopped exploring…. Here’s to coming back with a bang.

Well Put Together: Instructions for Correct Assembly at the Royal Court Theatre

Robots are the future – aren’t they? Whether its self-driving cars or AI replacing us all, the potential of this technology is pretty impressive, and daunting. But what about when it comes to family? A new play at the Royal Court poses the question of whether the perfect child is possible to create if you build it from a flat-packed robot kit….

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Photo credit: Johan Persson

Instructions for Correct Assembly is a play on a quest for perfection. This is a dystopian set-up featuring a couple, Hari and Max, who decide to construct a flat-pack robot son from a catalogue. It may seem like a strange decision to make, but once the audience learn about the earlier death of the middle-aged pair’s ‘real’ son due to drugs, their attempts to create a new child with ideal qualities makes much more sense.

The cast is pretty star-studded, with Max being played by Jane Horrocks of Ab Fab and , Sunshine on Leith fame, opposite Scotsman Mark Bonnar (husband Hari) who you may recognise from series such as Catastrophe and Line of Duty. Using flashback scenes with the couple’s drug addict son, the story gets pieced together much like Hari and Max gradually assemble their new son, Jan.  The same actor, Brian Vernel, plays both their drug-addict son Nick, in the flashbacks, and their new robot son Jan, causing deliberate confusion as to whether we are watching the robot son or the real one: this technique works really well, deliberately blurring the lines between real and robot, flawed vs. ‘perfect’.

Hari and Max’s neighbours, Laurie and Paul, with a daughter at Oxford and a picture-perfect life, are a relentless comedic duo who provide a further point of comparison between the real and the fake, the messy and the perfect, the natural and the programmed.

The physicality of the play is deliberately dystopian: the whole drama takes place within a box-like frame, with a conveyor belt running through the middle of the stage, delivering different parts of the flat-pack son. One slightly bizarre element of the play’s use of physical theatre is the actors all turning into jerky robots between scenes, admittedly slightly off-putting, breaking up the play and feeling somewhat forced.

This play may not be picture-perfect itself, arguably a tad superficial in dealing with these difficult topics, and with questionable use of physical theatre, but is, overall, a funny and heartfelt exploration of our relationship with technology and perfection.

Instructions for Correct Assembly is playing until 19 May 2018 at the Royal Court Theatre, Sloane Square, SW1W, 8AS. Tickets are available from £12.

 

Review originally published on Londonist, April 2018

A man, a bicycle, and a flippin’ massive vase: why Londoners should look more

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This morning I saw a middle-aged man speeding on a Boris bike through Covent Garden, one hand on the handlebars, the other clutching a giant ceramic vase.

I was quite impressed that a) he could physically hold the gargantuan urn with one hand, b) that despite being weighed down on one side, he maintained an upright posture and rapid, straight-line cycling, and c) that no one seemed to bat an eyelid, or register that this was quite an unusual thing to see on a Monday morning.

London is so full of bizarre and downright insane sights, people, events and instances that perhaps we are all somewhat immune to the oddities that confront us in our day to day city lives. Were this man to be cycling through, say, the cobbled streets of Cambridge, I expect he would have got a number of odd looks, a couple of comments on the cyclist’s strength and expertise, or an out-loud questioning at what exactly he is doing.

Of course, if we Londoners were to look up and wonder aloud at every out-of -the ordinary sight, we wouldn’t get anything done. Maybe, then, just expecting to see slightly odd things, and learning to ignore them, is the way forward.

But then we do miss an awful lot. Stuck in our city bubbles, head in phone, eyes down, headphones in, so many of the quirky parts of London pass us by. I didn’t see one pedestrian turn to look at Vase Man (as he will be know from now on). Perhaps a cycling coach could have noticed his prowess, and signed him up to the GB team, or maybe an antiques expert would have recognsied the million pound urn in his hand.

Ok – so Vase Man is just one example, but I think it’s about time we all started looking around and absorbing the quirks and features of our incredible capital.

We walk by people and places every day without even noticing them. On Oxford Street, there is a particular Big Issue seller who, in between shouting the name of the paper in attempt to sell a few copies, asks ‘will anyone acknowledge me?’

In my experience, anyone rarely does. They walk by, stuck in their city bubbles, heads in phones, eyes down, headphones in, so that when we could actually make a difference, it passes us by.

King Lear at the Globe: homelessness, madness and mediocrity

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The opening of King Lear at Shakespeare’s Globe is less ‘lights, camera, action’ and more a fizzling illumination and gradual realisation that, indeed, the play is starting. Beanie-clad and backpack-carrying folk make their way through the still chattering crowd and onto the stage – a huge ‘Keep Out’ sign at the set’s centre signals a disused and abandoned building that these squatters are about to claim for themselves.

Once it is ascertained that these scruffy-looking individuals must be the cast and the theatre-goers quieten down, the actors begin to tear down dust sheets, force down barricades, and make the stage into a set more fitting for their rendition of King Lear, an almost Brechtian touch. Throughout the production, the initially covered-up set becomes more and more exposed, mirroring the King’s increasing descent into madness.

Kevin McNally, best known perhaps for his roles in the Pirates of the Caribbean films, is undoubtedly the star of the show, playing a phenomenal Lear. Joshua James as Edgar, and the character’s disguise of Poor Tom is also highly successful – disguise is certainly the order of the day in Lear, with Saskia Reeves’ Kent taking on a male identity with equally dramatic effects.

It has to be said that for such a tragic play, there are a fair few comedic moments, with plenty of laughs – in true Bard fashion there are innuendos dotted throughout, despite the depressing turn of events. Unlike Emma Rice’s previous colourful, fiesta-style version of Much Ado About Nothing however, her latest directorial work for King Lear is a wholly more subdued affair. Colours are duller, with pastel shade costumes only brightened by the odd instance of pillar box red jackets.  With the exception of the theatrical drumming scene to portray the tempestuous storm, the entire three and a half hour production (which at times feels elongated) seems slightly muted – it’s a solid rendition of King Lear but perhaps one that lacks a wow factor.  

Fiesta vibes at Globe’s Much Ado revival

Shakespeare’s Globe on London’s Bankside is known for its alternative takes on the classics. Their new production of Much Ado About Nothing, directed by Matthew Dunstar, is no exception, bringing the Bard to revolutionary twentieth century Mexico, and boldly putting a sombrero on Shakespeare.

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Audiences will be transported back to 1914 where political upheaval meets Latin music and desert sands — romance, unsurprisingly, is central, but the strobe lighting and gunshots will remind you that revolution rumbles in the background.

This revival is part of the Globe’s Summer of Love season — Much Ado follows Beatrice and Bendick as they reluctantly realise their feelings for one another, egged on by their outspoken friends.

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Being in the midst of Mexico’s Latino vibes, the play is full of colour and creativity — this is indeed the case with the script, which occasionally veers from the original, but to the effect of much laughter from the crowd. The cast frequently also move into Spanish — whether it is good espanol or not, I cannot comment, but it undoubtedly reaffirms the Mexican setting.

The set is impressive,  featuring a freight train carriage complete with more windows and doors than you can shake a maraca at. Atop the train sits the band — heavy on Spanish guitar — whose soundtrack significantly adds to the fiesta-style atmosphere. Expect much flouncing of skirts, singing, epic one-liners and a ‘so what?’ to tradition. Hardcore Shakey fans may feel shortchanged, but this version is definitely worth witnessing.

Much Ado About Nothing runs until 15 October at Shakespeare’s Globe, 21 New Globe Walk, Bankside, SE1 9DT.

 

Adapted from original review for Londonist, 

StrEATlife at Alexandra Palace: Music, Food and Epic Views

This summer, Ally Pally is hosting StrEATlife, a craft beer and street food festival, over four weekends. I checked out the first edition (27th and 28th May), which proved to be a roaring success.

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London in summer is a glorious thing, but sometimes the dense city centre can be slightly trapping. When it gets that bit warmer, I like to go in search of some green space, something that, luckily, London has a fair amount of.

If you head to the northern part of the capital, you’ll find  greenery a plenty in the parks surrounding Alexandra Palace — at the same time as feeling completely removed from the city, Ally Pally offers hands down one of the best views of our stunning city you are likely to find.

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Ally Pally is a beautiful place to visit anyway, but what made this the perfect destination on a warm and sunny bank holiday weekend was the fact that the grounds were buzzing with festival vibes.

StrEATlife, a street food, craft beer and live music festival, saw over 30 street food traders, plenty of drinks choices, and a decent range of live music, take over the grounds surrounding one of London’s most iconic buildings. This was the first edition of StrEATlife, which will pop-up another three times over the summer.

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Whether you’re an ice-cream aficionado or craft beer connoisseur, a fried chicken fan or a lover of wholefoods, StrEATlife’s selection would have ticked your box.

To the soundtrack of live acoustic tunes, jugs of Pimms were being shared and churros were being chomped, the masses dressed for the sun with a similar ‘holiday-vibes’ frame of mind. Family friendly and free, StrEATlife is an all-round crowd-pleaser.

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Away from the stage and the street food, the grassy banks were full of Londoners and families picnicking, playing games and enjoying the sun, not to mention taking in the incredible view of the city that Ally Pally offers. I’m pretty sure this is the only place you can see all of London’s landmarks in one fell swoop, without having to pay a premium to get to the top of the Shard — Alexandra Palace is worth visiting if just to see our capital in all its glory.

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StrEATlife didn’t disappoint: there were decent prices all round — a good size meal from most of the vendors will set you back around £6, and the variety means that you can keep everyone happy.

Put the dates of the next StrEATlife festival in your diary — if the sun is shining for the next round (17th and 18th June), I can highly recommend trying a watermelon mojito – served in the melon – to keep you refreshed.

Pack a picnic blanket, have some cash on hand, and get ready for a chilled out mini-festival where you can escape the hustle and bustle of the city, yet take in the most instagrammable London view that there is.

StrEATlife takes place at Alexandra Palace on 17th and 18th June, 22nd and 23rd July, and 19th and 20th August.