Judgement Day, Print Room

Judgement Day is a new version of Ibsen’s “When We Dead Awaken”, adapted very comprehensively by Mike Poulton and staged, for the first time at The Print Room. Ibsen is not my favourite playwright, and I often find myself expecting the worst - lengthy and wordy, his plays can be quite overwhelmingly full on. Judgement Day runs at only eighty minutes and, without an interval, is a dramatic and consuming piece for the audience.

Ibsen’s play gives a creepy insight into the life and preoccupations of a tortured artist, Arnold Rubek. After creating his ultimate, highly regarded work, the master sculpture ‘Judgement Day,’ Rubek has become deeply unsatisfied and consequently angry. He resents his young optimistic wife and searches desperately for inspiration. Holidaying away in a spa hotel, his past love and muse Irena appears, mysteriously dressed in white and accompanied by a nun. She reignites his passion and he hopes for the future of his art now he has again found his inspiration, however Irena seems unable to give him what he so urgently desires. This is a poignantly autobiographical piece, and like Rubek, Ibsen is critically examining and scrutinising his artistic output.

The production is engrossing and powerful, though at times a little too melodramatic, with little thematic journey. Michael Pennington is compelling and impressive as the frustrated artist. He manages to portray a weary man with a crazed fire in his eyes, and his devotion and energy onstage is commendable. Penny Downie plays the impossibly possessive Irena, Downie commits to the role but seems a little daft at times, wafting around the stage wide eyed. I loved watching Sara Vickers as the young trapped wife of Rubek, she is suitably feisty and works beautifully with Pennington.

Despite the attractive adaptation and some intuitive directing from James Dacre, no one can deny that this play is bizarre and perhaps a little self indulgent. As ever, the Print Room is brave with its programming choices and luckily here the acting is superior enough to pull it off.

Judgement Day continues until 17 December, book here.

Woojung Chun, 'Library', England & Co Gallery

Library is a collection of thoughts, dreams and memories... every piece delicately devised to evoke a miniature world, displayed in custom made wooden armoires.

Woojung Chun is an exceedingly talented young Korean artist currently living and working in the UK. Meeting her at the private view of her first exhibition at England &Co, she seemed sincere and modest, and genuinely engrossed by the world she had created.

The usually bright white gallery space has been transformed to exhibit her otherworldly pieces and the experience is mesmerising. Thick black curtains drape the walls; it is hard to see so viewers must visit each piece closely to identify what it is all about, and to examine the excruciating detail of Chun's artwork.

My favourite piece is the beautiful yet creepy moving hands video which immediately reminded me of the living paintings and newspaper images in Harry Potter. This is the first time Chun’s video piece has been installed, and I was so seduced I wanted to take it home with me. A projector shines light down onto circles of black paper stuck at angles on pins, the same pair of hands is seen in each circle slowing moving and flexing, it is an enchanting idea, with seemingly complex logistics but Chun pulls it off brilliantly.

Chun has previously exhibited in both the Venice and Cairo Biennales and some of these works originated in these events prior to this show, however it is the collection as a whole, a magical Library of secrets and discoveries, that works so well and makes such an impression on the viewer.

Exhibition continues until 23 November, visit website here.

W11 Children's Opera 40th Birthday Party

W11 Children’s Opera was a big part of my life as a young performer. From the age of 11 to 18 I took part in the winter production every year, eight operas in total! This year the inspirational company celebrates its 40th Birthday, an impressive milestone deserving a big party. Cast members, crew, group mothers, directors and musicians reunited last week at the Louise Blouin Foundation, an amazing cultural space in West London, to reminisce with a glass of fizzy and watch some of the current W11 cast perform.

Arriving at 7pm the hall was just beginning to fill up, I accepted a bubbly bellini and headed in to check out the canapés. The room, with a stage at one end was appropriately decorated with photos, costumes and rolling films of past W11 productions, highlighting some of the most memorable moments. I spent the evening greeting and chatting with old friends, sharing our favourite ‘W11 moments’ and catching up about our current activities. The night concluded with a triumphant chorus from last year's opera, ‘Rain Dance,’ sung by the large group of kids with great energy.

This year, W11 have once again commissioned the talented Julian Grant to write an opera. With librettist Christina Jones, he has composed ‘Original Features’ a story set in 1920 about a family who are separated by the Depression. I cannot recommend this company enough, W11 Opera nurture young people’s musical talent and give them the means and encouragement to express themselves on stage. I am delighted that this year my little sister will be auditioning for the production - it is lovely to feel my family are still part of the W11 crew. Are you destined to be a diva, or a keen performer between the ages of 9 and 18? If so, you should audition too - find out more here.

Devil's Festival at The Print Room

After a successful first year The Print Room present to you The Devil's Festival, an eclectic mix of dance, music, theatre and art projects. This two week summer bonanza brings together all aspects of the creative world in some exciting contemporary pieces, celebrating the inspiring new work of talented young artists, choreographers, and performers. I went along to the final invited dress rehearsal to check it out before anyone else.

It was pouring with rain, and visitors to the Print Room were huddled in their tiny foyer pleased to be somewhere dry. First up in the rehearsal was the dance piece, 'Kanaval' choreographed by Hubert Essakow. The routine is inspired by the photographs of Leah Gordon and the film The Devine Horsemen, some of which are on display elsewhere in The Print Room vicinity. It is performed by Benny Maslov, Benjamin Ord, Hannah Rudd and Fukiko Takase and is the longest of the four featured festival pieces. There is something instantly aggressive about the movement and gestures we are watching, the dancers are almost animalistic. It is striking and in some places quite harrowing to watch such force, but I found it moving and gripping, and was hugely impressed with the dancers' unfaltering stamina.

The next two plays were'Swan Song' by Anton Chekhov and 'Fewer Emergencies' by Martin Crimp. The Chekhov piece is only 18 minutes long, and the playwright claimed to have written it in just one hour and five minutes. The play shows a brief encounter with aging actor, Svetlovidov and is pretty much a monologue, an afterthought of his life in the theatre and his love of the stage. Malcolm Rennie gives a stunning performance as Svetlovidov, nuanced and believable and carefully thought through. Despite its brief length it felt like we were being given a real insight into this characters life.

The second dramatic piece is a short play from trendy and fiercely modern playwright Martin Crimp. Don't expect to understand it, I couldn't, we listen to bursts of conversation excerpts that are entirely abstract and bizarre. The acting here is impressive too, with particularly convincing performances from the two girls Emma Dallow and Nicola Harrison.

Finally we are treated to Petra Jean Philipson's incredible sound and light installation. While we wait in the foyer a huge white tent is put up in the theatre, filled entirely with white fluffy pillows. We are invited inside, but not until we have slipped into more appropriate outfits: all in one white paper boiler suits complete with hoods and booties! After everyone stopped giggling and got over the novelty of the idea it was quiet and contemplative in the tent. ‘Of the things we do not see’ is an experience that is supposed to heal your body using creative stimuli. Amazing Mongolian singing and music sooths you gently and the vibrations melt peacefully into your body. It is an amazing concept and the 20 minutes of meditation were not enough for me, I soon fell asleep and would have been quite happy to spend the night in this wonderfully calm structure.

The Festival is on now, for two weeks until Saturday 2 July. Only on Saturdays will all four pieces be available to see, on weekday nights the shows will alternate, each pair showing every other night, book here.

Chris Kenny at England & Co Gallery

It is tricky writing about your own father’s work, to avoid bias and try to be objective. My dad has his studio at the bottom of our garden, and so I am always very aware of the presence of his work, but rarely do I get to see pieces before they are exhibited in their finished state.

A few days ago, friends, family and art enthusiasts gathered at England & Co Gallery on Westbourne Grove for the private view of Chris Kenny’s most recent work. It is always intriguing to watch an artist’s work evolve, and this show illustrates Kenny’s progression perhaps more than ever before.

He studied Art History at the prestigious Courtauld Institute, and started his creative career very much as a painter, with a symbolic interest in chairs and trees, and patterns and symmetry in natural things. His work began to move into more museological territory and soon he was carefully constructing boxes of precisely selected and arranged things. Seemingly random items that Kenny recognised a special quality in, artifacts to which Kenny attached labels according to his imaginative associations.

In the current show pieces of this kind predominate, stunning clean white boxes house swarms of cut out faces from photographs, or phrases from books, or segments of maps - things plucked from their familiar environment and made into something new. A collection of dissections, sentences with lost meanings and portraits of forgotten people are given a new lease of life in Kenny’s unusual creations. Clean measured pictures that are mesmerising aesthetically but also hold so many strands of meaning. The story boxes are a perfect example of this, odd phrases are assembled in a brilliantly funny order to form a short narrative, every time you look you can discover something new, visual or intellectual. And that’s the point, you can take away from it what you like, a new perspective, a funny anecdote, a quote full of wisdom, or just the pleasure of looking at something so still and beautiful.

Interestingly, Kenny begins to hark back to his painting days with a group of new works, of cut bright paper, out of which a statement is cut. They are still carefully considered but have a more painterly quality, a striking balance of colour and design. They are gloriously refreshing, and would add a touch of wacky beauty to any room. Declarations read “Hazard” or “Are You Awake?” - they are stylish, and, dare I say it, even a little bit pop-arty.

And then there are the sheds, adorable little buildings constructed from found wood, each with its own character and charm. Again letters are cut out, incisions reveal a quote “Nulla in Mundo Pax” (There is no peace in this world), but it seems there is peace in the refuge of these tiny shelters. They sit neat in line across the back wall of the gallery, immaculately hung - an unforgettable presence in the exhibition.

This collection of Chris Kenny’s works is more daring, and more thrilling than has been seen previously. With Kenny’s unique pieces increasingly being shipped off to be exhibited internationally, this is a rare opportunity to see his newest collection in its full glory. A display that will simultaneously sooth and scream at you.

Exhibition continues until 9 July, see more information here.

Kingdom of Earth at The Print Room

I was not around in the 1960s to know what it was like, but ‘Kingdom of Earth’, a primal and strikingly bleak 1968 play by Tennessee Williams, feels to me as if it is set much earlier. The Print Room are staging this forgotten play for Williams’ centenary year.

We are first confronted with a statuesque mount of clay, so big it covers a substantial area of the room, and casts an imposing shadow over the audience, a constant reminder of the characters' impending doom. This play has only three players, just as the previous production at the Print Room did. Young and wildly energetic on stage, there is an enthusiasm in this cast that transfixed me in my exhausted post-work state. All three are impressively assured; I detected no faltering despite the intimidatingly intimate layout of the stage and the obvious daunting nature of ‘press night’.

Lot, a scrawny dying transvestite returns to his family home in the Mississippi Delta with his new TV wife, eccentric Myrtle. Here his animalistic half-brother, Chicken has been left to tend to the property, but is given no payment or recognition for his work, although he does have signed proof that when Lot dies the house will be his. A great flood is coming, threatening their lives. As Lot deteriorates he hopes to steal back the farm for his wife, while also desperate to pay tribute to his mother’s memory.

Of the three actors, I was most amazed by Joseph Drake, who I annoyingly recently missed playing the title role in ‘Vernon God Little’ at the Young Vic. Dressed in a vintage white suit and clinging pathetically to his ivory cigarette holder, he perches languidly on his mummy’s gold chairs, and gives a performance that is strange but brilliantly executed and oddly believable. His TB stricken rendition is painfully realistic and as he groaned and writhed about the floor tangled in a white dress I couldn’t help but shudder and turn away. Brother Chicken is performed as the exact opposite, a brute of a man, coated in a layer of mud. David Sturzaker seems to take it in his stride and roams about, menacing and yet strangely enticing. Showgirl Myrtle is taken on by fabulously confident Fiona Glascott, who has a difficult role playing the chatty blonde between the brothers. She could give a masterclass in southern accents, hers is so convincing, even managing to keep it up when speaking at great speed. She loses not a moment's concentration, and shows a real understanding of the role particularly towards the end of the production as she learns the truth about her situation.

Director Lucy Bailey triumphs, as she always does with these morbid pieces... I suggested to the Print Room that they attempt a musical next, but the idea was sneered at! This is a theatre that wants to say something new, always challenge themselves and the audience. The set, complete with dripping water from the ceiling and fresh clay, was being watered for the next performance as we left. This imaginative design comes from Ruth Sutcliffe, winner of the 2009 Linbury Prize for Stage Design; she is one to watch.

I sat next to Tom (who owns the Tennessee Williams estate) and he preached to me before the show, “there is so much more to him that just Streetcar, everyone wanted another Streetcar, but Williams at his second best is still better than most.” And with this production I think he might be right.

Kingdom of Earth continues until 28 May, book here.

Hot on the Highstreet Week 43

I think it’s time that I told you all about my greatest shopping secret, Notting Hill’s retro shops. Many a time I have found myself alarmingly bored of my wardrobe - my drawers cluttered with last season’s has beens, staring sadly up at me - and feel desperate for a revamp or at least one exciting new garment. I am overly sentimental, so sometimes getting rid of that special dress or meaningful t-shirt can be very difficult. With the prospect of new clothes though comes strength; this is the beauty of exchange.

Once I have stuffed a bulging bag of giveaways, I take it along to Notting Hill to see how much they are willing to give me for it. Each piece is priced separately and depends on quality, size and how ‘on trend’ it happens to be at that point in time. The current season and weather also affect how much they give you, as this all contributes to the garment’s selling potential. The final price is offered in cash, or doubled in vouchers.

These shops cater for all needs with two RETRO WOMAN shops, a RETRO MAN shop, music, book and even homeware shops. The best thing about the vouchers is they can be received and used in any of the shops, so you could take in a load of books, and use the vouchers to buy yourself a new outfit! I recently took in a few old jackets that I had grown out of, including a grey and black checked velvet Luella number, and in exchange bought a beautiful orange silk Hermes head scarf that I completely adore.

Unlike a lot of London’s vintage outlets, these aren’t ridiculously overpriced, and with several different shops in the same vicinity, there is a wide variety of designers and prices to choose from. Rokit, Absolute Vintage and other chains tend to limit their collections to the look of the moment, with identikit layouts, and rails of the same item in every colour and size. Notting Hill’s shops are much more individual, there is only ever one of anything, so you walk away feeling like you have found something really special every time.

Located around Notting Hill Gate station, open 7 days a week.

Snake in the Grass at The Print Room

The Print Room continues on its quest to present obscure, controversial and exciting theatre to audiences in the capital with their production of Alan Ayckbourn’s ‘Snake in the Grass’. At their dinky little premises in Notting Hill the company hopes to shed light on this dark forgotten gem. If their version of ‘Fabrication’ didn’t prove their worth then this run of ‘Snake in the Grass’ certainly will.

Alan Ayckbourn is a much celebrated playwright, though this work is little known, and rarely performed - indeed it is the London premiere. The play introduces us to two sisters, Annabel and Miriam who have recently lost their father. It soon transpires that Miriam was in fact responsible for his sudden death, and consequently spends the duration trying to escape prison while being blackmailed by her father’s former nurse, Alice Moody. Her big sister, Annie is preoccupied with fears of her own and is reluctantly dragged into the mess, weighed down with guilt for leaving her family so many years earlier. This macabre ghost story takes many terrible twists, resulting in an unexpected and chilling conclusion.

The play is thrilling, and for those less hardy, quite terrifying. The theatre space has little air and is quite claustrophobic; the seating arrangement allows the performers to be very close to the audience - it is an intimate affair.

The all-female cast of three are brave, brassy and beastly, each of them vile in their own way. I was most impressed by Sarah Woodward as the delusional and calculating Miriam, she is scarily convincing and seems fully absorbed in the character throughout, never losing concentration. I realised, after reading the programme, that many years back I acted alongside her in Stephen Fry’s ‘Bright Young Things’, a surprising if quite cool coincidence. Susan Wooldridge acts as the lonely older sister Annabel, she genuinely seems battered and worn out, bitter and resigned to her failures. Wooldridge acts with real bite, though occasionally stumbled over her lines. The bullying nurse Alice is played by Mossie Smith. Looking at her sweet photo in the programme it is hard to believe she is the horrible girl who stomps onto the stage. In her tacky attire, she spits and grimaces and comes across as a truly awful human being, I soon detested her. Brilliant direction comes from the talented Lucy Bailey. She obviously had a very clear vision for this production, and luckily with such an experienced cast it is well realised, her passion for the job is evident just from watching her actresses perform. Eerie lighting and music made the play even more affecting.

The Print Room have William Dudley to thank for the phenomenal set. Dudley, who has picked up seven Olivier awards for his designs, transforms the plain space into a decrepit old tennis court complete with attendant detritus: it is hauntingly atmospheric and mysterious. The floor is covered in real green moss, the walls are made of wire fencing, and scrub and bushes crowd the entrances and exits. The remains of a tennis court are clear to see in every little detail.

The Print Room is evidence that theatre does not have to have money thrown at it to thrive and produce dynamic drama. I look forward to its next offering - perhaps something a little more cheery?

Snake in the Grass continues until 5 March, book here.

Fabrication at The Print Room

London’s newest and quirkiest theatre The Print Room launches its first season with the UK premiere of ‘Fabrication’ (‘Affabulazione’) by Italian film maker Pier Paolo Pasolini, translated by award winning poet Jamie McKendrick.

This play has been turned down by theatres before, most likely because of the shocking extreme nature of the material. It is a powerful piece that explores the relationship between a father and son, focusing also on a reverse of the Oedipus myth and the thoughts of philosopher Sophocles, that at times completely possess and poison the father’s mind. He is tormented by finding an answer and desperately tries to negotiate reason with his gradually deteriorating mind.

I found I was disturbed at times by the play, but this emotion was quickly overtaken by my amazement at the superb acting and the realisation of this tricky subject matter and script. Fabrication is a vehicle for a male actor to showcase everything he has got, and Jasper Britton steps up to the task as the father. He is both physically and emotionally very energetic, acting the self-destructive man with intelligent insight. I also very much enjoyed Max Bennett’s acting as the abused son, his concentration makes the role totally believable from start to finish.

Lucy Bailey’s staging is physically noticeable from the moment you sit down in this small theatre space. I have seen The Print Room as an exhibition room and could barely believe the transformation it had undergone. Immediately you feel claustrophobic and lost. A central black box gradually separates to reveal the almost bare ‘stage’, covered in grit and glistening with raw heat from the surrounding burnt umber walls. It is imaginative and unique, I have never seen anything quite like it. The passage that the audience looks through is narrow and I found it really focused my attention. It echoes with the all-important moment in the play when the father observes his son through a keyhole. There is a theme of obsessive voyeurism and this is definitely felt by the audience too, thanks to the innovative staging.

While others might sneer at this daring debut, I think it a brave feat and am impressed by The Print Room’s first steps into the world of London theatre.

Fabrication continues at The Print Room until 4 December, book on 08444 77 1000, or book here.

The Suzuki Stars

Helen Brunner teaching

The Suzuki method has always been a philosophy close to my heart, ever since I started learning violin at three. I did not continue past the age of eight, and it has been one of my biggest regrets. Now I can fully enjoy and appreciate the talent of young children who play their instruments with the love and instinct as Suzuki encourages. My 13 year old sister began learning Suzuki violin ten years ago, and I can honestly say is one of the most wonderful musicians now, she is a true inspiration to me.

I recently went to see a lovely concert in Notting Hill of young Suzuki violinists. They are the ‘London Gold Group’, a team of players taught by the amazing Helen Brunner, a woman who needs little introduction in the world of Suzuki. She introduced the method to the UK. Later this year the Gold Group go on tour and this concert was fundraising for that cause.

With delicious canapes and wine from Sally Clarke of Clarkes the evening got off to a great start. The programme was made up of solo and ensemble pieces by a variety of well known composers: Bach, Vivaldi, Elgar and Kreisler, amongst others. It never ceases to amaze me how children so young can just stride up onto the stage and play their hearts out, with no sheet music to rely on, and seemingly no nerves either. I particularly loved the solo performances by Marnie Breadin and Gabriel Rumney who both really captivated the audience. I also enjoyed the ensemble pieces, led by the enthusiastic smiling Helen on one side of the stage, these group moments bought the venue, St Peter’s Church, to life.

All Helen’s pupils clamboured up onstage for the finale – a medley of the simpler Suzuki pieces: Allegro, Go tell Aunt Rhody, Lightly Row, and of course Twinkle. As the audience left the church we were invited to donate to the envelopes hung by ribbons above the entrance: each one had a different expense on the front (eg. Fare for Ferry travel, music folders), a lovely personalised idea I thought.

THE PRINT ROOM - The Imaginary Painters Workshop

The Print Room, a new venue hidden away in Notting Hill, specialises in promoting experimental theatre, music, dance and visual art collaborating with some of the most exciting creative talent around. I went along this weekend to see their first exhibition: The Imaginary Painters Workshop.

Within a newly renovated 1950s warehouse, the space is clean and spacious with an enchanting garden outside. I was immediately captured by the character of the building and noticed the versatility of the main performing room. The work on display is by two inventive artists, Sofie Lachaert and Luc D’Hanis. There are a few themes that seem to link the different pieces: the artist’s palette is the most visually obvious. The handwoven ‘Palette Rug’ takes up a large area of the floor and the brightly coloured edible painting (also in the shape of a palette- see image above) is very appealing in another corner of the room. The other work is intriguing and pretty to look at, although the reasoning behind the pieces is sometimes impenetrable.

I cannot wait to see some drama in this space, although the visual art works well here I feel this is a venue that will thrive on the power of live theatre. Definitely one to watch, check out the website to find out about exciting upcoming projects.

www.the-print-room.org

HOW TO BE AN OTHER WOMAN at The Gate Theatre

How to be an Other Woman is based on Lorrie Moore’s collection of stories, 'Self-Help'. The talented Natalie Abrahami has adapted and directed this story for the World Premiere at the Gate Theatre in Notting Hill. I’d never been to this theatre before, despite spending a lot of my time in the Notting Hill area. The Gate is cute and cutting edge cool, How to be another Woman could be described the same and suited the venue well.

As we sat down the atmosphere was sexily chilled out. Girls wandered across the stage, the audience muttered excitedly amongst themselves and the sweet smell of menthol stage cigarettes wafted through the small theatre. It was slightly Sex and the City–esque. The play itself is slick, and delightfully interpreted for the stage. Recurring motifs pepper the narrative, and are used cleverly throughout, the most obvious of which are a conspicuous trench coat and high-heeled shoes. Each girl has a turn at being the ‘mistress’ (and wearing the trench) while the other instructs her as to how such a character should act and react. It was a weird coincidence that my friend had, just a few days earlier, been given a similar coat for her birthday. Of the four women I was most drawn to watch Faye Castelow. Her chirpy character acting is full of energy and endeared her to me. My friend was captivated by Ony Uhiara who apparently stole the show recently in the Young Vic’s ‘Eurydice’. All the ensemble are good, and contribute equally to the amazing fluidity and sensuality of the production, the onstage chemistry between them is a pleasure to watch.

Abrahami interestingly has cast four women and no man, leaving the male part to be alternately taken by each actress. My theatre expert best friend found this particularly intriguing and afterwards explained her interpretation of this casting decision - that it proposes the empowering of women. And yet throughout the women are similar to little girls playing in their bedroom, dressing up and giggling.

This play is dangerously moreish, perhaps like an affair is. And at only an hour long ended too soon for me.

How to be an Other Woman continues until 2 October, 2010.

Notting Hill Carnival

How many of you went to Carnival this weekend? I went along on Bank Holiday Monday afternoon to enjoy the music and the spectacular parade. Even the sun made an appearance.

The Notting Hill Carnival is an annual event, which has taken place on the streets of West London since 1964. It is predominantly led by the British African-Caribbean community, particularly the ‘Trinis’ (Trinidadian and Tobagonian British population). The Carnival attracts over a million people every year making it the world’s second largest street festival, after the one held in Trinidad and Tobago.

After working in Notting Hill for five years, I love going to the Carnival every year to celebrate the end of summer and to see the transformation of the London roads. It is wonderful just to walk through the brightly coloured fragrant streets but my favourite part of Carnival is the dancing through the crowds by enthusiastic dancers in specially made extravagant costumes. We found a convenient wall to climb up and watch from, which enabled us to see and join in without being squashed by the crowds.

Definitely worth experiencing at least once.

Chain Restaurants in London - Black and Blue and Del'Aziz

Inside Del'Aziz

Sometimes you just want comfort food... but where to go?

On the rare occasion I feel like eating somewhere other than my beloved Pizza Express, I turn to good London chains such as Black and Blue and Del'Aziz.

On Saturday stood in front of Kensington Church Street's top burger joint, my brother and I pondered for a while why Black and Blue's facade was not designed in black and blue but instead, annoyingly, green and silver. This restaurant is a simple but classic burger chain, with six branches across London it has quickly grown in popularity. The menu is clear with a select choice of burgers and a few salads, all you need from such a place. (It irritates me when I am offered a million different dishes at a burger restaurant, if you want a good burger go somewhere that has little else on the menu.)

The ingredients are fresh and the meat high quality. The chips are, I would say about a 7 out of 10 (a high rating considering the perfect chip is almost impossible to find!) I had a delicious bacon & cheese burger and for dessert four of us shared one portion of the peach and champagne sorbet - delicious and palate-freshening after the rich meal.

Another chain I recently discovered, at Westfield is Del'Aziz which advertises itself as an Eastern Mediterranean deli and restaurant. They serve light, flavoursome food with great sharing plates. The best thing about the restaurant is the fabulous entertainment they put on every night. A resident belly dancer dances amongst diners and sometimes they have folk musicians or flamenco to get you in the Med mood.

FABULOUS FURNIVAL

Ha - Ha!, letterpress print, 11.75 x 11.75 inches

The artist John Furnival will appeal to many: his works are intelligent, witty and aesthetically very satisfying.

England & Co Gallery on Westbourne Grove is a wonderful space to display art. The high white walls provide an ideal background for the great variety of work they show, contemporary and modern, paintings, constructions, installations and performance art. John Furnival's work looks beautiful on the walls, even more stylish than the dresses for sale in the trendy clothes shops that surround the gallery.

Never Mind - Doesn't Matter, letterpress print, 11.75 x 11.75 inches

This exhibition has a strong 60s pop vibe. You could imagine seeing one of Furnival's prints as an album cover. Indeed Peter Blake (who did the Beatles' psychedelic Sergeant Pepper's album cover) is a contemporary of Furnival, and similarities can definitely be seen between both artists' prints. Many of the works on display are text related, and use repetition obsessively. A favourite of mine is 'Never Mind - Doesn't Matter', a letterpress print, where the green and black compacted words produce a striking design - with a statement we should all be reminded of once in a while!

Eiffel Tower, silkscreen print, 30 x 22.25 inches

England & Co display John Furnival only until 5 June, but don't fear if you miss out on this exhibition there is sure to be another eclectic mixed show on, so pop in for your art fix.

England & Co, 216 Westbourne Grove, W11 2RH.

Open Monday-Saturday 11-6 pm. Free Entrance.

http://www.englandgallery.com/index.htm