Napoletango, the Latin Neapolitan musical, London Coliseum

With summer comes the arrival of foreign touring companies, ready to delight London audiences with their best material. It is a chance for us to see something a little different. A few nights ago I was invited see Napoletango, the Latin Neapolitan musical, on the great Coliseum stage; the European company had a big task to fill the famous auditorium. After acclaimed performances at the San Carlo Theatre in Naples, and a sold out run across Italy, I was excited to find out what is so special about this show.

The story is quite simple: the Incoronato family are a travelling troupe of twenty entertainers, all have a passion for Tango and hope to achieve their dream to perform on Broadway. The production includes every aspect of the group’s journey from street to stage. Embracing individualism and celebrating the human spirit, the group is made up of very different characters, in an effort to show that anyone, with passion and determination can dance the tango.

It is the scenes from everyday life that are the most touching. We watch the company sleep in a squalid tavern, shower naked (!), even cook an Italian dish on stage - it is endearing and affecting, and seemed to immediately capture the hearts of the Coliseum audience.

The show is often mad and completely chaotic, and at times I was completely lost... it doesn’t help that much of the spoken conversations on stage are not translated. However the musical is imaginative and sensual, and I personally always enjoy experiencing something completely new even if I leave feeling a little perplexed. Every member of the large cast seems completely devoted to their role and and contributes to the magical spirit on stage. In the curtain call one girl seemed to be crying with pride, so chuffed by the audience's standing ovation and rapturous applause.

Of the cast, only two are professional tango dancers. Pablo Canaro is the most spectacular, moving with elegance and charisma across the expansive stage. Originally rejected and mistreated by the Incoronato family because they don’t understand the dance steps, he is eventually accepted and gives a staggering final performance in the Argentinian Tango.

Sadly Napoletango only visited London briefly with performances at the beginning of August, but it is worth checking out the website here to find out more about this exceptional and truly unique theatre company.

http://www.teatroeliseo.it

Don Airey Concert

In a secret location within the Cambridgeshire countryside, a select throng gathered for the annual Don Airey mini rock concert. Every year this well known Deep Purple keyboard player hosts a charity gig near his home, inviting guest stars along to wow the audience with him.

We arrived just after 8 pm to find the place already buzzing with excited guests, some gathered around the aromatic barbeque while others queued to get a drink before the music began. The weather was perfect, warm with a gentle breeze, but the large white marquee over our heads gave a smarter feel to the evening.

After a very convincing support act had finished everyone was ready for a good sing-a-long to some classic rock songs. Joining Airey on stage was Ian Paice, Deep Purple’s supreme drummer, Chris Childs (bassist) and Gary James (drummer) from hard rock band Thunder, a staggeringly talented Bernie Marsden from Whitesnake, and singer Carl Sentance. It was immediately apparent that these musicians ‘still had it’, playing with vigour and zeal excelling on even the most complex solos, and often improvising, but always with unfaltering conviction.

The majority of the set was familiar motown songs: ‘Since you’ve been gone’, ‘Soul Man’ and Stevie Wonder’s ‘Superstition’ were my favourites on the night. Between sets Don held a raffle and auction, both of which had amazing musical prizes, I was particularly interested in winning the beautiful Deep Purple bass guitar on offer, so spent every last pound on raffle coupons... sadly it wasn’t to be.

Despite his legendary rockstar status, Don Airey is a down to earth friendly musician who clearly loves nothing more than a good jam on stage, sharing in his passion on this special summer evening was a memory I will never forget.

The Vorticists, Tate Britain

Vorticism is pretty much the English equivalent of Futurism, a twentieth century Italian avant-garde art movement that celebrated modernity and progress. The similarities were immediately apparent to me when I entered Tate Britain’s summer exhibition ‘The Vorticists: Manifesto for a Modern World’, and despite the Vorticists claiming to be a reaction against this preceding group.

This exhibition shows a collection of the main works that emerged from their brief four year existence in London fro 1914 to 18. The name was coined by radical American poet Ezra Pound, with the literary journal ‘Blast’ setting out to proclaim Vorticism’s ideas and opinions. The group was made up of various artists over the four years, led by painter and writer Percy Wyndham Lewis. Other members included: Jacob Epstein, Henri Gaudier-Brzeska and Alvin Langdon Coburn.

The work is bold and brave, much of it has obvious similarities with the Cubist works of Braque and Picasso. The use of colour is sensational: bright rich tones juxtaposed to create striking statements. The influence of the machinery and brutality of modern urban life is particularly evident in the recreation of Epstein’s sculpture, ‘The Rock Drill’ – a pale figure holds a dominating big black machine gun type tool. It is impressive and domineering, a dismal premonition of the war. On a smaller scale this modernity and terror can be seen in the monochrome Vorticist woodcuts. These tiny works are angular and geometric, movement is created through furious zigzagged lines and sharp shapes.

My favourite room focussed on 'BLAST' the Vorticist magazine. Despite the publication collapsing after the second issue it caused quite a stir, and gives us a real insight into this movement. The cover is bright red, with the title ‘BLAST’ printed in daring black capital letters across the front. It is striking and exciting, just as the name suggests. The first issue focussed very much of topical concerns like feminism and the suffrage movement, however the second edition seemed less revolutionary.

There was only one proper Vorticist exhibition at the time, which took place at the Dore Galleries in London in 1915. Some of the work shown then was included in the Tate exhibition. The show concludes with examples of Vorticist photography hung in an area painted bright cobalt blue. These ‘Vortography’ experiments consist of ghostly fragmented images with mysterious abstract and futurist connotations.

It is clear that these artists were desperate to be different. Once you forget about the ‘Vorticism’ label, and the fact that this is just another ‘ism’ from another group of proud artists, this show is definitely worth a visit, even if just for the sake of a little bit of patriotism.

The Vorticists continues until 4 September 2011, book here.

The Modern Pantry in Clerkenwell

The Modern Pantry is situated in a cluster of tempting eateries in Clerkenwell. While the rest of the area sleeps at weekends, this little joint does its main business and is always full of animated arty types. It was the destination of choice for a catch-up Sunday brunch with an old friend from university.

The Modern Pantry's cool demeanour hasn't changed much since my last visit a few years back, but with the extra months of recognition it seems a little less special now. We were seated in the upstairs area, which isn't as bright and exciting as the ground floor but has a nice calming atmosphere nonetheless.

The Sunday menu is detailed but brief... Only a few main course options, but quite a selection of breakfast choices, as well as fresh juices and pastries. Being rather a greedy foodie pair, we indulged and ordered four plates between us... well, we had lots to gossip about so only right we should have enough food to do it over. Fresh orange juice arrived and we tucked into our first course of breakfast: Grilled chorizo, caramelised plantain, and slow-roast tomatoes with eggs and thick toast. An intriguing mix of flavours and textures, it is an eclectic take on the cooked breakfast stereotype, and felt healthier too.

For seconds we tried the homemade fruit muffin and the Honey roast oats, seeds and nuts with rhubarb, grated apple and natural yoghurt. Both delicious, but I must particularly recommend the wholesome oats and seeds, a wonderful bowl of crunchy, sweet, creamy and sharp tastes. £15 each for a two course brunch felt really worth the money.

As long as it keeps up these standards I doubt The Modern Pantry will ever go out of fashion.

Tracey Emin: Love Is What You Want, Hayward Gallery

Tracey Emin is the UK's most notorious art rebel. Strangely, after seeing her epic retrospective at Southbank's Hayward Gallery, I was reminded of Lady Gaga, another deeply injured girl who uses her impressive creative outlet to sooth herself and relieve her anger. Both are needy and desperate for appreciation from others, both are aggressively and eccentrically talented.

The exhibition shows a wide range of Emin work from the bold, colourful tapestries to small figurative sketches; from strange films of herself to her most personal often bizarre possessions, artifacts and memories. Entitled ‘Love Is What You Want’, this collection hopes to illustrate the different aspects of Emin’s life, it is an expansive exhibition, that gives a complete biography of this troubled artist.

There is the usual helping of crude creativity on show. Many will remember the dirty dishevelled ‘My Bed’ that Emin submitted for the 1999 Turner Prize show, gaining substantial media interest. Here we are subjected to Emin’s used tampons, and a video explaining, in detail, the physical and emotional turmoil of her abortion. Harrowing for the viewer too, filled with suffering and tragedy, but eventually I felt myself becoming annoyed and bored by these disgusting exhibits, there is less and less meaning to them.

The films are even more self-indulgent, video depictions of Emin’s fantasies. ‘Love is a Strange Thing’ shows Tracey speaking to a drooling dog in a park, he has propositioned her and asked for sex, but she turns him down - a bizarre clip that yet again illustrates her need for power and control. I found the 1995 work ‘Why I never became a dancer’ more interesting. A dizzy film that gives a vivid account of Emin’s childhood in Margate, and her early dancing ambition. She tells us of the boys that laughed at her, these local lads that slept with her then ruined her dream. After seeing the town of Margate, the shabby shops and beach, the film turns to a smiling Tracey who dances manically round the room to Sylvester’s ‘You Make Me Feel (Mighty Real)’.

My favourite works are the embroidered rainbow blankets that cover the walls of the first room. On these hangings Emin has stitched statements and thoughts, patterns and text. Some blaspheme and swear while others just show thoughts and realisations. They are angry and chaotic, like much of her work, but also wacky and quite stunning, whether she meant them to be aesthetically pleasing is another point to ponder.

Tracey Emin’s ‘Love Is What You Want’ continues until 29 August, 2011, book here.

Hot on the Highstreet Week 63

The perfect summer dress for me must meet certain specifications. It must be made from natural materials, be unrestricting, and be long enough to wear without black tights. Usually a good summer dress will follow the current trends and so will only last a year - it can’t cost too much as it will go out of favour a few months later.

I found my ideal dress this year at Topshop. The Flower Crochet Insert Sundress is available in a variety of colours, including plain and patterned fabrics. I liked it best in neutral cream. It is made from 100% cotton so it is comfortable and cool, as well as being suitable for machine washing. This sundress has beautiful detailing, and is designed to flatter any figure. The central waistband is crocheted with delicate flowers and the back has a retro V shape with little buttons lining the seams. Priced at just £34, it is a real summer bargain.

I wore mine all weekend at Hop Farm Festival with ballet flats, though I think it would also look great with chunky brown heels. I’m sure it would even work in winter with tights and a cardigan. I have noticed several other fashionistas wearing this floaty little number, including trendsetter Alexa Chung, who braved wearing it in the mud at Glastonbury. And I like mine so much I’m tempted to go and get it in another colour!

Buy online at Topshop here.

Bistro du Vin - the best burger in London?

While in New York I spent some time in search of the best burger in town. They varied in price and style enormously, with all kinds of toppings and accompaniments. I came back with an enriched understanding of this popular fast food. However, if I was asked about the best burger in London I wouldn’t know where to start, what establishment to nominate. Black and Blue does exceptionally well rounded burger courses; Chiswick farmer's market do the freshest juiciest lamb burger ever, and Opera Tavern conjure up the yummiest mini burgers - a divine mix of Iberico pork and foie gras. The winner would depend on your preferences: how you like it cooked, the importance of the chip quality, which burger fillings you consider to be essential.

I was offered the chance to assess the burgers at Bistro du Vin, where they pride themselves on offering guests a cooking preference for their burgers which will keep the Food Standards Agency content, but without detracting from the great taste and dining experience. We each ordered one each, mine was cooked medium-well and my friend opted for medium-rare.

Delivered to us on rustic wooden boards, with an adorable little copper pan of mild chilli dressing they certainly looked like posh, high calibre burgers: stacked high with a combination of delicious components (bacon, cheese, tomato, lettuce, red onion) and kept together with a cocktail stick. You could immediately tell that the Donald Russell sourced beef is of exceptionally high quality. The chips are majestically presented in a golden cone, which slots into a groove on the board showing that this burger experience has certainly been well thought through.

Bistro du Vin use a Josper Grill which allows them to cook their meat to perfection, and we found that the colour and tenderness exactly met each of our requests: mine was firm with a slightly charred edge but still juicy, with only a hint of red. The medium-rare was more crumbly round the outside with a deep pink and flavoursome interior. The brioche bun was nicely toasted to prevent any unwanted sogginess and the textures were perfectly balanced with the crispest crunchiest lettuce and onion and a sweet red tomato slice.

Priced at £14.50, it seems quite expensive for a burger, but considering that for that you also receive a large portion of chips and a separate dish of dipping sauce, I feel it is justified.

Apparently officially the Bistro burger is rated 8th best in London, though from my experience I would rate it much higher. This is a burger that not only exceeds expectations in all the necessary criteria but one that succeeds in suiting any requirement, cooked to perfection every time.

Visit the Bistro du Vin website here.

Saatchi Gallery - The Shape of Things to Come

The Saatchi Gallery is a flattering space to show any kind of art, the enormous white rooms can make anything seem spectacular and important. ‘The Shape of Things to Come’ shows a group of bold works from twenty sculptors from around the world.

Of course with many of Charles Saatchi’s exhibitions, one expects to not ‘get it,' after all he is always ahead of the rest of us, sussing out what will be hot before anyone else has had time to move on from the last artistic revelation. This show is slightly different though as it exhibits some older works too; they must hold some significance for Saatchi if they have remained in his favour for this long.

I went along to the Gallery for a work “do," a summer cocktail party in this lush setting. Curators were on hand to explain and discuss the works on display but none of the suited and booted men seemed interested, so I went round for a private guided tour. The lovely Saatchi curator was knowledgeable and spoke at length about the origin and inspiration behind each of the sculptures, answering my questions patiently.

In my opinion, often the artists' intentions are more illuminating than the actual pieces which are in the true sense of the word, ugly. This is particularly the case with the giant work by Folkert de Jong: grotesque green female figures huddling together, a strange seemingly Shrek-inspired work, part of a series called ‘The Shooting Lesson’. Other works too seem obsessed with physicality, desperate to make their presence felt. I was drawn to the pale clay figures by Rebecca Warren which feel a little more sensitive in their creation and are certainly more interesting to look at and think about.

I’m not sure Saatchi has got this one right... if this is the future of sculpture, we haven’t got a lot to look forward to.

Until October 16, visit website here.

LOVEBOX Festival, Victoria Park, London

Lovebox Festival seems to be the most popular London festival; with advertisements splashed over every tube station and bus across the city it certainly gets a lot of hype. The three day event takes place every year in Victoria Park, in Mile End not Central London like I stupidly assumed, and showcases a variety of trendy music acts as well as offering appealing food, drink and craft stalls.

I was invited along on the Friday to experience Lovebox for the first time. The walk from Mile End tube is torturously long, but at least it wasn’t raining when I did the trek and entering the park my spirits were lifted by the lights and decorations everywhere. The 2011 line-up changed a number of times, but headliners for the weekend included Snoop Dogg and Scissor Sisters, massive names but not really my kind of music. Friday featured sets from the Wombats, Example, Metronomy and Ed Sheeran, but the main stage did not open until Saturday.

Interestingly many of those attending seemed uninterested in the music instead opting to spend the evening drinking or gathering elsewhere in the grounds. I was distracted by the rather wonderful Fringe Street and tent nearby, here you could find weird and wonderful installations, performance art and exquisite little pop-up stalls selling trinkets, old top hats and other mad bits and bobs. I was in heaven and brought home several special pieces: a full length vintage dress, a retro Sex Pistols t-shirt and a beautifully constructed feather headband. Other gems to be found included Michelle Lowe-Holder’s felt jewellery, the ‘If you Please’ delicate handmade underwear and Lucy Peacock’s wacky geometric plastic jewellery. It was so nice to see a festival promoting talented young designers with unique, high quality creations, rather than the usual festival tat.

The music I found predominantly underwhelming apart from a decent performance from Mr Sheeran. The food tasted better than it looked; we picked up a juicy burger from the Fine Burger company and a delicious fresh Mojito from the Bacardi area. These were paid for with the £20 note I found lying on the grass, my biggest find yet! The stars of the festival though were the quirky arts and crafts, but judging by the indifference I saw there on Friday, these creative gems were completely overlooked.

Visit the Lovebox website here.

Journey's End at Duke of York's Theatre

It was strange returning to the Duke of York’s Theatre, my last visit here was for the terrifying Ghost Stories, for which the theatre had been elaborately decorated with duct tape and hazard warning signs. This month it plays host to R.C. Sheriff’s ‘Journey’s End’ returning to the West End for only fifty-five performances before embarking on a National Tour.

It is a devastating story, based on the author’s own experiences of life in the trenches. A brave young group of officers face the tragedy and terror of the Great War with courage and humour. We are invited to watch this compelling homage and to remember the men that sacrificed so much for their country. I was first struck by how instantly absorbing this script is. Sheriff writes in such a natural but exciting way - conversations that might first appear mundane are utterly enthralling. There is also a degree of poignant realism: he understands and knows the pain these men endure.

The play is brilliantly executed thanks to the powerful vision of director David Grindley; he draws on the smallest subtleties and nuances in the script to create an intense piece of drama. It helps that the all male cast are faultless, presenting themselves with such conviction that it is painfully moving from start to finish. Graham Butler is exquisite as the young hero worshipper, Raleigh. He is the newest and youngest addition to the company arriving with an insatiable energy. His commanding officer Captain Stanhope is quite the opposite, despite only being three years older he is bitter and hardened by his time at war. He no longer wishes to remember his schoolyard friendship with Raleigh, challenging the younger boy harshly. James Norton gives a mesmerising performance as the bullying Stanhope, despite the ugly character traits, he manages to show a sensitive side occasionally that makes this character remarkably human.

Designer Jonathan Fensom has created a simple but effective set that really draws you into the action. Only using half the height of the stage, it is a claustrophobic dirty trench, equipped with only the meagre necessities. There are no scene changes and yet somehow the play remains thrilling throughout - perhaps it is the close proximity that keeps it exciting. The curtain call sees the men silhouetted against a list of fallen heroes - it is a tragic contrast to the cramped trench setting.

Despite being written in the 1920s Sheriff’s account of the First World War experience remains a profound, touching and undated memoir.

Journey's End continues until 3 Septmeber, book tickets here.