Jack Daniels 160th Birthday Party at The Clapham Grand with Duane Eddy, Jarvis Cocker, Richard Hawley and Ellie Goulding

The Clapham Grand is one hell of a cool venue, and after £500,000 of refurbishment it has been returned to its former glory and is hosting some the city’s best live music.

This Victorian-era listed building opened originally as a music hall in 1900. With a large capacity of 1,250 people, in its time this venue has served as a cinema, bingo hall and nightclub, and of course as a venue for live music. Inside it looks similar to one of the West End theatres, but with all the seats removed – the three tiers enable an excellent view of everything.

A few nights ago I went to The Clapham Grand for the first time for Jack Daniels 160^th Birthday Party! Duane Eddy, Jarvis Cocker, Richard Hawley and Ellie Goulding were all there performing for the crowd. To help celebrate this iconic Tennessee whisky they played American Classics individually and also together.

As I was ushered in I was given drinks tokens, and a groovy Jack Daniels style hat was plonked on my head. I walked along a corridor and was hit by an excited crowd (all wearing their freebie hats). After my interesting tasting Apple Whisky drink I wove forward to listen to the music. I’ve never been a massive fan of Ellie Goulding, and have rather written her off as one of the new crew of blonde singers that seemed to have stormed the music scene recently. Her opening song was in fact quite good, not that I could really hear any of the words; she sort of gurgles when she sings. I couldn’t see her face either, because there was an excess of pretentious hair swishing. I loved standing at the top of the cascading balconies and looking down at the music; although it was strange for me as usually in this type of venue I would be sitting patiently waiting for the opera to start.

I cannot deny that this venue generated a great atmosphere, proved particularly when Duane Eddy eventually came onto the fantastically lit stage. Eddy and his band looked effortlessly cool, and the audience seemed to love him (although I’m sure at least half didn’t know who he was). It was clear, just from his outfit, that he was the Tennessee link in this event. I have to say his band outdid him a bit, especially the excellent sax player whose charismatic playing stole the show. I must admit I had to go home and ask my dad quite why Eddy is such a legend. Apparently the answer is: he was very influential in rock’n’roll because of his unique way of playing the guitar with his use of tremolo on notes paving the way for hundreds of artists to come.

Nobody knows the exact date of Mr Jack Daniel’s birthday, but it’s worth guessing for a party like this.

The Roaring success of The Lion King

The roaring success of The Lion King is even evident on the streets outside the theatre. I felt a bit bewildered as I waited to collect my tickets, this production is epic in every sense of the word. The Lyceum itself is massive and takes up half of Covent Garden, and the interior of the theatre looks more like a rock concert stadium.

I have seen The Lion King once before when I was much younger; the show seemed largely unchanged. Although perhaps overly sentimental, this show is a masterpiece in every other respect, and it is no wonder it has done so well. The visuals are stunning with life-like animals and colourful moving sets evolving into the different animal habitats. I love the way the action surrounds the audience: pretend birds flying across the crowds on wire and percussionists sitting almost amongst us. The show definitely feels all inclusive.

The two children who play young Simba and young Nala must be having the time of their lives jumping about the Lyceum stage; I was certainly envious. I’m not sure which of the children performed on the night I went – I was too far away to recognise their faces from the selection in the programme. Timon (Nick Mercer) and Pumbaa (Keith Bookman) are great too and even more hilarious than I remembered, as the musical's two comedians. Brown Lindiwe Mkhize is a sensational Rafiki, filling the whole auditorium with her soulful voice.

The music in The Lion King is written by Elton John & Tim Rice and is relentlessly energetic throughout. I prefer the chorus numbers, they generate an electrifying sound with the huge cast and band that you can’t help but be affected by. Some of the solo songs are a little weak, I was a bit disappointed with Adult Nala’s (Narran McLean) voice and she seems to struggle a bit despite the amplification.

By the end I was exhausted from all the excitement, and it feels slightly bizarre to be unable to find a real criticism. I often overhear people chatting about The Lion King and their individual experiences of the show are all positive. It is a musical for everyone; it is happy but not kitsch and the message is one most can relate to. More than any other show I have seen, I think The Lion King is universally appealing.

Book here.

Hot on the Highstreet Week 20

‘The thrill of receiving a little blue Astley Clarke jewellery box through the post cannot be equalled.’ VOGUE.

Astley Clarke is a successful internet jeweller that sells other designer’s jewellery as well as its own. They are an online company, so not technically ‘highstreet’, but do have a showroom, and some of their prices definitely qualify for highstreet. They are very easy to order from and offer a selection that covers every present eventuality.

Being the sentimental person that I am, I adore engraved jewellery... that's what first drew me to Astley Clarke - they boast a customised hand engraving service. Those of you who know me well, know that one of my favourite pieces of jewellery, and definitely my most often worn, is the silver ring I received from my parents on my 18^th birthday. On the outside is engraved: ‘je vois la vie en rose’ (loosely translated as ‘I see the world through rose-tinted glasses'), on the inside is a personal birthday message and the date it was given to me. Precious to me, and unique, I wouldn’t be seen without it.

Astley Clarke's engraving is done in central London, and is currently available for six AC Silhouettes pieces, allowing one the freedom to personalise with initials, small messages or a line from a favourite poem or song lyric. It costs £8 per letter, or £15 a word (maximum 10 characters).

Buy something special online now, here.

TRACES at The Peacock Theatre

Traces is certainly a show with a twist. It was first seen in the UK in 2007 at the Edinburgh Fringe, and is now making an impact on London audiences at Sadler’s Wells Peacock Theatre. This is a thrilling circus type show from Canadian company Les 7 Doigts de la Main.

Interestingly a number of art forms are combined – while one performer dances, another draws on a projector screen and a third accompanies on the piano. The energy is buoyed by the atmospheric music (very well chosen I thought) and the immaculately timed fast lighting changes. I found the narrative a little disorientating; it is set in a makeshift urban warehouse with five characters living out what they believe could be their final days. This confusion only intensified my experience. The players tell stories about their pasts, touchingly sharing with us their personal strengths and weaknesses.

The urgency and precision of the show is attention grabbing from start to finish. The five performers excel, leaping across the stage with confidence and gusto. The acrobatic skills of the young cast (Antoine Carabinier Lepine, Antoine Auger, Genevieve Morin, Philip Rosenberg and Jonathan Casaubon) are alone enough to bring in a large audience.

Traces has both solo showcases and ensemble pieces, held together with speech and musical numbers. They incorporate a wide variety of circus skills within the show; of these the German wheel and the Chinese poles were my favourite, although there is a real wow-factor from the teeterboard act, where a seesaw-like jumping board is used to hurl one performer high into the air.

This is an awe inspiring show that reminded me of the great Cirque de Soleil.

Traces continues at The Peacock Theatre in Holborn until 30 October 2010.

Piccolino Restaurant

While I was at University in Manchester I found a restaurant that delighted my taste buds in every way. My first visit to Piccolino was on my 20^th birthday with a group of friends, after that it was used regularly as a guilty meal out (when I couldn’t be bothered to shop in Sainsburys), or as a lunch date treat with girlfriends.

I always thought it was too delicious to be one of a chain, but was thrilled to find that there were a few other Piccolino's about... including three in London. A little more expensive than your standard Italian but entirely worth it. To drink, when in Manchester, I would always have a ‘virgin bellini’ – peach puree and lemonade… refreshing, and rather stylish looking too. Just the thing for ladies who lunch.

The menu is extensive with typical Italian dishes: pasta, pizza, meat and salads plus delicious sides too (I can recommend the courgette fritti). I am not one to order a salad at a restaurant, but at Piccolino the Caesar salad is quite unbelievable, and the portions are so big, the smaller size ends up being plenty. It is adorned with a decent helping of parmesan, chargrilled strips of chicken, crispy bits of pancetta and miniature croutons, and of course the dressing. Also worth a mention are the prizeworthy garlic breads (more like ultra thin base pizzas) that come either plain, with tomato or with mozzarella. They are completely to die for, and the perfect sharing starter.

Desserts require serious decision-making at Piccolino. I always used to have the sharing plate, which for £11, had a selection of their best five desserts in miniature form, super cute, and super yummy. Since that was taken off the menu (God knows why) I opt for the chocolate fudge pudding that comes steaming hot and gooey with a dollop of vanilla ice-cream on top. Then I have my usual fresh mint tea to finish.

Three courses for two should come to under £50.

Visit the restaurant website here.

WICKED the Musical

I have heard so many great things about Wicked. Named by the Independent on Sunday in 2008 as ‘the West End’s most successful new musical’. It seems this production can do no wrong; in fact I still can’t believe it took me this long to see it. I have sung various songs from the show, ‘One Short Day’ in particular brings back wonderful memories of the BACK TO BROADWAY show we did annually at University. And I am still in no doubt that Stephen Schwartz’s music is by far the best thing about this production. With driving melodies, addictive rhythms and hummable harmonies, there is nothing not to like.

From the outside the Apollo Victoria Theatre is hostile and industrial looking, strange compared to Billy Elliot’s lively facade (the other big theatre in this area). The art deco cum gothic interior however quite suits the witchy tale of Wicked. My clever date managed to buy brilliant tickets relatively cheaply: £30 for Stalls is a good deal. Here is a tip – always phone up the theatre to get the best deals... I often ask for front row Stalls, restricted view, as I know these are a fraction of the price but thrillingly close to the action.

Wicked is based on Gregory Maguire’s acclaimed 1995 novel, Wicked: The Life and Times of the Wicked Witch of the West, re-imagining the land of Oz, and creating a parallel universe to the familiar story written by L. Frank Baum and first published as The Wonderful Wizard of Oz in 1900. It is a story of an outsider, and of difference, and most importantly it offers an explanation to some of Baum’s unanswered questions from his fairytale book.

The set glows in green splendour, and the large dragon at the top of the stage certainly sparked excitement among the audience. The chorus and monkeys (!) flood onto the stage and the whole theatre comes alive. We meet Glinda (Louise Dearman) and Elphaba (Rachel Tucker) the two students desperate to study Sorcery; it seems Elphaba has a bit more natural talent. They couldn’t be more different, in looks and personality, and they instantly loathe each other. An unlikely turn of events brings them closer together and eventually to be the best of friends. I have to say I found the character of Glinda a little annoying but that is the part rather than the actress so can’t blame Dearman. Rachel Tucker was fun to watch as the green Elephaba, and I was amused to find out that she has previously played the role of Dorothy in a production of The Wizard of Oz in Belfast. I found her performance got better as the night went on, initially her voice was a little weak.

The current celeb in Wicked is the angelic looking Lee Mead, winner of Andrew Lloyd Webber’s Joseph TV programme. He seems to have made his way through most of the leading West End musicals, so it’s no surprise to find him now in Wicked. He is sweet as the fairytale prince, and definitely looks the part with his dark curly locks. I enjoyed the performance too from Clive Carter as the Wonderful Wizard of Oz, he is a brilliant actor who I have previously seen as Bob in Priscilla Queen of the Desert.

I expected more from the performers in Wicked, but I can’t fault the show itself. I love all the clever connections with The Wizard of Oz, the way it explains everything, from the flying houses to the shortcomings of the Scarecrow, Tin man and Lion. This is a unique fairytale with a twist, and while you are sprinkled with bubbles, confetti and lights, the underlying message too is worth hearing.

Book tickets here.

Caffe Nero present Lotte Mullan

Caffe Nero (or ‘Nizza’, as I affectionately call it for short) is the best coffee chain in London. And now there is another reason to love this coffee house... Nero has teamed up with Eventim to bring live music to their branches all over the country.

Suffolk born singer-songwriter Lotte Mullan has been chosen as the artist of the month for October. Lotte will be promoting her debut album, ‘Plain Jane’. She explains that the title is an ode to the underdog, ‘all about triumph in adversity, first love, the awkward first dance and growing up.’ Visit her myspace page here.

There are 20 dates planned for Lotte all over the country, at both 12.30 lunchtime slots and 7.00 in the evening. Tickets are free and can be ordered online here. I will definitely be trying to get along to the Chiswick or Notting Hill Nero to get a glimpse of the action while I sip my favourite coffee – skinny cappuccino.

Visit the Caffe Nero website here.

Hot on the Highstreet Week 19

The weather is hideous... the last chances of an Indian summer are well and truly gone and it’s time to consider an alternative to the ballet shoes and floral dress combo I have been clutching onto for as long as is possible. Although perhaps not... big knitwear is in and perfect for throwing over a summer outfit to warm you up on the increasingly chilly autumn days.

Woollen jumpers look great on boys and girls, and are better bought from the men's department, to ensure maximum snuggle factor. You can find them all over the highstreet at the moment, but I have chosen a specimen from GAP.

GAP is one of my favourite highstreet shops, selling easy to wear, simple and stylish clothes, but often overlooked by those who believe they are above and beyond its classic looks. I particularly rate their knitwear, I live in the merino wool women's cardigans, as they are perfect for work and play.

Above is a picture of my current favourite from GAP: Cable Knit Lambswool Sweater Hoodie. That’s right, it has the added bonus of a hood. This jumper comes in at £69.50 because it is made from 100% lambswool, which is soft as well as warm, but there are cheaper versions available in store too. It comes in Charcoal and Olive Heather, sizes XS to XL, and so is suitable for all sizes, men and women. Slightly more refined looking than your average knitted garment thanks to the cable knit.

My fashion 'man in the know' suggests the French Connection men’s range – so if the GAP ones don’t tickle your fancy, try FC as they have some good options too, including a dashing ‘Reverse Sasquatch Jumper’ in grey and white. It is quite festive, and surprisingly cheap for this shop at only £60.

Keep warm and look cool this autumn, buy yourself a knitted jumper.

Hay fever at the Rose Theatre

We had a nightmare journey getting to Kingston’s Rose Theatre, and I have to say its location is its real downfall. Such a shame considering the calibre of work they put on is so high. With no tube station in Kingston, the route from central London is rather fiddly, so we drove and were confronted by a million and one angry drivers, apparently also on their way to Kingston. It was not fun, and while running from the car park to the theatre, with exactly 6.5 minutes to spare, I thought to myself, ‘this play better be bloody good.’ I’m pleased to report back that it was, bloody, bloody good, and entirely worth the stressful trek.

Hay fever was written by Coward in just three days; much of the material taken from his experiences while staying with the loopy Manners family. Great actress and singer Marie Tempest refused it at first; Coward wrote a few more plays and revues, became the hottest playwright in the West End, and Tempest unsurprisingly changed her mind about the Hay fever part. Ever since the leading role of Judith Bliss has been a part for only the most fabulous of older actresses, including Edith Evans and Judi Dench. The Rose Theatre is lucky to have not one but two established actresses taking on the role, Celia Imrie (who I saw) takes the first half of the run, and Nichola McAuliffe the second.

This is Coward’s comic writing at its very best. However the play's success also depends on the chemistry and innuendo created on stage by the cast. Hay fever is a farce set in an English country house in the 1920s. We are introduced to the four eccentric members of the Bliss family and watch the hysterical consequences as each invite a guest to stay for the weekend.

The Rose Theatre has a contemporary feel with a simple stage that allows it to be transformed for each production. The set for Hay fever was beautifully ornate with a real attention to detail, similar in fact to Coward’s Waiting for Wings that I saw a few weeks ago. Designer Simon Higlett and costume designer Mia Flodquist should be commended for their thought-provoking work on this show, they manage to create a real atmosphere further enhanced by the music. Imrie commands the stage and seems to relish the experience of being Judith Bliss. This is due also to the wonderful direction from Stephen Unwin.

Hay fever’s younger roles are taken on by Georgia Maguire and Joshua McGuire (both recent drama school graduates) playing the two bratty Bliss children. It takes a huge amount of energy to be that tiresome, they pulled it off wonderfully, chasing each other around the stage and being deliciously unaware of their conceited selfish behaviour. I enjoyed watching the interaction between mother and children, especially as Imrie (typically devastated about getting old) acts with her younger, more beautiful daughter (Maguire) flitting between pride and jealousy. It soon becomes clear that Judith Bliss is the pivot of the action, leading the characters around her from delirium to dismay and back again.

This play is right up my street, I enjoyed it so much I was still laughing in the intervals... I even forgot about my dreadful cold. The Bliss family are utterly dysfunctional, but work in their own way. I think there is something here for everyone to identity with. And about half way through Hay fever I realised the mad melodramatic ensemble I was watching on stage are really quite similar to my own rowdy Bohemian family!

Buy tickets here.

La Trompette

La Trompette is one of my favourite restaurants in London. Located just off Chiswick High Road, it recently received its first Michelin star. The French oriented cuisine is delicious and creative, I have been three times and each time a completely different but equally unique, diverse menu has been on offer.

La Trompette is owned by Nigel Platts-Martin and Bruce Poole, the partnership behind Chez Bruce in Wandsworth and The Glasshouse in Kew. It serves some of the best food in London but without the formality or prices associated with the capital's top end establishments.

The staff in La Trompette genuinely wish to cater to your every need, making the whole experience luxurious. From the outside this restaurant is stylish and unpretentious; the interior is much the same, a comfortable relaxed dining room. I have only ever been for lunch, and it has always been completely full to the brim with many regular diners.

As I mentioned previously (Kitchen W8 post), set lunch menus are the way to go. La Trompette offers 3 courses for £25. This is what we had:

Diner 1 –

Starter: Foie gras and chicken liver parfait, toasted brioche

Main: Rump of lamb with Moroccan spiced couscous, aubergine, garlic and coriander

Dessert: Lemon posset with shortbread biscuit and raspberries

Diner 2 –

Starter: Marinated beetroot with fresh goats cheese, candied hazelnuts, endive and granny smith apple

Main: Beef hache with spinach and wild mushrooms

Dessert: Valrhona chocolate marquise with candied hazelnut ice cream

The foie gras was quickly demolished, and immediately the attentive staff offered a second slice of toasted brioche... we accepted greedily. The Beetroot salad was also good although the flavour of beetroot can be a little overpowering. Both meat mains were cooked to perfection, but I didn’t particularly care for the grey mushroom paste that lay beneath my beef. I prefer the vegetarian ravioli that I had on my first visit. Once again desserts trumped as the course of the day, especially the refreshingly zingy lemon posset (a silky smooth mousse similar to syllabub). I like that the menu suited the Autumn season, with warm flavours, comforting after coming in from the cold. I was disappointed that we weren’t given the usual devilish chocolate truffles at the end of the meal although I was already feeling very full.

Really, delicious but very rich; don't count on achieving much in the afternoon!