Beady Eye at The Royal Albert Hall

The Royal Albert Hall was filled for the night with uncanny Liam Gallagher look-a-likes, or at least they all had the same characteristic floppy hairstyle, classic green parkas, and epic sideburns... Hilarious really, you'd think these men would have grown out of imitating their idols. After the feud of brothers Liam and Noel left hit band Oasis no more, both have been employing their musical talents elsewhere; for Liam this has led to the birth of Beady Eye. In 2009, along with two other core Oasis members, this new incarnation began writing and recording.

This month, in aid of the Teenage Cancer Trust, Beady Eye performed in London. I went along with my brother, who is a devoted fan of the band. We managed to park blissfully close to the hall, and for free. Taking our seats in the front row of the stalls, we had such a brilliant view of the stage, it didn't even matter that I'd forgotten my glasses. Miles Kane came on at 8ish as the eager supporting act. By the way, he too sports the Liam haircut, framing his sweet babyface. His band have just completed their first album together, 'Colour of the Trap,' and gave us an energetic and very loud taster. They have a good vibe, and despite the songs being quite samey, there were some toe-tapping melodies. Miles certainly put his all into the performance, singing joyfully and speaking with a modest charm.

Beady Eye eventually came on, after lots, and lots of tedious waiting around. The obsessed fans went mad as their idol, Liam walked onto the stage, I wondered if the hordes had come for the music, or just to see the man behind it. Not letting us forget for a second about his battle with his elder brother, Liam screamed “This aint no fookin’ Noel Gallagher gig”. I found out later that Noel had played at this very gig a year ago, and after hearing his brother’s name chanted beforehand Liam was keen to put things straight. Beady Eye seemed excited to be performing for us and played a full set from their recent album. I enjoyed the music more than I thought I would, and will admit this Gallagher boy has a certain magnetism. The relationship between crowd and performer was ecstatic and made the evening exciting. ‘The Roller’, Beady Eye’s first official single was a jubilant favourite, and the audience sang along as if it was a familiar anthem. Liam was on good form, reaching the top notes with impressive ease and even responding to a flying lime wedge in his face with mature grace.

It is staggering how multi-purpose this great hall is, to sit enjoying such a wild concert when my previous visit had been for the smart circus extravaganza Cirque du Soleil is amazing. It is perhaps the most versatile venue in the capital. I enjoyed getting to know the music of Beady Eye, though could have done without the beer being flung about the stadium, I left with my newly washed hair all sticky and wet.

The Goat Race at Spitalfields Farm

While the rest of London were gathering for the renowned Oxford - Cambridge Boat Race, a group of us decided to try the quirky Goat Race alternative, taking place at Spitalfields City Farm. Located just off Brick Lane, the area boasts numerous exotic food stalls; we grabbed a fragrant curry before heading to the mini farm. The place was filled with Shoreditch trendsetters, a little nauseating in their masses. Trust East London to come up with an unconventional substitute to the traditional boating event!

The Goat Race, now in its third year, cost £4 entry. Inside there were stands selling homemade cakes, cherry wine and other interesting treats, as well as cocktail and beer areas, an art and craft tent and of course an opportunity to coo at the rest of the animals who live on the farm. We wandered around, enjoying the fresh air and jolly spirit. At 4 o’clock the crowds formed around a miniature assault course, for the stoat race! The terrified looking creatures were actually weasels but named stoats to rhyme appropriately for the occasion. The poor little things scurried through the tunnels obviously confused by the glaring audience. Oxford (the white larger animal) was the clear winner, while Cambridge went a little mad and started reversing before completing the course.

With the Goat Race not taking off till 5, there was time to escape to Brick Lane for a coffee. We jumped on Boris Bikes - it was my first time on one and I enjoyed it immensely; it felt good to be part of the blue bike gang. Returning just before 5 there was sadly no time for placing bets on the goats, instead we parked ourselves in a good spot towards the finish line. It was all over in a flash despite both goats (Bramble as Cambridge and Bently representing Oxford) moving with little haste or urgency. At one point Bently even had to be nudged along with a bribing bucket of food.

And while Oxford University comfortably won on the River Thames, it was a quite different battle at Spitalfields Farm. Smaller and niftier Bramble gained an early lead, and went on to win the rosette for Cambridge.

Susan Hiller at Tate Britain

Susan Hiller likes to imagine and explore things most of us prefer not to think about. She collects seemingly insignificant materials (like postcards or wallpaper) and uses these to uncover facts about the subconscious and unknown, encouraging the viewer to take part in the process. Her evocative work has understandably had an important influence on younger generations of artists.

This exhibition at Tate Britain is Hiller’s largest show yet. I really appreciated the clear layout of the work. Exhibitions of this nature are often left unattractively to speak for themselves but these experiments are presented so beautifully that a much deeper interpretation is available to the viewer. What first may appear random, on closer examination is fascinating. ‘Dream Mapping’ shows the results of an investigation conducted by Hiller in 1974. She arranged for a group of people to sleep outside in ‘fairy rings’ (circles formed by mushrooms considered to be the entrances to Fairy-land). Each night they were required to note down their dreams in diagrams or text. I am a very erratic sleeper, and I regularly have unforgettable or confusing dreams so to read these results was enthralling.

‘Magic Lantern’ explores the body’s instinctive reaction to colour. A small dark room shows moving bright coloured circles, the headphones play horrific wailing sounds that make you feel like you are going mad. The vocal improvisations are interspersed with snippets of recorded sounds from empty rooms further demonstrating Hiller’s obsession with the paranormal.

‘An Entertainment’ is a projection of screaming Punch and Judy shows and another example of technology overload. The work was devised in 1990 and is a film collage of different shows from all over Britain. Hiller hopes to highlight the forgotten mythologies embedded in theatrical tradition. The synchronised screens blaze at each other - it is easy to get completely lost in the blurred images and loud abstract soundtrack.

I found the final rooms most haunting. ‘Witness’ is a terrifying, surreal installation with hundreds of little speakers hanging down from the ceiling each transmitting one person’s ghost story. They describe encounters with UFO’s, sightings, strange irregularities and other peculiar experiences. We stood in the middle of the shadowy room overwhelmed by the eerie atmosphere, there is a constant chatter of voices all in different languages. The voices gradually calmed to leave just one woman’s solitary voice speaking... it is unexpected and strange and sends a sharp shiver down your spine. I thought the whole idea was ingeniously inventive and affecting.

Continues until 15 May 2011, book here.

Mary Broome at The Orange Tree Theatre

‘Mary Broome', written by Allan Monkhouse in the early part of the 20th Century, is a study of relationships: between servant and wealthy employer and secondly between parents and their children. Monkhouse enjoys muddling these divisions up when the younger son in the prosperous Timbrall family is found to have landed the family’s housemaid, Mary Broome, in a spot of trouble.

I faintly remember my last visit to the Orange Tree Theatre, I can’t have been older than twelve and was there on a school trip; the theatre seemed much bigger back then. It is actually a boutique venue sitting in the centre of lovely Richmond, just two minutes walk from the train station. Before seeing the play we stopped into Carluccio’s next door to scoff a quick bowl of pasta, sustenance for the evening’s entertainment.

We all squeezed onto the snug press benches: to say it was cosy would be an understatement. Set designer Sam Dowson has created an atmospheric sitting room, and used very effectively the small space he has to work with. Strangely, a piece of furniture is placed in the middle of each side of the square stage restricting one's view, this may be intentional in order to make the audience feel they are peeking into the family drama.

Katie McGuinness is reserved and affecting as the meek maid Mary Broome; she puts on a perfect Pennine accent which makes her stand out from the rest of the characters brilliantly. She never gives too much away, keeping her thoughts coiled in and presenting a plain, rather dumb front. Her shy and hesistant portrayal is sometimes painful to watch.

Jack Farthing made me laugh as overtly camp and frivolous Leonard Timbrell, who is forced to marry Mary by his stern father after getting her pregnant. He is witty and sharp and makes fabulous use of Monkhouse’s fast paced script. Michael Lumsden commands the stage with his bellowing rendition of Mr Edward Timbrell ordering everyone about in a nasty condescending tone. In fact the whole cast is strong and works well as a team, there are no dud performances.

It is a convincing production for the Orange Tree Theatre, though after seeing similar plays such as ‘When we are Married’ and ‘An Ideal Husband’, I’m afraid I didn’t feel as excited watching this smaller scale farce.

Continues until 23 April, book here.

Hot on the Highstreet Week 44 - Guts for Garters

As I sat on a crowded Northern line carriage, suffering from agonising toothache, I began to wonder if this post-work traipse across London would be worth the effort. I had no idea then that I would be visiting an exquisite, unique and entirely unforgettable treasure trove, packed full of long forsaken goodies and exciting inventions.

This spring, more precisely two weeks ago, ‘Guts for Garters’ launched their eccentric idea on the world, a new concept store that houses all manner of creativity. The two founders, Rachel Chudley and Cassie Beadle, both recently graduated from the prestigious Courtauld Institute, felt they had something new and different to offer to the art world, an imaginative space for desirable and more importantly accessible art and design, quite simply a museum of everything and anything.

The exterior is white and minimal quite the opposite of the magical, colourful and enchanting interior. This is no jumble sale, though on first glance the eclectic collection looked a little similar. It is made up of carefully sourced vintage finds – clothes, jewellery, books, and other strange and wonderful objects that fall within ‘Guts for Garters’ first theme: ‘The Royal We’. Here you will find ultra collectable designer clothes that mimic the Queen’s elaborate style hanging on racks looking delicious. Creations from upcoming artists grace every inch of wall: strange pictures, crafty crockery, and daring jewellery, many pieces specially commissioned for this project. Each item is unique, and with some pieces costing as little as £20, this is affordable art at its most inventive.

Having always wanted a costume department for a wardrobe I was utterly delighted with the array... wishing every bit of it was mine. Sticking dutifully to my pre-New York buying ban I resisted purchasing anything, though I did treat myself to one of the new £3 catalogues to entertain me on the tube home. I was so impressed with the incredible attention to detail and thought that these two illustrious girls have put into this mission, showing a real passion, and immense effort. Among my favourites of the gems (and there are honestly too many to list) were the fabulously macabre bone rings, carved from deer antlers. Starting at £50 these beauties looked brilliant on, striking and mad, but strangely pretty too. Also some wildly exquisite chunky bracelets by a genius artist called Bert Clayton.

Every couple of months G4G will be staging a new theme, with ‘Surreal Women’ up next. There is a certain spirit of rebellion to this current exhibition, ‘The Royal We,’ as there always is when joking about the monarchy, but also an air of undeniable elegance and charm. This subject was incidentally decided long before Kate and Wills made the announcement.

I found my heaven in Guts for Garters, a beacon of originality that lights up Camden with its hip, distinctive vibe. Please don’t take my word for it, this is a whole world of delights that you must see with your own eyes.

Visit website here.

Watercolour at Tate Britain

I have been excited about seeing the Watercolour exhibition at Tate Britain since it opened a month or so ago. The selection brings together the work of many different artists, with only the theme of medium to unite them. One may think of watercolour as a narrow medium but this show truly illustrates otherwise. Depicting a huge range of subject matter we can see how it can be used in different ways to create an astonishing variety of affects.

The work is displayed in a series of rooms under very loose themes, beginning with a section of early British paintings. Here there are some awe inspiringly detailed pictures by masters like Anthony Van Dyck and John Dunstall. I loved the cute little jewellery pendants in this room – tiny watercolour portraits on vellum or ivory, framed and sometimes surrounded by delicate pearls or diamonds. They are so beautiful and show a real insight into the lucky owner’s life.

Watercolour is a very intimate art, susceptible to disaster: a drop of water ruining a masterpiece or an hour of sunlight fading the painted image. It is frequently employed for studies prior to a final composition, and for experimenting and documenting. Paintings done with gouache, a creamier opaque kind of water-based paint, are included occasionally in this show for which I was grateful - I personally love the affects. One of the later rooms, ‘Exploring the medium,’ gives a deeper analysis of the techniques and uses of watercolour. Here you can see examples of raw pigments and the changes to them when diluted and dispersed by water.

My favourite works in this exhibition are those by the dreaming Romantics William Blake, Victor Hugo and Samuel Palmer. Their intense mythical paintings show inner visions, amazing atmospheres and extreme imagination. The translucent quality of watercolour is ideal for these dreamlike images and their mood really left an impression on me.

In my opinion the most wonderful thing about watercolour is its versatility, it can be easily transported, taken around with you to use whenever you desire. This means otherwise difficult painting conditions are made possible, hence watercolour became the medium used most often in war. It is a practical medium for extreme conditions.

This is a rare chance to view such a wealth of quiet masterpieces in the same place, and is well worth a visit.

Continues until 21 August 2011, book here.

The Knot of the Heart at The Almeida Theatre

The Knot of the Heart makes its world premiere this season at the Almeida Theatre on Upper Street, Islington. A dark, emotionally charged new play by David Eldridge that carries out a full investigation of addiction, its causes and devastating effects.

We watch as pretty, successful and well off Lucy falls into a horrific drug dependency, dragging down her family too as they desperately try to help. Gradually as she is suffocated by her mother’s affection, it becomes clear how dangerous devotion can be. The title comes from the Sanskrit phrase, ‘hRRidaya-granthi’ which translates as ‘the knot of the heart’, it is a bind that must be broken in order for self knowledge to take place.

Lisa Dillon is thrilling as the play’s lead, Lucy, unfalteringly she controls the action and is on stage almost constantly. This is a ambitious vehicle for a leading actress and she rises to the challenge; with all the mood changes it is a character that must be physically and emotionally exhausting to play. Eldridge and Dillon met years prior to this play’s realisation, when Dillon had mentioned her desire to play a leading role and “get to go on a journey like the boys get to go on,” and so the part of Lucy was written for her, a character not defined by her relationship to a man.

It is a long play, perhaps too long, that spirals way out of control before it is reined in again. In the first half we watch the decline, a messy business with needles, blades, blood, swearing, hospital beds and death, all the worst consequences of a drug addiction. I would not say I found it enjoyable to watch, it was well acted but unpleasant to witness. I didn’t feel like there was anything new being said, it was like a news report, bare facts and horrible images.

The second half brings some development: a sub story, underlying currents and some drama and motivation. The script is more fluent here too, and the actresses certainly seem to handle it better. Margot Leicester excels as the loving mother, snobbish and stupid, she will do anything to help her daughter out of this agonising habit. Abigail Cruttenden plays the cruel curt older sister very convincingly. Kieran Bew is brilliant as ‘The Men,’ covering a range of diverse male roles throughout the play including an aggressive drug dealer, a camp nurse and even a South African gent right at the end. He displays impressive versatility and consistency.

The conclusion feels a little unconvincing, as Lucy suddenly travels across the world and finds instant contentment, but as a whole ‘The Knot of the Heart’ is a poignant piece. It is painfully gripping and educational about the frightening, but very real world of addiction.

Continues until Saturday 30 April, book here.

DINNER by Heston - Mandarin Oriental, Hyde Park

Dinner is a particularly peculiar name for a restaurant, and has caused some confusion for Heston Blumenthal’s newest eatery: “I’m having lunch at Dinner” sounds a bit silly, doesn’t it? The word has always traditionally been used in Britain for the main meal of the day, which over the years has had varied timing. Despite now being an evening occasion, it originally took place in the middle of the day, as the largest meal. Of course in some parts of the country it still means lunch, which I soon discovered when I lived with five northerners at university!

I was one of the privileged few to be offered a table for Dinner, going along with my favourite foodie entourage for lunch last week. The four of us had a spectacular table overlooking Hyde Park; we watched uniformed men riding by on horseback, and were also next to the bustling kitchen where all the magical action happens. Dashing straight from work, conveniently just round the corner, I barely had time to change, but was pleased to be finally taking my Wolford ‘hero’ tights out – I wanted to wear something exceptional for this extraordinary meal.

Located in the Mandarin Oriental Hotel in Knightsbridge, the surroundings are luxuriously grand. The restaurant is spacious and airy with simple decor, jelly mould-like white lights sit strangely on the wall, looking rather like Lady Gaga’s stage props. The room is pleasantly light and bright, which I always appreciate when dining.

The a la carte menu sits neatly at each person’s place, though the set lunch list was soon brought along to us with the more reasonable selection. Dinner has quickly become known for a few extra special dishes, the meat fruit starter - an immaculately sculpted mandarin (like the hotel name) and chicken liver parfait served with deliciously crunchy grilled bread. My grandad ordered this and it was a sensation, Heston’s food science and craftsmanship at its very best. The other raved about dish is the tipsy cake, a pudding dating back to 1810 made with spit roast pineapple, that you can see rotating temptingly in the kitchen. This dessert must be ordered at the start of the meal as it takes 35 minutes to make and perfect, I ordered it and had high expectations. I was not disappointed, it was undeniably yummy and surprisingly light, the cake itself has a slight hint of caramel and tasted almost creamy - absolutely divine.

Unlike many high end restaurants Dinner kindly offer an interchangeable set lunch menu. Basically this means you can choose what you like from the full or set menu, with the cheaper dishes costing as follows: starter (£8), main (£15) and dessert (£5) separately, or £28 for all three. From the set menu (included below) I chose the lemon salad, then quail, with tipsy cake from the main menu.

Lunch Menu. £28 for three courses. Available Monday to Friday between 12:00pm-2:30pm

Starters

Lemon Salad (c.1730)
Goats Curd, Raisins and Verjus

Ragoo of Pigs Ears (c.1750)
Anchovy, Onions and Parsley

Main Courses

Cured Salmon (c.1670)
Beetroot, Purslane and Olive Oil

Roast Quail (c.1590)
Smoked Parsnips and Thyme

Desserts

Chocolate Wine (c.1710)
Millionaire Tart

Orange Buttered Loaf (c.1630)
Mandarin and Thyme Sorbet

Lovely crusty bread and yellow creamy salted butter was brought to the table with our Rose wine. I had pre-promised myself I would not indulge too much in these preliminaries so as to save my appetite. The lemon salad was an interesting starter, though definitely my least favourite course. Lemon rind features in abundance, but is cooked for so long it takes on a new softer flavour and texture. Combining this acidic zest with goat's curd is ideal though my wise grandmother pointed out it perhaps needs another contrasting ingredient. My companion tried the ragoo which is served warm, it was rich and sweet with a mix of startling aromas; I thought it balanced well.

The Roast Quail for main course was heavenly: tender meat falling easily off the tiny bird’s bones with crispy salty skin. Accompanied by the silkiest creamed potato (that is fast becoming my favourite carbohydrate variant) and sweet thin strips of parsnip. The sauce, that I can only assume was made from the reduced stock, covered the meat, and was so good I had to use my finger to mop up the final smudges left on my plate. The outstanding service was noticeable throughout the meal, and our waitress kindly arranged for a portion of Heston’s famous triple cooked chips to be sent to me when I asked to try the delicacy! They came chunky, which is not my preference, but the proof is in the eating, and I’m pleased to report they are just as tasty as I’d imagined.

The rest of my table tried other mains: the salmon from the set menu which is bizarrely served with beetroot, not a likely marriage of flavours; the main menu powdered duck, an enviably large portion served with smoked fennel and potato puree: succulent and tender meat cooked to perfection and coated with a rich dark sauce to make you drool.

Dessert time and my wonderful little tipsy cake came and went pretty quickly; I could have easily eaten a second helping. Other puddings ordered were chocolate based: the chocolate wine with millionaire tart and chocolate bar with passion fruit and ginger ice-cream, both were nice, but sadly for them nowhere near as delectable as my glorious tipsy treat.

Coffees and unusual teas followed – I had a rosebud infusion, light and delicious. Accompanying came miniature pots of complimentary mousse: white chocolate with cardamon wafer biscuits. I am always terribly disappointed if I don’t receive a sweet surprise freebie at the end so was pleased with this. After our meal the charming waitress chatted to us about her journey with Heston’s Dinner... the training, the unbelievable education about his unique culinary style and everything else that comes with such a job. Before even opening, Dinner became impossibly desirable, as tables were snatched within seconds producing a lengthy waiting list.

It seems Dinner really is the hottest ticket in town – now I know why.

Booking for July onwards starts on 1 April.

Sienna Miller in Flare Path at Theatre Royal Haymarket

Trevor Nunn’s new production of ‘Flare Path’ at the Theatre Royal Haymarket is delightfully warming and optimistic. This play, rarely considered to be one of Terence Rattigan’s best, is moving and funny in equal measure.

The story takes place in a shabby hotel lounge reception, in the autumn of 1941 in the middle of World War II. The establishment accommodates RAF pilots and crews before and after their dangerous bombing missions, with the poor waiting wives in tow. As the men go out on a mission, there is a personal battle in the hotel as Hollywood star Peter Kyle comes to claim his great love, Patricia, a newly wedded woman with whom he has previously had a tumultuous affair. She has to decide who needs her more: the aging actor who is quickly losing his fame, or her outwardly brave and cheerful husband who confides in her that he is secretly terrified and crumbling under the pressure of his horrific job.

Sienna Miller is sure to be the box office pull for this play. Her natural beauty and allure is perfect for the part of the glamorous actress Patricia Warren, and paired with a suitably strained characterisation, she convincingly plays the role of the girl with a perplexing moral dilemma. She seems eager to please the spectators, though occasionally is a little too cautious, and could perhaps risk more power and passion.

Flare Path is an ensemble effort, with an exceptionally strong cast. The outstanding star for me is Sheridan Smith, the girl who made Legally Blonde such a hit at the Savoy. A former barmaid, she finds herself a Polish countess after marrying the Flying Officer Count Skriczevinsky (Johnny). Her chirpy demeanour and cute bubbly character entertains all at the hotel and indeed the audience too, but when her beloved husband is reported to be missing-in-action she is catapulted into grave despair. The depth of character she portrays is quite astounding and beautiful to watch; this is especially evident when a letter is translated for her telling of Johnny’s adoration for her. Her bravery and charm is quite heartbreaking and I’m sure I wasn’t alone in shedding a tear.

Harry Hadden-Paton excels too as scared Flight Lieutenant Graham (Teddy) and husband to Patricia. He is excitable and energetic and yet hides many of his feelings much like a teenage boy. Hadden-Paton manages the tricky balance between playing the role of a leader ( of the men in his squadron) and being desperately in need of care himself (eventually a job fulfilled by his wife). Of the supporting roles, I was stunned by my friend Matt Tennyson who I was thrilled to see taking the part of young waiter, Percy. So convincing was he that I only noticed it was him one hour in! Dashing about, he acted wonderfully amongst the cast of established stars fitting right in.

Despite sitting way up in the cheap seats, spending three hours straining my poor back, I absolutely loved every minute of Flare Path. This sublime production captured my heart and left me wanting more - another resounding success for the King of Theatre, Sir Trevor Nunn.

Flare Path continues until 4 June, 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.