House, Restaurant & Bar, National Theatre, Southbank, London SE1

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House is the name of the most upmarket restaurant in the National Theatre complex. It is open from 5pm to 11pm daily, and it does lunch on the afternoons when there is a matinee performance. The décor is modern and understated. The linen is crisp and white. The cutlery, china and glassware are high quality. The sound level is low, so conversation is clear. They give warning announcements when shows are about to start. All in all, the perfect place to meet for pre or post theatre dinner.

They offer a set menu as well as an a la carte. The set menu is good value but the choice can be limited, the only vegetarian option was asparagus for both starter and main course on the day we were there. The a la carte menu is relatively short too, but this is often a good thing, it keeps the quality of the food high. The goat’s cheese brulee starter was delicious, although it was not not particularly brulee. The trout was good too, the presentation of both was excellent.

The steak main course was good, rump cap is not the greatest cut but it was cooked nicely. The plaice was fine too. The nicest of the three mains was the smoked pork belly – the meat was succulent and full of flavour, it went very well with the cabbage, which had a hint of sweetness and a good crispiness.  Once again, care had gone into the presentation, they all looked very appetising as they arrived to the table.

We ordered desert too. Like the other courses, they looked fantastic, tasted good and the portion size was modest. The wine list has a good range but quite expensive for what they are. Service was impeccable, efficient and unobtrusive.

It is usually relatively easy to get a table except on opening nights or press nights. It was less than half full on the evening we were there, but this was after the show. It would be safest to book if you wish to eat just before curtain up.  Everything about House is good; the food, the service, the ambience, but the cynic in me says that they are aware that people will pay a premium for the convenience and this is reflected in their prices.

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Phobiarama, LIFT 2018, West Handyside Canopy, Kings Cross, London.

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LIFT 2018 is a festival of international performance, running at various venues around London from late May until early July. There is a wide choice of shows available and a huge variety of styles on show. There is a children’s show by renowned theatrical company Punchdrunk, where adults will not be granted admittance unless accompanied by a child. There is a South Korean Opera about the Trojan wars in Greece and there is even a piece of performance art that involves 1500 pigeons, with LED lit leg-rings, flying above the Thames.

Phobiarama is billed as an immersive theatre experience. This is certainly true, and I don’t wish to give too much away, as being unaware of what is about to happen adds to the thrill of the show. I would best describe it as a 21st century ghost ride with real actors, strobe lights and political overtones. Dries Verhoeven is a visual artist who has updated a 20th Century fairground ride into a paranoid, threatening 21st Century journey through political and popular culture. This show travels the world but each one is site specific, and this one has elements that apply particularly to London. I can say that it gives a feeling of drifting through a waking nightmare and I was reminded of film warnings that say “This show contains some scenes of mild horror”.

You are disorientated from entering the space in pitch blackness and the anxiety gradually racks up throughout the 45 minute performance, as shadows in the background slowly become more real, with television newsreels reminding you of events that have happened in London over the past years. I guess that some people do not like to feel frightened, however lightly, so this show will not be for everyone, but I enjoyed the feelings of mild paranoia that I was given and I found it interesting to think about why some of the scenes made me feel uncomfortable.

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The opportunity to experience running away backwards from an evil clown, while Nigel Farage rants on about the iniquity of our immigration system, is one that does not occur regularly – and although this was a memorable part of the show, it was by no means the most disquieting, so if you think that this is something you might enjoy, you need to take the chance now, while it is here.

I would suggest that you should not go if you find strobe lighting a risk or if you suffer from coulrophobia. I have to say that I thought that this was a really interesting experience.  I hope that Dries Verhoeven brings other events to London and if he does, I fully intend to visit them.

 

Macbeth, National Theatre, Southbank, London

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This is more Mad Mac than Macbeth. This play is so different to what we usually see put on as Macbeth, that it would not have been too much to change the title as well. At least then we would have had a little more idea of what to expect. I was not amazed at the number of people who did not return for the second act, because for many people, this will not have been the show that they came to see. It is certainly not Macbeth as we know it, the set, costumes and music fight to overwhelm one of Shakespeare’s most dramatic plays, but thanks to strong lead performances Macbeth just about wins through.

I admire Rufus Norris’ audacity here, he makes Macbeth into a gory, post apocalyptic, horror show – with zombies. The party is a grimy, drugged-up car park rave, ripped plastic bin bags are the height of home decoration and the future of clothes care clearly doesn’t involve any kind of washing. The world he presents is ugly, violent and harsh.  It begins with a particularly brutal beheading that warns you that this will be a difficult watch at times, and there are other moments in the production that transcend even the gore, slash/ horror genre that was in vogue in 1980s. It has a punk ethic that sets out to shock, and the visceral disgust of the moment when Lady MacDuff is presented with the bodies of her mutilated children in clear plastic bags is something that will not be soon forgotten.

Anne-Marie Duff and Rory Kinnear are both good, despite all the eccentric distractions going on around them. The actors here have a hard job, it’s almost as though Rufus Norris has decided that the lines of the play are secondary to the action on stage, so often he has them doing strange things while delivering famous lines. Why is Porter giving this speech clinging on to a pole at the back of the stage, why is Macbeth removing his socks after killing Duncan? Even when Rory Kinnear is alone on stage, he has to contend with avoiding the furniture on a spinning set.  This vision has some wins and some losses, the point in the second act where all the dead characters are lurching around the stage in crazed zombie mode is a big contrast from the performances of Kevin Harvey and Steven Boxer in the first act as Banquo and Duncan. As Macduff, Patrick O’Kane’s reaction to the news of the murder of his family stood out, all the more, for being so restrained in the sea of lunacy surrounding him.

This is not a Macbeth that I would ever have envisioned, and it is not one of my favourite interpretations. I don’t believe that this production was made to be liked, it was made to alarm, astound and to be talked about – and if that is the case, it surely achieves what it set out to do. What is certainly true, is that this Macbeth is one that I will remember and, for that,  I am pleased not to have missed it.

MOD Pizza, Irving Street, Leicester Square, London WC2

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MOD Pizza is a chain of restaurants that has been in the USA for some years now, it is relatively new to the UK, this is the first one in London. MOD stands for Made On Demand, it is a clever concept – we might be looking at the new McDonalds here.  It is also great value, in fact for  Central London it seems ridiculously cheap at £7.87 for an 11 inch pizza with unlimited toppings.

If you don’t like pizza, then this is probably not the place for you, it does pizza, salad… or pizza salad. However, by limiting their menu, they do what they do very well. You order the size of base that you want and then you move down the counter asking the server behind it to add ingredients to your pizza as they take your fancy as you see them. There is a surprising number of choices, there are six different base sauces from basic tomato, through barbecue to a garlic rub – and I guess you could have them all if you wished. There are also six different cheeses, including a dairy free vegan cheese (is it really cheese if its dairy free?), 8 different meat types (they calls anchovy a meat!) and about twenty other topping types. Then finish it off with swirls of pesto or glaze and add a choice of spices to the top.

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Then there is a quick opportunity to admire your creation, before they take it away for baking and five minutes later they bring the completed cooked pizza to your table. The first time I came, it was to a pizza party for about twenty five people and it was a very convivial evening. They are licensed to sell beer and wine, a pretty basic choice of each – but we are talking about a fast food type place here. It brings the American concept of unlimited soda fountain with it, the kids will love this, not only do they do the usual soft drinks, they also have three different types of home made lemonade. The original lemonade is wonderfully sharp, great on a warm day. The milk shakes are good too. If you have ordered too much and you are unable to finish, they also provide boxes for you take home what you can’t eat. I have to confess here that I am one of those (apparently disgusting) people who love cold pizza for breakfast!

MOD Pizza is an interesting new addition to the food offering in the centre of town, and although the competition here is tough, I think they have found a winning formula and we will see many more branches of this chain here in the UK before too long.

 

 

 

Cinnamon Kitchen, Battersea Power Station, London SW11

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Cinnamon Kitchen has taken the plunge and become an early adopter in the big new housing development that Battersea Power Station is about to become. This is Vivek Singh’s sixth restaurant and it is tucked under the railway arches, less than 50 metres away from the Thames.

The décor is pared back and bright. The attractive brickwork of the arches has been left exposed and a huge glass front allows light to fill the room on a sunny afternoon. There are rows of tables outside on the traffic free front pathway. The kitchen is a large open space at the rear of the room and there is a raised glassed mezzanine into the top of the arch holding a few tables which could be used for a private party.

We had the tasting menu, which was ideal for a first time visit. The quality of the food is high. From the starters, the sea bream ceviche is delicious, with a lovely texture to the fish and a warm sharp bite to the marinade. The avocado hummus is also really good, fruity and creamy. The spicier dishes are Vegetable Bhajis and the Keema Litti – which is a lamb doughball, this was served with anchovy butter.

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From the main courses, the tandoori chicken is moist and tender with light heat from the relatively mild chillies. The Kale and Quinoa koftas are spicy and crisp, the fiery Rajasthan Lamb is hot, spicy and cooked to perfection.  The accompanying dhal has a nicely smoked flavour that is difficult to pinpoint, but delicious nevertheless.

The service is very good, our waiter almost too attentive. Antal, the maître d’ was friendly and seemed genuinely interested in our opinion of the dishes. The wine list is not very long but has a broad selection, if a little on the pricey side. We tried two different cocktails and both were okay, they were good quality but understated. They also have a reasonable selection of beers, four bottled and one draught.

There is surprisingly little noise from the trains passing overhead, it is easily masked by the music, which is not at a level that is intrusive to conversation. The restaurant itself is an attractive space to spend an evening and, on warm summer evenings, it will be pleasant to take ones coffee and digestifs outside to watch the river roll by. Currently, the infrastructure of the Battersea Power Station is still coming together and the restaurant is not easy to find, however I recommend that you take this opportunity to eat here, because once this development is completed this will be a hugely popular place to eat and I suspect that, despite its size, tables will be hard to come by.

The Prudes, Jerwood Theatre Upstairs, Royal Court, Sloane Square, London SW1

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The Jerwood Theatre Upstairs holds less than 100 people and every seat has a good view of the stage. It is a small intimate theatre, although perhaps not intimate enough for the act that Jimmy and Jess assure us that they intend to carry out on stage during the play this evening. The set is pink, soft and fluffy, apart from the “Blind Date” style tall stools. Indeed, if Channel 5 were planning to have a competitive sex therapy show, they could come here for ideas.

The Prudes is a two hander about, Jess and Jimmy, a couple who have been together for nearly 10 years but who have not had sex for over a year. They are worried about the effect that this is having on their relationship and have come to the decision that they only thing they can do prevent their breakup is to have sex in front of us on stage tonight. We are not told how come they have reached this conclusion, but we are here now, let’s run with it.

What follows is a discussion about sexual politics, and how the #metoo movement has changed how we look at sex and power in sex. Jonjo O’Neill and Sophie Russell are excellent as Jimmy and Jess, they interact with the audience, they ask for affirmation of their most embarrassing confessions, they are funny and likeable and we can feel their warmth for each other through their difficulties.

The play is witty, it certainly captures the zeitgeist and it poses many questions that are brought to mind by the sexual harassment cases that have been in the news over the past months. I think we are still too close to the events to have a good perspective on how they will change our attitudes, and writer Anthony Neilson doesn’t even attempt to look for answers. This leads to a play that is enjoyable to watch but lacks a little punch in the consummation.

 

Langan’s Brasserie, Stratton Street, London W1

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Langan’s Brasserie has been in Stratton Street since 1976. It was a favourite of mine in the 1980s but I think I haven’t been in over 25 years. I am surprised how little has changed in that time and more surprised at how that pleased me, it was like unexpectedly bumping into an old friend in the street.

Langan’s is smart without being pretentious, don’t expect anything big or flashy, but they do what they do very well. It is the perfect restaurant for a special occasion, or if there is a large group meeting for a meal. On arrival, we were shown to a lounge area, to order a drink while we awaited the rest of our party. When everyone had arrived, the Maître D’ showed us to our table while the waiter transferred our drinks.

The décor, if my memory is accurate, is still as it was in the 1980s. This consists of plain cream walls covered in mixed photos, paintings and magazine sketches. One wall has many large windows, making the room bright and airy at lunch or in the early evening. The tables are set with white linen tablecloths, good quality crockery and glassware. The room feels smart when you enter. The menu is a mixture of French and English dishes all well known. The soufflé with anchovy sauce is wonderful and the Caesar salad is excellent. Both of these are quite substantial for starters. The main course portion sizes are big too, there is nothing too unusual on the list but we had five different main dishes at our table and each one was prepared very well.

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The wine list is extensive, a surprising amount of them are served by the glass. The service was really very good, there are plenty of staff, they seemed unhurried but were always there when we needed them. The actual menu itself is attractive, designed by David Hockney. The restaurant was quite full and, although we ate early, we never felt rushed, or that the table would be needed again at a certain time, I believe that we would been allowed to linger as long as we wished.

Langan’s is not cheap, but it is very centrally located and the food, service and ambience are reliably good. It is the perfect example of a great 1980s London/Paris Brasserie and long may it continue to be so. I hope that I will not have so long between visits in future.