Last Updated on May 26, 2026

Panoramic Views and Fine Dining at Floor 32  

Since being built, The Shard has become an iconic building in London. An invitation to try out new dishes at the Aqua Shard Restaurant, thirty-one floors above ground level, was an invitation I couldn’t resist, even though I’m afraid of heights. To my delight, it wasn’t at all scary, allowing me to enjoy wonderful panoramic views of London, accompanied by delicious food and excellent service.

Periodically, Aqua Shard holds curated evenings to showcase its artisan suppliers. On this occasion, it was the turn of family-run Bethnal Green Fish Supplies, who pride themselves on the quality of their fish, which they prepare to order and supply ready to cook. 

Executive Chef Mark Abbott loves his profession, as is evident in the menu he has created. He learnt his trade at two-star Michelin Midsummer House in Cambridge and is well into his second year at the Aqua Shard. We were treated to some new seasonal dishes specially created for the à la carte menu. Each is paired with an accompanying wine.

Aqua Shard covers the whole of the thirty-second floor. You are swept in a lift to the thirty-first floor, and then it’s one short flight of stairs to the restaurant above. The evening started perfectly for me with a glass of NV Veuve Clicquot as we congregated around the bar. The ideal way to acclimatise while also providing time to enjoy the surreal atmosphere of being very high up. We were virtually in the clouds, if there were any, and yet surrounded by recognisable buildings along the skyline.

The meal started with cured Scottish Gurnard served with a violet potato and cucumber salad, which had a burnt lemon gel and watercress dressing. Alongside this were served large, freshly baked, warm, crunchy sourdough rolls made from fermented lentil and heritage grain.

Grilled and glazed Cornish octopus followed, with a cod’s roe emulsion and tomato and fennel salsa. A glass of Spanish wine a 2024 Galician Albariño, Pazo Señorians, Rias Baixas accompanied it.

Abbott showed us how he stuffed the Newlyn John Dory, our main platter with St George mushrooms, before roasting the fish in the oven. Served on a bed of broccoli purée and pickled shallots with a red wine reduction, steamed English asparagus, and new season Jersey Royal potatoes were on the side. A glass of French Burgundy, a 2024 Chablis, Les Chanoines, D. Laroche, was served with it.

Dessert was described as an English-style outdoor rhubarb Alaska: a rhubarb and vanilla parfait with a ginger-poached rhubarb compote encased in a delicate yet crunchy pink peppercorn meringue. A 2025 Asti Moscato, Tenuta Olim Bauda from Piedmont in Italy, finished our gourmet meal.

Aqua Shard’s à la carte menu includes meat, fish and vegetarian options which follow the seasons with ingredients sourced with sustainability at its heart from trusted local partners.

The Shard looks as if it’s constructed of glass from floor to ceiling.  I would recommend the Aqua Shard as a ‘must’ visit place for a meal, although it’s also possible to enjoy its atmosphere and views over a cocktail or two. 

Aqua Shard
Level 31, The Shard,
31 St Thomas Street,
London SE1 9RY.

020 3011 1256

Book here:

Looking for something different? Check our review of Shiro, another restaurant from the Aqua group, in the heart of the City.

The post Aqua Shard Restaurant at the Shard appeared first on London Unattached.

Last Updated on May 25, 2026

Summer in the City at Galvin Bistrot & Bar

I took a trip to Galvin Bistrot & Bar in Spitalfields last week to seek out a taste of summer on their terrace. This lovely bistro is run by brothers Chris and Jeff Galvin. They originally launched their concept with Galvin Bistrot de Luxe in 2005, and the Spitalfields venue carries that very same French style, evoking the feel of Parisian and Lyonnaise bistro culture. This summer it’s hotting up, bringing a touch of the South of France to East London, with its Château Sainte-Marguerite Summer Terrace.

Although it looked like a heatwave was on its way, the weather on the evening of our visit wasn’t playing ball. Despite this, the terrace at Galvin Bistrot still seemed like a tempting option, and with heaters and blankets available for those cooler days, it was still a great place to dine.

The friendly staff were buzzing around in Brecon-striped t-shirts, creating a distinctly Mediterranean, unstuffy impression. Inside, it boasts a long stainless-steel bar, wooden tables, bentwood chairs, a stone-tiled floor, and red leather banquettes, creating a chic, casual atmosphere. There’s a counter displaying fresh fish and the catch of the day. At the rear, in Galvin La Chapelle, there is a more formal, fine-dining experience with white linen tablecloths and staff smartly dressed in white shirts and waistcoats.

We were welcomed with a glass of Galvin’s champagne, a crisp, dry and elegant fizz which was the perfect start to the evening.

The kitchen is led by Head Chef Fabio Portaluri and overseen by Chef Director Arturo Granato. The regularly changing à la carte Mediterranean menu focuses on seasonal ingredients. It’s divided up into bites, starters, the raw bar, pasta, a pizzetta and mains, plus a catch of the day.

We were recommended to try the Chef’s Bites’ selection, which was an excellent way to try all them all on one plate – a soft brie on crunchy toast, drizzled with sweet truffle rich honey, wonderfully fresh bluefin tuna and otoro ham pincho, served on toast, rich and gloriously gooey wild mushroom and truffle arancini and a crisp confit of lamb croquette, refreshing topped with yogurt aioli.

The chicken liver parfait was gorgeously soft and creamy, presented with chunky slices of sourdough toast, lashings of rhubarb chutney, adding contrast, and so good we wanted to bottle it and take it home.

To pair with our meal, we moved on to the Château Sainte-Marguerite Cru Classé de Provence, a soft and fruity wine with notes of white flower and citrus. What is it about summer that makes rosé seem the most fitting way to raise a glass?

On the blackboard, the catch of the day caught our attention, and we weren’t disappointed: a whole gleaming sea bream arrived to be shared between the two of us. Clean white, meaty flesh, with a fabulous subtle sweetness, seasoned for summer with parsley, a handful of capers and segments of grapefruit cut a note of astringency. On the side, crushed new potatoes with salsa verde, giving them a lively kick, and tenderstem broccoli topped with chilli flakes and sesame oil.

Dessert brought further indulgence with a light and creamy tiramisu, just as it should be, and a slice of apple tarte tatin, gooey and caramelised, balanced between the tartness of the apple, the sweet toffee flavours and the freshness of Normandie crème fraiche…quite delicious!

So if you’re in the neighbourhood, take advantage of the warm weather and drop in to Galvin Bistrot & Bar for a glass of rosé on their garden terrace. You’re guaranteed reliably good Mediterranean food at approachable prices. The ideal destination for a long lunch, after-work drinks or a weekend get-together.

Galvin Bistrot & Bar

Located in: Spitalfields Market
Address: Entrance on 35, Bishops Square, Spital Square, London E1 6DY
Phone: 020 7299 0404

The post Galvin Bistrot & Bar – Spitalfields appeared first on London Unattached.

Last Updated on May 24, 2026

The unique experience of yachting with strangers

What would it take for you to share a bed with a stranger? As thought experiments go, the idea is unthinkable to some, but to others, the question ‘what’s in it for me?’ immediately springs to mind. ‘How about a week-long yachting trip in the Adriatic Sea, complete with breakfast, lunch and a few cases of wine?’ Well, now we’re talking.

More Sailing, the Swedish company behind this bespoke set-up, prides itself on its accessibility, and as part of that, they offer bookings for single or double spaces on a shared boat, as well as entire vessels. I hasten to add that, in practice, More Sailing, a company with over 15 years’ experience in providing yachting experiences, doesn’t actually make you share a bed with someone you don’t know. It is an option, though, alongside their single and double cabins, and one that I was curious about before I sampled a five-day stint on one of their Lagoon 51 catamarans.

The itinerary for the trip was blissfully loose (which I later learned is to cater to the wishes and whims of guests while on board) to the point that when I arrived at Split Saint Jerome Airport, I had no clue where I would be that time tomorrow. A slightly nerve-wracking thought, but one that dissipated instantly after a painless 15-minute Uber ride took me to the historic coastal town of Trogir.

Founded by the Greeks and famous for being assembled from centuries-old sandstone buildings, the old town is a small island wedged between the Croatian mainland and the larger island of Čiovo. Having arrived in the evening, the old town was primarily lit by the bars and eateries within its limestone walls, making for a serene atmosphere on a balmy night.

Trogir was just as beautiful the next morning, and not too crowded for early May. The Town’s winding streets lead you gracefully to the central square, where the orange roof of the Cathedral of St Lawrence projects into a bright blue sky. Locals whizzed past on their bikes, no doubt heading for the town’s main stretch, a long promenade parallel to the marina on Čiovo. Trogir feels like it is run by boats and mopeds – in that order – which makes it the ideal place to start an adventure at sea.

More Sailing clearly knows this, as they have a full section carved out for their boats in the marina. As I strolled down the quiet stretch of harbour, the flaneur-ish calm of solo travel began to give way to first-day-of-school nerves when I remembered that I would have to meet and befriend a dozen people imminently, or else risk social ostracisation at sea. Holding my breath on arrival, I waited patiently for our host, Axel. He took my bags and, putting me instantly at ease with a warm smile, led us down to a row of impressive yachts before announcing: ‘This one is ours – the Moonshadow.’

After precariously balancing myself and my luggage across a plank (which I was told would get easier with time – reader, it never did), I was safely aboard and could take in the full majesty of the Moonshadow. The over 50ft long catamaran boasted conveniences that life in London rarely affords, including air-conditioning, hot showers at good pressure, and even an ice maker. Having never been on a yacht before, I had little to compare it to, but when I was quickly offered a glass of bubbly before parking myself on one of the boat’s many comfy sofas, the overwhelming feeling that ‘I could get used to this’ washed over me.

A handful of my new crewmates were already on board, and as the evening wore on, initial awkwardness gave way to giggly excitability, as we adjusted to our environment for the next few days. After a proper introduction to our skipper, Noah, and the setting of some nautical ground rules, we set sail for our first destination, a small cove off the Croatian coast. There, our host treated us to the first of many delicious meals, including platters of fruit, sirene salads, bread, cheeses and freshly made dips.

The early May weather meant the water was too cold for an evening dip, but the prospect of diving in the following morning sent me off to a dreamy uninterrupted sleep. The cabin was well-sized for two to share comfortably, and aside from the very gentle rocking of the boat, the nights aboard the Moonshadow were comfortable, and aided by a hot shower to end the day.

The subsequent days started to follow a familiar pattern. We would wake up in a cosy bay or harbour, go for a fresh dip, or a walk if we were docked, and set sail for a new destination. Across the Adriatic, we sailed to secluded coves, sandy beaches and coastal towns nestled at the base of the larger Croatian islands of Hvar, Brač and Šolta.

‘We try to accommodate everyone’s wishes’, Noah explained during one particularly calm voyage, ‘if people are really keen to experience something here, we aim to show it to them.’ Assuredly steering at the helm, he said: ‘Everyone is also welcome to be as involved as they want to be in the sailing process – we just want everyone to have a great time.’ Ideal, I thought, as I sipped on a glass of pale rosé next to him, intermittently photographing the coastline.

Of course, being on a boat means that at least for some of the day, you are left to your own devices, so a good book and a pack of cards become necessary additions to the usual packing list. Although, in truth, swimming in bright blue waters, snorkelling in shallows filled with fish, sunbathing and making new friends inevitably occupied most of our time. Evenings were usually spent ashore, either in secluded restaurants or exploring the patchwork of ports that make up Croatia: from the idyllic village of Maslinica to charming towns like Jelsa.

As solo trips go, this is certainly one to consider if you’re in need of an adventure. Although holidays like this can feel as exciting as they do nerve-wracking, the overall experience is worth it. Unlike on larger boats or package holidays, More Sailing is bespoke enough to feel taken care of while on board, as well as personal enough to feel a little pampered – even in rough seas.

When we returned to Trogir on our last day, the heavens opened, and we were hit with relentless rain. Although it was a slightly sour note to end the holiday on, I, for one, felt relieved. Thank goodness, I thought, otherwise I’d never want to leave.

Trips with More Sailing start from approximately £1,470 per person and include accommodation on board, breakfast, lunch and selected drinks. Flights to Split are available from multiple UK airports.
This trip was made possible thanks to the generosity of More Sailing.

Check out our piece on Sicily’s Beating Heart, Palermo.

The post Around Croatia with More Sailing appeared first on London Unattached.

Last Updated on May 25, 2026

Cuban Patricio Revé’s Ashton Debut

No choreographer is as quintessentially English as Sir Frederick Ashton (1904-1988); and few of his many ballets are as English as La Fille Mal Gardée (generally translated as The Wayward Daughter).  Though inspired by an 18th-century French original, Ashton’s 1960 version, framed by Osbert Lancaster’s naturalistic designs, and set to a gloriously descriptive score by Ferdinand Hérold, distils the idealised essence of his beloved English countryside, lush, sunny, joyous and innocent.  Up to a point: the titular daughter, Lise, is savvy and persistent enough to overcome her daunting mother, the Widow Simone’s opposition to marriage to the cheeky Colas; his persistence matches hers, and all’s well that ends well, as they say.

Along with Dame Ninette de Valois, who appointed him The Royal Ballet’s founder choreographer, Ashton was key to developing a specific style of English ballet, and the Ashton style is still spoken of with reverential awe.   You know it when you see it: its unbroken elegance, wit and flowing response to the music, its technical difficulty with very fast, intricate footwork, accompanied by soft upper body and the famed épaulement tilt of head and shoulder.

English-trained dancers absorb it like mother’s milk, though it’s only fair to say not all ever master it completely.  Some foreign-trained dancers, namely Marianela Núñez and Vadim Muntagirov, Royal Ballet principals and veterans, who opened this season’s first run of Fille performances back in the autumn, have become noted Ashtonians.

In the second tranche of Fille performances of the season, now underway at the Royal Opera House, much interest has focused on Patricio Revé, who will join The Royal Ballet as a principal in the coming season, but has been finding his Covent Garden feet with a number of guest appearances. 

Trained in the famously athletic, virtuoso Cuban method, Revé’s move from the Cuban National Ballet, where he was a principal, to Queensland Ballet offered him plenty of opportunities to enlarge his repertoire and adapt his style to the requirements of different choreographers.  The question now was, could he master the Ashton style and offer a convincing Colas?

On the whole, Revé acquainted himself well, after a slightly nervous start, when he had to perform his first variation holding a long stick – many dancers have commented on the difficulties posed by Fille’s abundant use of props.  Revé is immensely elegant, and virtuosity holds no terrors for him.  He jumps with ease, draws harmonious lines, turns well and partners with empathy.   The minutiae of the style will surely come to him as he gets more immersed in The Royal Ballet. He will also learn to moderate his facial expressions, which are a bit on the wild side at present.  But yes, he’ll do!

His Lise was the at times unpredictable Russian superstar Natalia Osipova, not the most Ashtonian of all ballerinas, her style and mannerisms more Russian than English.   A gifted comedienne, she milks the comic potential of the role with gusto, if sometimes a little over the top, but on opening night, she appeared not quite invested in the performance.

Though the focus of this review of La Fille Mal Gardée was the lead partnership, and in particular Patricio Revé’s Ashton debut, I must mention Bennet Gartside’s performance as Widow Simone.  Inspired by the Dames of English pantomime, Ashton cast this role en travesti, and it requires a fine balance between the character’s comically ill-tempered determination to marry her daughter to the simple son of a rich neighbouring landowner, and her endearing devotion to her only child, not to mention the ability to do the Lancastrian clog dance.  Gartside excelled.

Elsewhere, the corps gave a spirited account of their profuse dances as peasants, Lise’s friends and dancing poultry, though the landing from some of the men was clumsy and needs urgent attention; and José Salazar’s conducting was distracting, with a disturbingly slow overture and erratic tempi throughout.

A final word for the one we’ve missed, that is to say, the live pony who delighted audiences for many years and apparently out of, in my view, misplaced concerns for animal welfare, has now been replaced by an animatronic version on wheels.  Boo.

La Fille Mal Gardée is at the RBO from 23 May to 9 June

RBO
Bow Street
London WC2E 9DD

Check out our London Dance Previews – January to July 2026

The post La Fille Mal Gardée Returns to Covent Garden appeared first on London Unattached.

Last Updated on May 23, 2026

Ancient and Modern

We are a sentimental bunch at London Unattached. When we heard that the team behind Restaurant St. Barts, our very first Restaurant of the Month in 2022, were opening a new British Bistro named Tavern in Old Street, it was a no-brainer as to what should be this month’s ROTM. We have even more history with this group than just having predicted awards for the now Michelin-starred St. Barts.

In 2018 we reviewed Nest, their very first joint that nestled on an unprepossessing roundabout in Hackney. It had a set menu at £28 for seven courses and we sat on rough-hewn handmade tables and chairs they had built themselves. From then on we were fans, and the three young chaps have gone from strength to strength. Nest moved to the site that Tavern is now on and there was Fenn in Fulham and of course Restaurant St. Barts. But the sense of idealism and unworldliness behind Nest seems to have been maintained in subsequent projects.

Tavern is being marketed as a British Bistro which is suddenly becoming a ‘thing’. Last month our ROTM was Sally Abé’s Teal in Hackney, another British Bistro, with both Abé and Johnnie Crowe from the Nest/Tavern/St. Bars team having worked at The Harwood Arms. The redoubtable Gladwin Brothers have been mining this particular culinary seam for a while now with Rabbit in Chelsea and The Sussex in Soho and of course, there is Pivot in Covent Garden.

I wouldn’t be surprised if we didn’t see British Bistros popping up in the backrooms of posher pubs in the next few months. It feels as if it is the logical successor to the Gastropub. But what is a British Bistro? Clearly, food has to be UK sourced and many dishes are delving into our lost culinary heritage. But at Tavern they are incorporating techniques such as pickling and fermenting as well as bringing in global influences from Asia, Europe and South America. It will be interesting to watch this one play out.

As its name suggests, Tavern is a contemporary and stylish vision of an ancient tavern. Ship’s bulkhead lights give a yellow glow to the vanilla wood panelling and distressed flooring. The focal point is the counter bar where you can sit at eat and sup beer from a tankard. Old brass dishes and antique plates hang from the walls and rustic wooden chairs with are covered with sheepskin throws.

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The menu focuses on ‘seasonal British produce, whole animal butchery and dishes cooked over fire’. Dishes we didn’t try include devilled pig skin with smoked cod’s roe, hogget scrumpets with mint, or the Tavern sausage served with curry sauce which should give an idea of the restaurant’s culinary landscape.

From the snacks menu we chose a couple of Chunion Puffs. A light pastry case filled to the brim with a sweet and rich cheese custard and onions filling and topped with grated cheese and spring onions. A comforting and rustic flavour bomb it set us up perfectly for the rest of the meal. You may not have known that the word ‘chunion’ is urban slang for a particularly tangy underarm odour…but now you do.

The wine list is stacked with bottles from natural and low-intervention producers and there are classic and contemporary cocktails including a pickle chilli martini, a classic pickleback with a chilli kick and a pickle to finish. We tried a couple of wines with our three small plates. A lively Thalia Orange 2024, Viognier, Languedoc had well-rounded apricot notes and was a lovely match with our plate of crunchy asparagus slathered in a luxuriant brown butter Hollandaise. The sauce was cut through by the saltiness of a cured St Ewes egg yolk turning a classic dish into something more contemporary.

The dry lemony and herbal flavours of a 2023 Melsheimer Estate Riesling, Mosel, pleasingly counterpointed a buttery baked Barra Scallop in a cobnut XO sauce. The XO had formed a slight crust on the scallop making me slightly anxious in a first-world kind of way, but the gnarly-looking bivalve was moist and tender with the XO adding a grainy texture and rich umami flavours.

A lovely-looking sea trout tartare and Nutbourne tomato salad was the only duff note of the meal for me. Dotted with a crab mayo and herbal, peppery lovage emulsion, the fish lacked flavour with the tomato not compensating.

The main dishes were stupendous with careful product sourcing clearly playing its part. A glorious tranche of halibut in a vegetal cockle and broad bean broth was topped with pickled fried laverbread giving a welcome acidity to the dish. My matched glass of Ciuri Terraze dell’ Etna was brimming with volcanic minerality and a hint of mango.

Hogget is a two-year-old lamb. Tavern source their meat from Lowfields farm from where they buy and use the whole carcass. The meat was superb, tender, pink as Lady Penelope’s Rolls-Royce and big flavoured with a rich jus, some juicy mussels, the grainy lactic tanginess of ewe’s curd in a Flourish courgette flower and sweetbreads. A peppery glass of Petit Ours Mathieu Barret had oodles of black fruit notes and well-rounded tannins.

Chips were rustic and suitably medieval, but they tasted good!

Panela (unrefined cane sugar) Custard Tart was a revelation. It had an unrefined sweetness, a bit like Barbara Bach in the Dukes of Hazzard. The purity of a milk ice cream and a miso caramel sauce with its savoury tones added complexity.

I really enjoyed my meal at Tavern and it was good to catch up with Luke, one of the partners. Like Nieves Barragan’s Legado around the corner it felt very zeitgeisty and was full of the trendy young creating an enthusiastic buzz. We need to support this type of operation which is a million miles from the identikit corporate blandness that mars so many operations. Go and try it out. There’s a car park around the corner!

Tavern

374-378 Old St, London EC1V 9LT

Other new openings that have caught our eye this month include

Avi Bistro 
Just opening at The Lowndes Hotel in Belgravia, Avi Bistro blends American and French influences with luxury twists on nostalgic classics in a French bistrot dining room. Dishes including New York Fried Chicken & Caviar, Caviar Fish and Chips, LA Brioche Noire Lobster Roll, Le Big Mac avec Truffle, and Red Claw Lobster Linguine, alongside premium grilled meats and seafood. The kitchen is led by chef Joshua Conte (ex The Dorchester, Chiltern Firehouse, The Crown at Bray) who has a background in classic French technique and Mediterranean cooking.
 

Avi Bistro 
21 Lowndes St,, SW1X 9ES
020 4615 4777

Maki Nori
Maki Nori in Soho’s Old Compton Street is a new high-quality handroll experience without the formality or price point often associated with premium sushi. At the centre of the concept is its ’15-second roll’ proposition, with sushi chefs slicing, rolling and presenting handrolls to order in seconds, ensuring each one is served and eaten at its freshest. 

There’s a 20-seat sushi counter will act as the core of the setting, giving guests a direct view of the chefs at work, while the wider restaurant will also feature tableside service elements, including a roaming sushi cart. With seafood sourced from leading fisheries, scallops from Hikido in Japan, sea urchin from Japan, bluefin tuna from Spain and salmon from Scotland, this is sure to be a Soho hit.

Maki Nori
15 Moor St, London W1D 5ND
020 8075 4944

Dante Mayfair 

New York institution Dante, resident at Claridge’s since last year, will move into a permanent restaurant and bar at the hotel in June moving into the space occupied by Claridge’s Restaurant. With a Dante’s signature Martini hour and soulful live music, the winner of Number 1 World’s 50 Best Bars, Time Out New York’s Bar of the Year, and World’s Best Bar will be a welcome addition to the Mayfair scene.

Dante Mayfair 
Claridge’s, Brook Street, Mayfair, London W1K 4HR
+44 (0)20 7629 8860
 

Lady of the Grapes SE1
Covent Garden favourite Lady of the Grapes is opening a Modern French bistro and an underground speakeasy-style wine bar, Forbidden Fruit, in the historic Menier Chocolate Factory, steps from Borough Market. With a strong focus on organic and natural wines and championing female producers, the new London Bridge location will continue to cook modern French bistro fare paired with a 400+ wine list and the same ethos. Forbidden Fruit sits in the basement, an intimate 45-seat space serving a charcuterie menu alongside the broad Lady of the Grapes wines list and multiple wines by the glass.

Lady of the Grapes SE1
4 O’Meara Street, London, SE1 1TE
 020 3725 1111

Check out our Best of British Restaurants in London

The post Restaurant of the Month – Tavern appeared first on London Unattached.

Last Updated on May 23, 2026

Joyful theatre adaptation of the film that “brought reggae music to the world” returns to the London stage

If the distinctive sound of reggae music makes you think of lazy Caribbean holidays and rum cocktails on the beach, then you are probably not alone.  But if you consider for a moment the origins of reggae music in Jamaica in the late 1960s, the genre arose out of a far grittier context than its laid-back stereotype suggests.  In the late 1960s, after achieving independence in 1962, Jamaica was still struggling to define its own identity and was dealing with social upheaval, economic hardship, cultural revolutions, and political turbulence.  The Harder They Come does not shy away from any of these issues, while also vividly conveying the joy of the music and the irrepressibility of the Jamaican people.

The Harder They Come at The Theatre Royal Stratford East is a stage adaptation of a 1972 Jamaican crime film of the same name.  Loosely based on the life story of a real 1940s Jamaican criminal, Ivan “Ivanhoe” Martin (known as Rhyging), the film’s place in history was sealed by the casting of reggae music legend Jimmy Cliff in the lead role. Cliff was already a rising recording star in the UK and was originally asked only to write songs for the soundtrack, but eventually the director offered him the lead role.  The film went on to become arguably the most influential Caribbean film of all time, praised for its unflinching portrayal of police corruption, economic inequality, drug use and the music industry’s exploitation of artists. Even more iconic was its soundtrack that “brought reggae to the world”. With Cliff’s passing late in 2025, the show’s return to the London stage holds particular poignancy, while the music retains its powerful impact. The stage adaptation is by Suzan-Lori Parks (who also wrote some new songs for the show), and the dialogue leans heavily into Jamaican patois and slang, which adds to the authentic feel of the production.

The show opens as Kingston is waking up. Characters appear on stage one by one, and slowly the sounds of their activities (the hammering of nails, a sweeping broom) form a cohesive beat that segues into the opening song Funky Kingston, a joyful celebration of the hustle and bustle of the city and a whirl of colour thanks to Jessica Cabassa’s excellent costumes.  It’s not long before we meet the protagonists.  Ivan (flawlessly played and sung throughout by Natey Jones) is a “country boi”, newly arrived in town to visit his mum and dazzled by the sights and sounds of the big city. He is smitten at first sight by Elsa (Madeline Charlemagne), the beautiful and pious ward of the local preacher, but is almost immediately relieved of his worldly possessions by a devious porter. Soon, he is hanging out with some jovial but shady characters, led by the charismatic José (Danny Bailey), who offers to show him the ropes around Kingston – but his real ambition is to be a famous singer. His mum Daisy (Rachel John) wants him to return to the country where he is safe from the temptations of the city, but the lure of Elsa and the tantalising possibility of fame proves to hold too much attraction.

Act One focuses largely on Ivan and Elsa’s developing relationship and his economic struggles to make ends meet, while chasing his musical dream. We meet the charismatic but puritanical Preacher (Ashley Samuels), who gives Ivan a place to stay but is unaware of the latter’s feelings for his ward, Elsa. While fixing bicycles, Ivan hears that the enigmatic Mr Hilton (Thomas Vernal) is the music producer that he needs to befriend to further his musical ambitions, but it soon becomes obvious that Mr Hilton is a ruthless man not averse to exploiting the artists that work with him.  The songs come thick, fast and varied – from Daisy and Gina’s very lovely rendition of Rivers of Babylon to the energetic 007 (Shanty Town) to one of my long-time favourites, Draw Your Brakes (Stop That Train).

There is some clever staging, particularly a scene where José and his associates take Ivan to the cinema to watch Franco Nero’s spaghetti Western Django.  The film is projected onto what looks like an old bed sheet, but clever lighting means we can see Ivan and his companions on the other side of the screen as they cheer while Django shoots his enemies. The accompanying song Hero Don’t Never Die is one of Parks’ original numbers and provides the perfect bravado-laden accompaniment to the macho posturing of the characters. It also sits perfectly comfortably beside Jimmy Cliff’s reggae classics like Wonderful World, Beautiful People and Many Rivers to Cross. Hats off, too, to choreographer Shelley Maxwell for dazzling choreography throughout.  The standout for me, though, was a scene where, as soon as the preacher closes his eyes in prayer, the congregation throw off their robes and indulges in a hip-circling, grinding fantasy dance sequence, fulfilling their innermost dreams to a sensual bassline. But by the time the preacher opens his eyes, they are all back in their robes and singing praises.  It’s a wonderful contrast between piety and lasciviousness, brilliantly executed.

After Ivan and Elsa break the rules to go into the preacher’s church after hours, Ivan is banished, and Act 2 opens with a stage full of marijuana plants and Ivan, José and friends singing Johnny Nash’s I Can See Clearly Now in a wonderfully comical moment.  Having lost his home with the preacher, we see Ivan relenting and selling drugs for José to make ends meet and raise money for his musical career.  Act 2 is darker in mood, and we peek into Kingston’s underbelly of drug dealers and corrupt policemen. There is less focus on Ivan and Elsa as the focus shifts to Ivan fighting the odds to persuade Mr Hilton to let him record a song. But even with a song recorded, Ivan soon finds out that the system is rigged against him as he is remorselessly exploited by Hilton. Act 2 also shifts gears from focusing on Ivan’s fight to become a music star to him gradually becoming an outlaw rebel hero of the people. Things do not end well for Ivan and Elsa, but ultimately the show transcends its initial premise of a love story with musical ambition thrown in, to become a story of a Robin Hood-like folk hero not afraid to stand up to those who sought to oppress him.

Simon Kenny’s set is versatile and nothing short of brilliant.  Walls open out to become bars or workshops; a white sheet is used periodically for projections; and the side of a building becomes a giant TV set.  It is a pleasure to see such a cleverly designed set that truly makes the most of the available space on stage. The live band off-stage is note-perfect and as tight as can be, and the singing is excellent throughout. Madeine Charlemagne as Elsa was probably my least favourite of the main voices, but I really loved the rich, powerful tones of Rachel John as Daisy.  Natey Jones does a phenomenal job as Ivan, not only with the physicality of the performance (those snake hips certainly don’t lie!) but also with his powerful yet controlled voice. And both José and Mr Hilton (Danny Bailey and Thomas Vernal) manage to bring to their characters a finely tuned mix of humour which can turn to menace in the blink of an eye. Vernal also has an excellent voice, far sweeter than his physical size might suggest. In fact, there really is not a duff voice amongst the entire company.

I see in contemporary accounts of early screenings of the film The Harder They Come that, although American audiences loved the film, they all sat through it in silence before clapping politely at the end.   By contrast, Jamaican audiences (to the film-maker’s surprise) engaged with the film by shouting at and talking to the characters on screen, tut-tutting to register disapproval, and gasping when surprised.  I was fascinated to see that the audience this week at The Theatre Royal Stratford, unlike most London audiences, also engaged vocally and enthusiastically with the play.  From audible mutters of disapproval when a character misbehaved to whoops of approval during the fantasy dance sequence in church, the audience was not afraid to tell you in real time what they thought of the action on stage. It’s not every show that connects and resonates so strongly with audiences, and it is a testimony to the timelessness of the themes and music in The Harder They Come that audiences still connect so strongly with it today, over 50 years since the film was released. Above all, though, the show is a joyous celebration of reggae music and Jamaican culture – a fitting legacy for Jimmy Cliff and a treat for both reggae aficionados and novices alike.

The Harder They Come is on at the Theatre Royal Stratford East from 16 May to 4 July 2026. Tickets available here.

Theatre Royal Stratford East
Gerry Raffles Square
Stratford
London
E15 1BN

Box Office: 020 8534 0310
General Enquiries: 020 8534 7374

Looking for more off-West End shows? Check out our London Theatre Previews, January to July 2026 – Off West End.

The post The Harder They Come – Theatre Royal Stratford East appeared first on London Unattached.

Last Updated on May 22, 2026

Enjoy Best of British at the Blue Boar

The Blue Boar Pub at the Conrad St James Hotel has introduced a three-course Beef Wellington Experience alongside its traditional Sunday roasts. Anticipating a real treat, I went along to find out if their Beef Wellington resembled those I’d eaten in the past.

Although part of the hotel, The Blue Boar is described as a modern take on the classic London pub. With its own imposing entrance, floor-to-ceiling windows, and a mixture of comfortable seating, the atmosphere is more like a restaurant than a pub. There are quirky Gerald Scarfe prints on the walls, reflecting the proximity to the Houses of Parliament and a convivial, relaxed atmosphere.

My friend and I sat at a table looking out onto the street. The menu offers a choice of Sunday Roasts, all served with the traditional accompaniments of Yorkshire pudding, roast potatoes, carrots, parsnips, and seasonal greens. We were here, however, to try their Beef Wellington Experience that included a welcome cocktail, a choice of three starters, Beef Wellington with sides, and a choice of three desserts.

Sunday lunch is generally a leisurely meal, and since the Beef Wellington takes up to 45 minutes to cook, the star attraction takes some time to arrive. However, in such a leisurely atmosphere, the time was a great opportunity to chat, enjoy a cocktail or two and our starters.

We started with a spicy Bloody Mary served with two green olives rather than the traditional celery.  The pub has a signature trolley that adds a theatrical twist to a Yuzu Cloud while serving it, but unfortunately, it was out of service on our visit. We enjoyed our starters of deep-fried, chilli-salted crispy squid and crispy asparagus. Rather scarily, the menu listed the calories for each dish, including the other option of a sausage roll.

Beef Wellington was all the rage in the sixties. It’s a popular dish in London once again, perhaps thanks to being Gordon Ramsay’s signature dish at several of his restaurants, including the Savoy Grill and Hell’s Kitchen. It’s often served as a Sunday lunch option and is on the menu at several of our favourite London restaurants. The Blue Boar version arrived, medium rare as requested, with the beef wrapped in a spinach-and-chestnut-mushroom mixture, encased in crusty puff pastry. A red wine jus was served on the side, which, when poured over the pastry, combined all the ingredients to give a rich but delicious taste. Accompanying this was a very garlicky truffle mash, tenderstem broccoli and crispy green beans.

Desserts were also from a bygone era: strawberry and sherry trifle, Cambridge Burnt cream, and sticky toffee pudding served with vanilla ice cream. My trifle was all that I remembered, layers of custard and cream, although ideally, I would have liked more strawberries and a bigger splash of sherry!

Piped music plays in the background, although on Friday and Sunday evenings from 7 pm to 9 pm, there is live music – a lady on Friday and a man with his guitar on a Sunday.  The pub stands on the site where the Brewers’ Society was based in 1909, and near to Westminster Abbey and the Houses of Parliament.

The Blue Boar is dog-friendly, a bonus for me as I have a dog. Poppy had two choices of food too – beef or chicken with brown rice and vegetables. A great venue for our four-legged friends.

If you are in the mood to indulge with a glass of wine or two, there’s also a bottomless option with Bottega Pinot Grigio Blush Delle Venezia, Italy – £40 per person, Vinuva Montepulciano D’Abruzzo, Italy £35 or Reign of Terroir Chenin Blanc, South Africa for £38 per person.

The Beef Wellington Experience at the Blue Boar is served on Sundays from noon to 10 pm at £85 per person and should be booked in advance on their website.

Open 7 days a week

Blue Boar Pub
45 Tothill Street
London SW1H 9LQ.

0203 301 8080

Book here: 

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A Sicilian Feast in East London Inspired by the Volcanic Landscapes of Mount Etna and Stromboli

Once a collection of warehouses, factories and neglected canal-side spaces, Hackney Wick has transformed over the last ten years into one of East London’s most creative neighbourhoods. These spaces now house breweries, bakeries, cocktail bars and cool, ambitious food concepts. Almost hidden to those who don’t know, Unlock Pizza sits by the water on Monkhood Way. It’s easily mistaken for a gallery or a book shop as you peek through the floor-to-ceiling windows. But a series of creative, culinary menus is about to explode.

Unlock’s new residency series called ‘Volcanic Kitchens and Wines’ seems very apt for this area as the concept is rooted in transformation. Just as volcanic landscapes create fertile new ground from devastating destruction, Hackney Wick has evolved into a place where creatives can take root and flourish.

The concept is really clever. Hosted at Unlock Pizza in Hackney Wick, the monthly residency takes volcanic territories as its culinary starting point and then experiments with the food cultures there shaped by the lava-rich landscapes, mineral-heavy soils and dramatic landscapes. The ‘every day’ Unlock menu already gives more than just a pizza joint vibes but these residencies give the already talented chefs, Emanuele Esposito, Giovanni Izzo and Bruno Rogers, more creative playtime!

The opening residency focused on Sicily – a very fitting choice given the island’s ongoing relationship with Etna and Stromboli. I consider Sicily to be one of the great loves of my life, having honeymooned there nearly 30 years ago and visited again for my 25^th wedding anniversary with my family. The cuisine is historic, adventurous and impossible to separate from its terrain.

The citrus, tomatoes, pistachios, olives and wine grapes that grow there are deeply flavoured by the volcanic terrain. The island’s position in the Mediterranean layers Arab, Spanish and North African influences into its cooking. What fun the chefs must have had creating this menu and distilling all these influences into a series of dishes that were vibrant and flavourful.

The evening began with Unlock’s dough on charcoal with San Marzano tomato ragù and an artichoke spread. Unlock is already known for its Neapolitan pizzas, and the quality of the dough here is on a par with the best pizza joints in central London and NYC. The tomato ragù was intensely sweet and earthy and the artichoke rich and buttery. The crispy artichokes on top took me right back to Catania market.

Next, a pizzette topped with anchovy, buffalo stracciatella, Salina Capers and Sicilian lemon zest. Such a balanced mouthful. Umami anchovy, cooling stracciatella and sharp capers. But it was the lemon that tied it all together.

Onwards with busiate, smoked aubergine and pesto Trapanese. The spiral-shaped pasta is traditionally associated with western Sicily held the sauce well and had a nice bite. The combination of smoked aubergine and the pesto Trapanese (tomatoes, almonds and basil) made this dish sweet as well as smoky.

Grilled bream fresh from the market with Sicilian Limoni was perhaps my favourite dish of the evening. The fish was delicately seared and served crispy skin side up on those huge Tropea onions that work so well with lemon. Again, I was transported to the beach opposite Isola Bella near Taormina, feet in sand, slurping the onions my children had left on their plates.

Salads sometimes are an afterthought on experimental menus but the blood orange and fennel salad here demands your attention. I hope they keep it on the menu. Sweet, acid, colour and aniseed working together to remind us that exceptional produce remains central to Unlock’s philosophy of cooking.

Dessert continued the volcanic theme with Annurca apple gelato, made by the clever folks at Wave, topped with a black crumb designed to resemble volcanic earth. The gelato was distinctly a gelato versus a sorbet – sharp but creamy which prevented the dessert from being too sweet. It concluded a playful, creative meal served with pride by the kitchen team.

Themed dining experiences can sometimes be a bit of pomp rather than substance, but the volcanic concept here really does draw on the land, its produce freshly available in the UK specifically and culinary traditions of the home country. Volcanic regions across the world share fertile soils and dramatic landscapes but their cuisines differ radically. Upcoming residencies will focus on Japan, Mexico and Indonesia. Perhaps they will explore fermentation traditions in Japan, chilli cultivation in Mexico and spice routes through Indonesia. I can’t wait to taste them.

For now though, the Sicilian opening menu set a high bar. Not only was it delicious but it succeeded in transporting me, if only for an evening, to the black lava soil, citrus groves, fruit orchards and vineyards of this beautiful island and left me planning my return – to Sicily and this little hidden corner of Hackney Wick.

Future residencies will be announced on Unlock’s Instagram.

Volcanic Kitchens and Wines Residency at Unlock Pizza, Hackney Wick

1 Monkwood Way, E3 2EG

For general enquiries call 020 3906 8829

For more Italian food in London try Macellaio RC Soho Sunday Italian Feast, The Italian Greyhound or Rottura.

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Last Updated on May 20, 2026

Northern Ballet Celebrates the First Modern Lesbian

Gentleman Jack is possibly the first ever ballet centred on a lesbian heroine:  Anne Lister, the indomitable 19th-century Yorkshire landowner, known as Gentleman Jack, who lived and loved as she liked, with no concessions to societal mores and restrictions.  Since the discovery and decryption of her detailed diaries, Lister has become a subject of fascination, generating novels, a popular TV series and now, too, a ballet, which premiered in the company’s Leeds home and has reached Sadler’s Wells as part of an extensive tour.

Northern Ballet has an enviable repertoire of narrative ballets, and Gentleman Jack, artistic director Federico Bonelli’s first full-length commission, perfectly fits the company’s mould.  Choreographed by Annabelle Lopez Ochoa, the multi-award-winning maker of more than 100 ballets for a raft of international companies, with Clare Croft credited as dramaturg, its story flows with absolute clarity, its broad-brush characters coming vividly to life through choreography that is spare, unfussy and highly effective.

A prologue shows Anne Lister in top hat, black frock coat with green lining and soft ballet shoes surrounded by a group of men on an otherwise empty stage, duskily lit by Christopher Ash. At intervals, she taps the floor with her silver-topped cane, her ever-present symbol of unfeminine dominance.  She is danced with tremendous assurance by Gemma Coutts, her leitmotif move, an almost provocative flick of the hip and leg, denoting the character’s self-confidence.

Act I plunges right into the story. Anne confronts striking miners, but her attempts to make common cause with other landowners are rebuffed; the men’s outrage at seeing a woman meddle in their business is clearly depicted.  A domestic scene with her demure aunt, uncle and sister is disrupted by the arrival of Marianna, Anne’s lover.  The heat goes up a notch or two.

The pas de deux between the two women is erotically charged, cleverly subverting the balletic norm of male/female duets.  When with Anne, Saeka Shirai’s Marianna dances with kittenish sensuality, but when she returns to her husband her movements become stilted, her body appearing to fold in on itself.  With Anne left to pour her pain and humiliation into her diaries, Lopez Ochoa floods the stage with a large ensemble in body suits printed with Anne’s cypher, with lines of the same cypher projected onto the floor; a process that will recur at intervals during the ballet, as Anne obsessively commits her thoughts and feelings to paper.

A small selection of clever props, primarily three tall cabinets brought on by dancing cast members, frame the action: on one side they’re bookshelves, denoting the various interiors; turned around they are screens setting outdoors scenes, be it the Yorkshire moors, or the bustling streets of Paris, where, at the beginning of Act II, Anne travels and is startled to find the kind of freedom and hedonism unthinkable in provincial, staid Yorkshire.

Here, the predominantly subdued palette of the first scenes changes radically, as Anne meets a group of women in colourful, flowing skirts, hair loose, waltzing together happily.

This scene is short, and I wondered whether more could have been made of Anne’s Paris sojourn, but perhaps that would have slowed the pace of the action and the culmination of the story: Anne Lister’s relationship with Ann Walker, danced by Rachel Gillespie.  Their pas de deux, set mostly on a table, is longer, more intense and more sexual than the early encounter with Marianna. It’s also entirely convincing.  Always in control, Anne Lister teases Walker’s body with a feather, generating frissons of desire, Walker responding with growing eagerness. It’s sex, of course, but it’s also the beginning of love.

The two women’s secret, symbolic wedding is portrayed in a scene where the veiled women meet among the writings of Anne’s diaries, which were for a long time the only repositories of their secret.

Northern Ballet’s Gentleman Jack is an immensely accomplished ballet, its concise theatricality entirely admirable. Peter Salem’s percussive score was skilfully played live by Northern Ballet’s Orchestra, conducted by Daniel Parkinson.  For all its strengths, though, I found it emotionally uninvolving – very easy to admire, not so easy to love.

Northern Ballet, Gentleman Jack is at Sadler’s Wells 19 – 23 May

Sadler’s Wells Angel
Rosebery Avenue
London EC11R 4TN

Check out our London Dance Previews – January to July 2026

The post Gentleman Jack The Ballet appeared first on London Unattached.

Last Updated on May 20, 2026

The Princess and the Mushy Pea

Imagine a world in which King Edward VIII hadn’t fallen in love with Wallis Simpson and then given up the throne. King George VI would never have become king, and his eldest daughter, Princess Elizabeth, would not have taken the crown on the death of her father, instead enjoying the lifestyle that made up the life of a young aristocrat. This is the premise behind Lilibet’s, chef/restaurateur Ross Shonhan’s fantasy fish restaurant named after Queen Elizabeth’s childhood monicker, and built on the 17 Bruton St, Mayfair site where she was born on 21st April 1926.

The original building was a Georgian townhouse owned by the Queen’s grandparents, the Earl and Countess of Strathmore, which was demolished for redevelopment in 1937. The replacement was a modern office block and car park giving Shonhan and his designers Russell Sage Studios the opportunity to create a ‘house without walls’, a series of spaces that summon up the glamour of the pre-war period of the 1920’s and 30’s.

There are period light fittings and scallop shell sconces with a dozen unique banquette styles each with individual trims and George Smith upholstery. There’s a marble cocktail bar, raw and grill bars, a nook covered in Gainsborough fabric and walls lined with pads of woven horsehair, normally only seen now on Louis Vuitton luggage. In the basement are the gorgeous loos and a private dining room, the 22 cover Hartnell Room, dedicated to the Queen and Queen Mother’s favourite designer, whose atelier was just opposite. It’s a symphony of pink pleating, and the whole place is deliciously over the top and high camp.

Ross Shonhan made his name as executive chef at Nobu, then striking out on his own to create a series of striking and successful Asian street food brands. He started in 2017 with Rock’n Roll Ramen joint Bone Daddies, followed by Shack-Fuyu and Flesh & Buns. Shonhan sold his group and, 8 months ago, opened Lilibet’s, which, despite its heritage, does not have a British culinary focus – there is no fish pie – but delivers a mostly Mediterranean seafood menu.

Lilibet’s is a big operation, turning 120 covers over 2 sittings. Executive chef Alex Harper has a fine CV that includes The Ledbury, the long-lamented Texture and Le Manoir. He created the menu to Shonhan’s guidelines with a lengthy development process that is obvious once our food starts to arrive at the table.

The menu has a variety of pathways. There is a good value set lunch on offer from Monday to Fridays, two tasting menus, The Signature at £90 pp and the Royale at £125 pp; there is raw seafood, caviar and oysters from the Marenarium, seafood platters, snacks and breads; a selection of carpaccios and crudos from the raw bar, small plates, salads and dishes from the wood grill, grilled seafood and meats, sides and desserts.

We needed a couple of glasses of elegant Gosset Blanc de Blancs to get through the menu, but in the end, we opted for the Royale tasting menu, which covered a lot of the bases, garnering a raised eyebrow from our lovely waitress, who let us know that it was “a lot of food”. But I was ready to eat …

There is an attention to detail at Lilibet’s, which is reassuring. Both Blenheim Palace mineral water and our fizz arrive in beautifully engraved glasses. We started with a snack: an Anchovy Éclair was a delicious savoury bite; a light anchovy cream studded with fish eggs sat atop a choux pastry bun. The combination of the pastry and restrained saltiness of the cream was perfect as an opening dish.

I love the sweetness of red prawns, and for the Red Prawn Carpaccio, my favourite crustaceans were marinated in chilli and lime, creating a mild, citric spiciness. The crunch of a lavash flatbread was a suitable accompaniment.

As part of the Royale menu, you choose a fish, sea bass, sea bream or gurnard, which is then served in three courses as part of a fish ‘Triptych’ throughout your meal. The first element was a crudo with chunks of the raw fish being served in a French Caribbean ‘Sauce Chien’, literally translated as dog sauce, a hot sauce named after the ‘Chien’ brand of knives used to chop the blend of garlic, onion, hot pepper, parsley and lime juice. The fish was very fresh and zinged with citric heat, with the parsley adding a vegetal note.

Baked Shellfish Rice is really a Spanish seafood rice. Charred red prawns sat on top of the hot, intensely flavoured rice. I sucked the rich juices out of the prawn heads and made a joyous mess.

A Chrysanthemum Salad is an Asian salad using bitter Chrysanthemum leaves which were here covered in a Caesar dressing.

Hand-dived scallops came beautifully cooked, lightly seared with the flesh delicately flaky and then doused in the richness of a seaweed butter.

For the 2nd course of the Triptych, a grilled fillet of sea bass was served with a herby, garlicky ‘mojo verde’ sauce, a simple way to highlight the quality of the fish.
Side dishes at Lilibet’s are taken seriously. Green beans had plenty of snap and were covered with the funky umami notes of an XO sauce. And Lilibet’s Mash was a dessert-island dish. A dollop of Robuchon-style mash (waxy Ratte potatoes with as much butter and cream as the world can supply) served with a shellfish bisque and tender morsels of lobster.

The 3rd Course of the Triptych was described as the ‘Bones’. An à la minute soup with the fish carcass, some vegetables and chilli pressure-cooked for 15 minutes. It was warming and comforting with a pleasing chilli kick.

Dessert was the ‘Chef’s selection’. A light Biscoff mousse had a toasted almond crunch and a crisp biscuit base; however, the mousse itself was underpowered and needed more guts.

Rice pudding with a Gariguette strawberry compote was a delight. It was a cross between a rice pudding and a trifle with lots of cream and jelly. Pumped up nursery food perfect for a Princess.

After some excellent Armagnac truffles and a restorative glass of raspberry eau de vie, it was a struggle to get out of my chair. Where were the footmen to assist me? The loos at Lilibet’s are genuinely worth a visit, but you might not want to leave. The restaurant is carefully calibrated to give you a good time. It’s buzzy and a lot of fun with food that is very pleasurable. Maybe we can all live like a Princess for a day?

Lilibet’s 
17 Bruton St, London, W1J 6QB
+442038288388

Check out our Ten Best London Fish Restaurants

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