Last Updated on July 17, 2026

Creative culinary storytelling in Stoke Newington

My brother lives just around the corner from Stoke Newington Church Street, so I’m a regular visitor. It has a lovely village feel, and unlike most high streets, it’s lined with independent shops rather than chains, with lots of cool cafés and restaurants. So, I already have a good reason to visit, but there’s another reason to make the trip. Calong, which opened in February this year, is an exciting new contemporary Korean restaurant that uses contemporary European techniques to make the most of the bold Korean flavours.

I was invited along to try their new summer menu, and, arriving on a hot summer evening, I found the place buzzing. Tables spilt onto the street, filled with a lively, young crowd. When we asked one of the staff what Calong meant, we were told that it’s Busan slang for something cool or groovy. How apt!

Run by husband-and-wife team Joo and Sujin, Calong earned a Michelin Bib Gourmand in 2026 and was named by the Financial Times as one of the Best New London Restaurants of 2025. No wonder it’s already so popular. Joo has an impressive culinary CV, having previously been head chef at Michelin-starred Galvin at Windows, while Sujin has worked at The Wolseley, The Delaunay and Fischer’s Marylebone.

Inside, it’s cosy and intimate, with a pared-back urban-chic vibe, distressed brick walls, and simple furnishings of wood and galvanised zinc-top tables, with chunky cutlery to match. We sat by the window, which opens completely onto the pavement, where we could watch the world go by and enjoy Calong’s atmosphere.

The menus are chalked up on blackboards, including a cocktail list with choices a little more intriguing than the usual offerings. I went for a refreshing take on a Vermouth and Soda, while my companion chose the Saeng-Gang Martini, which he declared a touch gingery and fabulous.

Food at Calong is made for sharing, with an imaginative menu of Korean dishes cooked in Joo’s unique style. We were advised not to miss the kimchi fritters with chilli mayo, and I’m very pleased we didn’t. Vibrant red balls, gooey and delicious, with a proper bite. It’s a great snack to enjoy alongside the cocktails.

We moved on to a selection of small plates. The chalk stream trout was a complete contrast to the fritters. I’m a real fan of ceviche, but this version had a richer, more Asian-inspired dressing than the South American style I’m used to, combining sesame, plum and soy with sweet orange segments, Thai basil and cucumber. It was wonderfully fresh, with a gentle warmth from the chilli.

Next, tender octopus with chojang, a sweet, sharp, and spicy Korean chilli dressing, balanced by aromatic perilla and peppery watercress, and topped with pickled onion for a sweet-and-sour crunch.

Korean fried chicken may have hit London’s high streets, but Joo’s was something else. The crispiest I’d ever had the pleasure of eating; it came with sweet chilli and peanut and finely sliced pickled radish, adding freshness and a background of heat.

The larger plates came next. A generous portion of perfectly cooked Cornish cod, mooji jorim, with cavolo nero. And then the roast lamb with friggitelli peppers, muchim and olive jus. The lamb was tender, with the rich jus adding depth to the dish’s Asian flavours.

We’d wondered about the steaming-hot earthenware pots arriving at the next table, which was just as well, as I’d never have guessed from the name that mushroom gondre and yolk butter sot bap was a rice dish, and a truly fantastic one at that. Filled with earthy mushrooms, sticky rice and Korean herbs, it was packed with flavour. Summer seasonal veg came with melon and a doenjang vinaigrette.

The wine list is small but well curated, with a selection of ethically made wines served by the glass or by the bottle. The La Distesa Terre Silvate 2025, a Verdicchio from Le Marche, was dry and fresh, with citrusy notes. I often find orange wines a little too funky. Still, the Tutti Frutti Ananas Nespola 2024 from Roussillon was remarkably drinkable; it was vibrant and characterful, with a touch of citrus and spice.

And finally, dessert. The lemon posset was divine. In its centre was a choux fritter, in a lemony cream, topped with a cloud-like dollop of meringue; it was on the right side of sweet and gooey and light. What more could you want?

Add a 24-month Comté with hazelnut biscuits and ginseng honey, and you could say we ended the meal incredibly content.

I probably ate one of the best meals I’ve had all year at Calong. I love the way it combines innovative Korean, ingredient-led dishes with an understated, laid-back atmosphere that suits anyone, from a group of friends to an intimate date. Booking ahead is advisable, as I’m sure the locals know how lucky they are to have such a great neighbourhood restaurant. I left wishing that this fabulous Korean eatery was on my doorstep.

Open for dinner Wednesday-Saturday, lunch Friday-Sunday

Calong 35 Stoke Newington Church St, London N16 0NX

Phone: 020 3561 4798

Check out our New Restaurants in London – Tried and Tested

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Last Updated on July 16, 2026

The Pig and Butcher Gastropub in central Islington

The Pig and Butcher is a gastropub located on a busy road that cuts through Islington, in an attractive building that harks back to the mid-1800s when the surrounding fields were used by farmers to graze livestock due for sale at Smithfield’s Meat Market. The restaurant takes inspiration from its historic position,  and its meat is bought at Smithfield’s while its fruit and veg come from New Spitalfields Market.  The kitchen is inspired by European farmhouse tables and has a menu that changes daily. The Pig and Butcher is known for its craft beers and seasonal meats, butchered onsite. As we were visiting on one of the hottest days of the year, my companion and I were in no state for craft beer, nor the 60-day aged Côte de Boeuf, the 45-day aged sirloin, or the lamb pie for two, tempting as all these dishes were.  I am confident that these would all make for a delicious lunch at The Pig and Butcher on a different sort of day. As it was almost too hot to even think about eating, we chose some of the lighter dishes on the menu, comprising vegetables and fish, which we paired with a glass of Chablis.

The room is very light and bright, with huge windows overlooking the street. A bar runs down one side of the room, and there is an attractive wooden shelving unit dividing the back room from the front where we sat. It is filled with plants, ceramics, books and knick-knacks. Colours are muted and encourage a sense of calm. There were a number of parents with prams enjoying a lunch out. The tables are simple, untreated wood, combined with mismatched wooden chairs. The air-conditioning is excellent and encourages lingering long into the afternoon.

We refreshed with a brace of non-alcoholic cocktails. I enjoyed a Botivo Spritz, my go-to aperitif,  while my companion ordered one of her favourites, a Seedlip G & T.

The starter menu has several dishes to please pescatarians and vegetarians alike. I ordered the tempura courgette flower, lemon ricotta and romesco sauce. The lemon ricotta filling was light and delicious, but the coating was more of a batter than the light Japanese treatment that comprises tempura. The romesco sauce was very tasty with plenty of nuttiness and smoked paprika, although I thought it might pair well with a robust dish of grilled vegetables rather than the delicate courgette flower.

My companion chose crab, elderflower and cucumber crumpet. This looked very attractive, a perfect seasonal dish for summer. A large crumpet was topped with white crab meat, and pipettes of elderflower and cucumber gels. While the topping was very fresh and tasty, the crumpet would benefit from being made in-house, well-toasted, and slathered with butter before being dressed.

We both selected fish dishes for our main courses. As is to be expected at a restaurant named The Pig and Butcher, most of the main courses were meat dishes, although there is one fish and one vegetarian option. I chose the skate, which was the special of the day. Skate wing was served with sauce vierge and beurre blanc. Sauce vierge, which translates as virgin sauce, is a classic from the French repertoire and gorgeous on a summer’s day. It is also a welcome change from the ubiquitous skate wing with brown butter and capers. My skate wing was large, even though I chose the smallest portion on offer. It was served with a very generous topping of the chopped tomato-based sauce, and the beurre blanc was served in a small jug to be added at the table. This was a very rich dish, and the sauce vierge brought a welcome acidity to cut through the richness of the beurre blanc.

My companion chose the fish dish from the menu at The Pig and Butcher, which was plaice, spring salad and champagne foam. This looked very pretty, a ballotine of plaice perched on a fresh salad including fennel, radish and red onion. The salad was delicious and had a well-balanced dressing, while the fish was a tad overcooked.

We enjoyed a side of triple-cooked beef fat chips, large wedges of potato that were satisfyingly crispy on the outside and fluffy within. Hispi cabbage with brown butter and crispy onions brought a large wedge of cabbage looking most attractive, strewn with chopped herbs and crispy onions.

There was a good range of Coravin wines by the glass – eleven whites and eleven reds. We enjoyed a glass each of Jean Collett & Fils Chablis Récolte 2023. This crisp and dry Chardonnay from Burgundy has fruity notes and chalky minerality, which paired well with our fish dishes.

I can rarely resist a pavlova, so I happily selected the pavlova with rhubarb, bourbon vanilla custard and cinnamon ice cream for dessert. Here, there was a pool of vanilla-flecked custard in which fingers of poached rhubarb reclined, having retained just the right level of crunch. In the middle was a scoop of well-flavoured cinnamon ice cream, while up above was a round of meringue, dusted with what might have been sumac, adding a citrussy note. A perfectly lovely summer dessert, not overly sweet despite all the sugary components.

My companion chose the lemon posset, lemon curd and lime meringue. This too was a lovely dish for the summer season.  Lemon posset has an old-fashioned feel but is so enjoyable to eat that it is a classic dessert that deserves its place on menus. It looked so pretty served in a glass coupe, the posset topped with a layer of lemon curd and garnished with shards of lime meringue and microherbs. The dish had good citrus flavour and balance of sweetness, and the addition of lemon curd was a lovely touch. The shards of meringue looked impressive and provided good textural contrast. The posset at The Pig and Butcher was slightly under-set and would have benefited from an extra hour in the fridge.  We ended our lunch with a double espresso and a fresh mint tea.

The Pig and Butcher is an attractive gastropub with very good service and a warm welcome. It is a fresh and light space in which to while away a leisurely lunch. The menu, as is to be expected, leans towards meat eaters, but there are plenty of alternatives for pescatarians. It is a short walk from Angel tube station and well located for the residents of Islington.

 The Pig and Butcher, 80 Liverpool Road, Islington, London N1 0QD

Tel: 020 72268304

Looking for something different? Check our roundup of The Best British Restaurants in London

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Last Updated on July 15, 2026

Love Letters from Russia

It’s summer opera season, and we are enjoying a spectacular series of performances across southern England. The Grange, a new venue for me, is near Winchester in the heart of the Hampshire countryside, and I was lucky enough to catch one of the last performances of Eugene Onegin there this year. A particularly special way of seeing opera, country house performances generally include a long interval for picnicking or dining in the grounds of a stately home, along with productions that challenge the best the capital has to offer. It’s a chance to dress up and relax in fabulous surroundings too.

In fact, The Grange is one of the older ‘new’ country house festival venues, housed in a magnificent Grade I-listed neo-classical mansion near Northington, Hampshire. Originally built in the 1660s, Northington Grange was transformed by a series of wealthy owners and, in the 19th century, given a stunning Greek Revival façade by architect Charles Robert Cockerell.

In 1998, Grange Park Opera began presenting summer shows at The Grange. The productions were initially staged in the converted Orangery but proved so successful that a purpose-built 570-seat theatre was constructed within it in 2002. A lease dispute later led Grange Park Opera to relocate to West Horsley Place in 2017, while a new festival under the artistic direction of countertenor Michael Chance was established at The Grange. Today’s Grange Festival is an eclectic mix of concerts, staged opera and dance, with something for everyone.

As with most country house festivals, there’s a range of dining options. You can bring your own picnic and simply set up your blanket somewhere on the grassy meadows that surround the house. Or you can book space in one of the marquees – great if it’s raining and equally useful when the temperature rises, and you need somewhere to escape the sun.

If you prefer to be looked after, there’s also the option of a catered picnic in one of the marquees or ‘Dinner in the House’. We opted for the former and had so much food (starters, main dishes, and a trio of desserts) that we needed to have much of it boxed up to take home. Definitely worth the money for a hassle-free evening.

The 2026 festival is over now, but we were lucky to catch one of the final performances of a fabulous romantic opera.

Tchaikovsky’s Eugene Onegin, which he described as ‘lyric scenes in seven scenes’, is based on Alexander Pushkin’s verse novel of the same name. Both works hold a special place in Russian culture and have come to be seen as defining achievements of Russian literature and music.

The story of Eugene Onegin follows the life of the young aristocrat who has moved from St Petersburg to the countryside. There, he’s befriended by the poet Vladimir Lensky, who takes him to meet his fiancée, Olga, and her sister Tatyana. An impressionable young woman, Tatyana falls passionately in love with Onegin, but her feelings are not reciprocated – he is both emotionally detached and bored with the countryside. When she pours her heart out in a letter, he rebuffs her. Then, at her birthday ball, he flirts with Olga (the cherubic, vocally accomplished Alice Chung). That leads Lensky to challenge him to a duel, in which Onegin kills his friend.

Years later, still haunted by guilt and disillusioned by his itinerant lifestyle, Onegin returns to St Petersburg. There, at a grand ball, he recognises Tatyana, now a poised and elegant princess – the wife of the distinguished but older Prince Gremin. He is besotted and tries his best to persuade her to leave her husband, but although she admits she still loves him, she refuses and remains faithful to her devoted husband.

Last night’s production used relatively simple staging as the backdrop to a phenomenally talented Tatyana, sung by Ruzan Mantashyan. It’s regarded as one of Mantashyan’s defining roles for good reason. She’s sung it in Hamburg, Berlin, Liège, Vienna, Paris and now at The Grange. What makes her performance so special is the subtle but unmistakable emotional growth from an awkward, bookish teenager to a poised, self-possessed woman in the final act. It’s a brilliant dramatic performance with no vocal compromise at all.

By comparison, the Russian baritone Vladislav Chizhov’s Onegin seemed a little gauche, though entirely the kind of character a gullible country girl would become obsessed with. Aloof and distant, he was a Byronic figure, vocally rather less impressive than Mantashyan but ultimately convincing as an emotionally immature, bored young man who runs away after killing his friend in a duel and returns with the maturity to truly love. The balance of this Eugene Onegin was tipped in Tatyana’s favour, but Chizhov was nevertheless clever casting.

Having followed him since he was a Jette Parker student at the Royal Opera House, we were thrilled to see Ryan Vaughan Davies on stage as a rather glamorous and charming Lensky. His ‘Kuda, kuda’ was beautifully delivered – my companion was ready to marry him off to her daughter by the end of his impeccable aria.

Prince Gremin, brilliantly sung by Mark Kurmanbayev, seemed just a little young, but his distinguished demeanour and vocal maturity helped establish him as the older, loving husband.

Larina (Diana Montague) and Filipyevna (Catherine Wyn-Rogers) were perfectly cast, and both sang convincingly.

An enthusiastic chorus added atmosphere in all the right places, while the small team of dancers performed brilliantly. We loved the final pas de deux in the mirrored ballroom.

In the pit, Lidiya Yankovskaya, the Russian-American conductor, directed the Bournemouth Symphony Orchestra to great effect.

All told, The Grange offered a fabulous afternoon and evening of entertainment in a stunning setting, with no compromise on the quality of the music or staging. This year marks the end of an era: the final festival with Artistic Director Michael Chance, although he will remain Artistic Director Laureate. Next year is The Grange Festival’s tenth anniversary, and we’re looking forward to learning more about what the 2027 season will bring.

The Grange, Northington, ALRESFORD, SO24 9TZ, Hampshire, United Kingdom

Looking for more? Check our Summer Opera Guide for 2026

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Last Updated on July 15, 2026

A Greek tragedy for our times

The Oresteia is a big play in all senses. It runs for three and a half hours, including two intervals, so it demands a level of commitment from the audience that seems unusual these days, when so many productions are done and dusted within 90 minutes. It is a play that has stood the test of time, written by the Greek playwright Aeschylus in the 5^th century BCE. How does a contemporary director bring The Oresteia to the stage? In Australian Director Simon Stone’s hands, audiences can expect a less traditional telling of this long tale, particularly as he takes classic texts and transforms them into contemporary dramas. His plays are renowned – or notorious – for being visceral, no-holds-barred productions. It is impossible to forget the gut punch of his interpretation of Lorca’s Yerma, staged at the Young Vic a decade ago. Once again, in The Oresteia, Stone leaves the audience reeling from the horror show that unfolds over the lengthy play. Despite the running time, The Oresteia galloped along at such an intense pace that the time sped by.

The first third is played at full emotional tilt. Stone encourages his cast to give full vent to a high level of emotional expression; everyone is disturbed, shouting, accusing, and undermining one another. It is also very funny – neurotic and intelligent people with rapid-fire dialogue. But not all is humorous. Eighteen-year-old Augie (Tom Glynn-Carney) is showing prodromal signs of psychosis, while his father, Christopher (David Morrissey), is drowning in alcohol and debt. The family business he runs with his bullying brother Melville (Lloyd Hutchinson) is both morally suspect (they sell military parts) and has caused a rift with his daughter, Isobel (Rosie Sheehy), who refuses to attend her 21st birthday party. Her twin Alice (also played by Rosie Sheehy) is filled with self-loathing and low self-esteem, exacerbated by the awe in which her twin is held by the family, despite the fact that she has become a Peace Alliance activist, condemning the family business on social media.  

The darkening clouds build up into an explosive storm in the second and third parts of The Oresteia with an orgy of violence. It feels like Macbeth and Hamlet rolled into one, and yet the ancient Greeks got there first. Stone tells the story in a non-linear way, the action jumping backwards and forwards from 2016 to 2023, including a Covid lockdown. This keeps us on the edge of our seats as pieces of the puzzle are revealed, the final piece kept back until the very end.

As shows like Succession have shown, audiences have an appetite for watching very wealthy families self-destruct. The Middleton family in The Oresteia is OTT and larger-than-life, yet we are able to recognise elements of family life, with its anxieties, alliances, loyalties, and betrayals.

The cast is big too, with some 14 people on stage for the curtain call. Heading up the group is David Morrissey as Christopher and Mary-Louise Parker as Montie. Gone are the ancient Greek names and places. Here is a modern story for our contemporary age. Stone’s Middleton family is living a luxurious life thanks to the family business, Middeltech, that has sold goods to Russia used in the bombings of Syria. Not only are there political schisms within the family, but there are also inherited mental health challenges which become more pronounced as the drama unfolds and the vortex of violence threatens to destroy the entire family.

Followers of Stone’s work will not be surprised to find that The Oresteia is staged in a glass box, as it is almost his calling card. London audiences will have first encountered Stone’s preference for staging his productions in glass boxes with Wild Duck at the Barbican in 2014. Since then, Yerma and Phaedra have also had this arrangement. With the actors contained within the confines of the glass box, it not only sets up a claustrophobic atmosphere in which family dramas play out, it also sets up the audience as voyeurs, which, of course, we are. I wondered whether this form of staging might seem repetitive, but Lizzie Clachan’s set was superb. A large double-volume glass box which revolved between scenes, enabling action to take place in multiple spaces simultaneously, even while the audience could only listen in to one conversation at a time. The Middleton house was full of mid-century furniture, the master bedroom and en-suite looking like they stepped out of a 5-star hotel with no sense of the bloodied scenes that would take place there. There is a clever visual reference to Jacques-Louis David’s painting of French revolutionary leader, Jean-Paul Marat, dead in his bath.

Stone demanded an emotional range from all his characters. David Morrissey was very powerful in the role of the patriarch who began by putting down his wife, a drunk embezzler beset with suicidal thoughts, to a guilt-ridden man seeking redemption in the arms of a UNICEF employee, while pursuing a sober and carb-free life. His wife, Montie (Mary-Louise Parker), was terrific as the American wife living in Sevenoaks who believes the family is a boxing ring where words are used rather than fists. While she begins with amusing streams of consciousness and chiding of her husband, she transforms into a cold-hearted killer. When her daughter dies, she blames her husband and develops an insatiable rage and need for revenge. Stone has written a poignant and moving speech for her character on parents’ responsibilities to protect their children. Augie (Tom Glynn-Carney) gave a frighteningly accurate depiction of a young man who begins as a guitar-strumming, disturbed teenager, to a young man overwhelmed by psychosis and inter-generational trauma.

This is The Oresteia for our times. Not only references to our contemporary wars –  Syria, Afghanistan, selling military parts to Russia are all referenced – but teenage mental health, the isolating effects of Covid, the HBO-like polish of the set, and the central role of social media in modern life. While the family seems cursed, it is Mammon that is worshipped here, the forces of ‘rampant capitalism’, and the greed of those whose moral compass has been tossed overboard.

The Oresteia runs at The Bridge Theatre from 3 July – 19 September 2026

The Bridge Theatre, 3 Potters Fields Park, London SE1 2SG

Check out our London Theatre Previews, July – December 2026 – Off West End

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Last Updated on July 16, 2026

Japan’s fourth city

Nagoya is a city that flies beneath the radar. As Japan’s fourth-largest city, it attracts over ten million fewer annual visitors than Kyoto and Osaka, with many travellers, both foreign and domestic, transiting through this regional transport hub. On a second trip to Japan, I wanted to explore beyond the big three cities that comprise the so-called Golden Route.  While Nagoya cannot be described as off the beaten track, working with Tourism Designers, I was introduced to a local experience steeped in an earlier era of the city’s history, including castles, art museums, and local crafts, along with some memorably terrific food. My overall impression was so positive that I unreservedly recommend Nagoya as a destination in its own right.

My primary reason for visiting the area was to steep myself in Japan’s feudal history. Nagoya was the capital of the Owari clan, who ruled the area during the Edo Period (1603 – 1868), when, after 150 years of civil warfare, Japan experienced a period of peace under the rule of the Tokugawa shogunate and some 300 regional daimyo (feudal lords). The city of Nagoya is samurai territory. The samurai were private armies of the feudal lords (daimyo) and became a social class of their own. Although the Disneyfied depiction of the samurai portrays them as warmongers, they had a strict social and military code of ethics, were literate and produced many writers, and enjoyed and cultivated the arts, including the tea ceremony.

MUSEUMS

Nagoya Castle was once the seat of government for the domain of the Lord of the Owari clan. While the castle cannot be entered,  it is an impressive sight with its green copper roof.  Alongside the castle is the Hammaru Palace, both of which were rebuilt after being destroyed in the 1945 air raids. 

Fortunately, extensive drawings and photographs were available to the team rebuilding these national treasures. The restored palace opened in 2018, and while the original screens in the palace were destroyed, they have been repainted. As there is no attempt to pretend they date back hundreds of years, this leaves them looking fresh, and they gleam with gold leaf, with exquisite detail of animals and plants. There are intriguing 3D wooden carvings above doorways, brightly painted in gold, red, green and blue, which are unique to Nagoya. The Hammaru Palace was originally built in 1634, and the current building enables visitors to experience the opulent splendour of a time long past, and allows us to imagine the sights and sounds of the dignitaries with their retinue of samurai residing in this palace.

Following a lunch of buckwheat noodles with mountain vegetables, we spent a few hours at the Tokugawa Art Museum, which houses a fascinating array of artworks and domestic items that have been passed along the family line from the ninth son of Ieyasu Tokugawa, the shogun who brought 200 years of peace to Japan during what is known as the Edo period. Here, we were able to immerse ourselves in the life of the Daimyo (lord) from his tea room to samurai arms and armour, ceramics, furnishings and artworks. The museum is set in a large garden where we walked among ponds and waterfalls, wooden bridges, and streams, with displays of azaleas and irises in full bloom.

For those interested in the Edo period of Japanese history, Nagoya and its environs hold a fascinating glimpse into cultural and political history. Yet there is much more besides. Fans of the Ghibli films will be thrilled with Ghibli Park, where visitors can explore the life-sized film sets, including My Neighbour Totoro. Nagoya is the home of Toyota, and those interested in technology will have a field day at the Toyota Commemorative Museum of Industry and Technology, where the history of both textile weaving and automotive industries is on display.  A futuristic building houses the FUJI Nagoya Science Museum and planetarium. There are enough art museums to keep visitors busy for days on end.

STAYING LOCAL

Although I am partial to a five-star hotel break, I mostly enjoy exploring local accommodation options that give me a feel for the flavour of the city. In Nagoya, I discovered that young entrepreneurs are restoring traditional houses and making these available to tourists who can book a stay in a local community. We were booked into a beautifully renovated small house with traditional Japanese furnishings in an alley off Endoji Shopping Street, an old-fashioned covered shopping arcade surrounded by small businesses that are reinvigorating the area. The shopping arcade harks back hundreds of years to the Edo period, when it developed as a commercial area in a bustling temple and shrine town. It is both nostalgic and charming and an antidote to the skyscrapers of modern Nagoya. As tourists who prefer to be active visitors, this option encouraged us to travel slow and local.

Nagoya has a history of traditional craftmaking, and we chose from a range of activities on offer to visitors. One of the highlights of our sojourn in Nagoya was a lantern-making workshop in a small shop in the covered market. At Wazamon Chaya, we met a kind and gentle master lantern maker who taught us some of the rudiments of Nagoya chochin lantern making, in which washi (Japanese paper) is pasted onto a collapsible bamboo frame. Due to the confluence of natural resources and local politics during the feudal era, Nagoya has a long history as a lantern-making centre. 

As the region was ruled by the Owari Tokugawa family during the Edo Period, it was fortuitous that one of the lords, Ieyasu, focused on improving the economy and manufacturing of his region. There was a large population in the region, and everyone needed light, which in those days meant lanterns. Having access to dense forests and excellent quality of water, papermaking was a local craft and bamboo from the mountains could easily be transported around Japan from the centrally located Nagoya. During this period, 60 % of Japan’s lanterns were made in this area. Artisans developed their skills through unique commissions and began to train apprentices. Nowadays, most lanterns are exported to Europe, but wherever I travelled in Japan, I noticed a multitude of paper lanterns in a diverse range of shapes and sizes. I had a new appreciation of how these are made, and once home, I opened my suitcase to find that the two small lanterns we had made during the workshop had survived the trip in perfect condition.

CUISINE

The regional cuisine of Nagoya is known as Nagoya meshi and is recognised as a distinct food culture. We made sure to sample as much of the local food as we could during our stay in the city, which began with our breakfasts that were located within a couple of minutes’ walk from our accommodation. One morning, we ate at New Poppy, a small eatery in a refurbished traditional house, where we discovered that the owner is a coffee roaster and musician. It had the sort of hipster vibes you might find back home in Shoreditch. Breakfasts included a traditional Nagoya speciality called ogura toast. This was a doorstopper-sized slice of black sesame shokupan (milk bread) toast, topped with azuki (red bean) paste and a scoop of ice cream. It was accompanied by a tiny jug of cold coffee syrup.

The following morning, we ate at Matsuba, a traditional Japanese-style cafe called a kissaten. Here you can experience the local ‘morning’ culture which is uniquely found in central Japan. In many kissaten you order a coffee and it is served with a free slice of Ogura toast and an egg. Matsuba has been serving this breakfast since 1933. The idea began as a way to ensure working people had a nutritious and affordable breakfast, and even now, we only paid £2.50 each. At the 8 am opening, there was a queue of mostly elderly regulars. I felt honoured to be there, attempting to make early-morning conversation and answering enquiries about where we hailed from. Once seated at a simple wooden table, we chose from a cup of coffee or tea and were served a slice of Ogura toast with azuki bean paste, jam, or cinnamon, or a small pot of potato salad. This simple breakfast will linger in my mind long after numerous 5-star hotel buffets have faded from memory.

In the evening, we ate locally too. We were taken on a sake crawl by a part-time radio DJ, which included visiting two small izakaya (bars that serve food)  we would never have found on our own. That is the beauty of food tours in a new city, and I loved that we were supporting small businesses. The sake was predictably good, and the food was some of the tastiest I ate during my trip. Not high-end dining, but really excellent bar food. The first bar served the best chicken wings I have ever tasted, super crispy and deliciously spiced with black pepper, soy and sesame seeds.

This dish is known as tebasaki and is usually enjoyed with a cold beer. We had a Nagoya speciality, a crumbed pork cutlet with red miso, served here as a large lollipop on a skewer. Shrimp katsu brought huge shrimp with gorgeous crispiness. Red miso is a feature of the region and added fabulous umami flavour to a slow-cooked beef stew.

The next bar served us six sakes, which ensured a good night’s sleep. The freshly cooked food included a collagen-rich red snapper head soup and another with uni (sea urchin), tofu skin and salmon roe.

The following evening, we sampled another dish for which Nagoya is renowned. While grilled eel is a popular Japanese dish, hitsumabashi is an eel dish served in a style local to this city.  Diners are presented with a large bowl of rice, topped with deeply lacquered grilled eel, the glaze being particularly tasty. First, you eat some of the rice with the eel. During the second serving, you add spring onion and wasabi, adding crunch and heat. In the third helping, known as una-chazuke, you add sancho pepper and dried nori (seaweed) before pouring over dashi. The final serving is the diner’s choice – whichever course you most enjoyed is eaten again. At the end, we drank a bowl of eel liver soup. It was both a delicious and filling dinner plus an experience to sit in a specialist restaurant surrounded by people enjoying Nagoya-style eel.

DAYTRIPS

Nagoya is conveniently positioned for day trips, and visitors would be well advised to base themselves there for a few days while exploring the surrounding areas.

I recommend a particularly peaceful trip to Inuyama, a castle town easily reached by local train. Here we found the beautiful Japanese garden called Uraku-en, which houses not only a stunning selection of plants, but also a Japanese National Treasure – the ancient teahouse, Jo-An, constructed in 1618 by a samurai who was master of the tea ceremony. The teahouse was transported from its original location in Kyoto to the Uraku-en garden, which was established around the teahouse. Although this ancient structure is too fragile to use, we were able to take a good look at it before entering a nearby more modern teahouse. Here we sat on cushions on tatami mats, gazing out over the gardens while enjoying a tea bowl of matcha and a wagashi (traditional Japanese sweet) served before the slightly bitter tea. The garden was a haven of peaceful contemplation, as is the case in so many Japanese gardens.  

A joint ticket allows entry to Inuyama Castle, situated on top of a steep hill overlooking the Kiso River and the wide open plain below. Built in 1537, it is the oldest standing castle in Japan and was once part of a complex that housed samurai who fought to protect their Lord’s lands against warring clans. After climbing up many flights of very steep steps to the top of the castle, we learned more about the samurai who lived here. Later, we strolled down Castle Street, which retains traditional dark wooden buildings from the Edo period, now housing cafes, restaurants, and small shops where local craftspeople work and sell their goods.

Nagoya is a jump-off point for the Nakasendo trail. This is a very popular hiking trail through the Kiso Valley to the north of the city, and its starting point is accessible from Nagoya via train and a bus. The trail goes all the way to Tokyo, which takes many weeks, but most visitors do the first part of the trail, which can be done in a day. We spent several days on the Nakasendo trail, which I  thoroughly recommend if you have time. Alternatively, companies including Tourism Designers can arrange a guide to escort you on a day trip to complete a three-hour hike between two fascinating villages. This removes any hassle factor from the organising, especially if your time is limited.

Nagoya is very well connected to many major cities and is served by the Shinkansen (bullet train), enabling us to travel to Nagoya from Tokyo in just over 90 minutes. Just enough time to enjoy the view and eat our bento box lunch.

Nagoya is far less visited than the larger cities like Tokyo, Kyoto and Osaka, each of which offers its own delights to tourists. Nagoya too has much to offer the visitor, from museums, castles, gardens, crafts, and a mix of the old and the new. While I usually prefer to arrange my own activities, in such a large city, I found that working with Tourism Designers enabled me to take a deeper dive into a part of the city I would not have accessed easily on my own. I have hardly scratched the surface, but what I can say from my experience is that Nagoya should blow its trumpet a lot louder.

FACT BOX

Tourism Designers

I was fortunate to work with Tourism Designers, an organisation embedded in an historic area of the city. They provide tailored tours and utilise local cultural resources and people to provide the best hospitality and experiences for foreign tourists. Tourism Designers have a wide range of tours and ideas. I recommend asking them to arrange local accommodation and restaurants that are situated in the surrounding community. The website has a comprehensive list of the tours they offer, as well as the cultural activities and workshops they arrange for you to participate in. I found this organisation to be well organised and very responsive to communications.

Holiday Extras

I flew to Japan on an early-morning Japanese Airlines (JAL) flight from Heathrow Terminal 3, which would have required leaving home in the small hours. Far more convenient and relaxing was an overnight stay at Hilton Garden Inn T2 & T3. I arrived at the hotel in the late afternoon, relaxed on the rooftop Runway Bar, mesmerised by the constant stream of flights taking off into the setting sun, and then had dinner at the hotel restaurant. In the morning, I had a ten-minute covered walk from the hotel lobby to the terminal beyond. A one-night stay at Hilton Garden Inn T2 & T3 is £269 (check the website for exact prices for your dates). Once I had checked in my luggage, I ate breakfast in the Clubrooms T3 and boarded my flight relaxed rather than frazzled. Entry into Clubrooms T3 at Heathrow Airport is available for £48.

I was hosted by Holiday Extras, the market leader in UK airport parking, hotels, lounges and transfers.

Check out our article: How to Plan an Itinerary for Japan

The post Nagoya appeared first on London Unattached.

Last Updated on July 13, 2026

British Bistro dining – Willett’s at The Cadogan

‘Technical excellence with a bit of fun,’ explained our server about the approach at Willett’s, the recently refurbished bistro at The Cadogan, serving British cuisine with a side of British humour. Executive Chef Michael Turner, formerly of The Savoy Grill and the River Restaurant, presents his classical excellence, which shines through every course. Formerly The LaLee, Willett’s opened in April, and the restaurant has been transformed into a greenhouse-inspired, English pastoral ambience. From the heritage green and blue crockery, through the sage colours, and linen café curtains, there is a sense of peace and tranquillity.

Guests enter through an atmospheric and attractive bar, which was humming at lunchtime, walk through a narrow passageway alongside the open kitchen, and into two rooms that comprise Willett’s restaurant. Here, the atmosphere is more genteel except for David Bowie and The Beatles, amongst others, on the soundtrack. Considering the bucolic feel of the room, I did wonder whether some British classical music might be a more appropriate soundscape for this beautiful space. The lovely room has high corniced ceilings, an original fireplace with a large mirror above and a quartet of oversized vases with purple and green blooms on the mantelpiece. Gorgeous contemporary lighting adds visual interest, and alongside our table were three huge, aged steaks on a glass-covered trolley, one of which became part of our lunch. 

The cuisine at Willett’s is modern British, and guests can select from a well-priced lunch menu (£32 for two and £36 for three courses) or an à la carte menu. Sustainability, seasonality and zero waste are all part of the kitchen’s commitment. Throughout the meal, seasonality was evident through some fabulous use of summer fruits. The kitchen buys in entire Scottish ex-dairy animals, and nothing goes to waste.

From the cocktail menu, which featured several non-alcoholic options, we selected a Bloody Mary Martini, spicy with cherry tomato halves on a silver skewer. My Pimm’s Royale was the perfect refreshing start in a British bistro, and I loved the ice cubes – one encasing a strawberry and the other a ribbon of cucumber.

The fun began with the amuse-bouche. As it is customary in Britain to welcome guests with a cup of tea, Chef Turner has created a whimsical tea-and-biscuits introduction to his menu at Willett’s. Two teacups were placed on the table while a tomato consommé was poured from a teapot. Nestled on the saucers were lookalike brown, bourbon biscuits which turned out to be filled with caramelised onion. Utterly delightful and equally delicious, the consommé was both refreshingly chilled and evocative of summer, with tomatoes at their prime. I felt I had landed in a scene from Lewis Carroll’s Alice in Wonderland.

We appreciated the guidance of our server, Adrian, who is one of the most engaging waiters I have encountered. When he suggested we begin the meal with sourdough crumpets, I was sceptical. To my mind, crumpets are for afternoon tea, but since we had begun with tea and biscuits, we followed the advice. Do not miss the crumpets as a starter course; it was exciting, delectable, and full of surprises. We were presented with the full set of five toppings, which was a light meal in itself. Our server advised us on what order we might eat them – a bit like a cheeseboard. Each serving was attractively presented with three mini sourdough crumpets –  toasted and buttered – along with a quenelle of topping. Dressed Dorset crab was a summertime treat, light, sweet, citrussy and juicy. Fabulous. Duck liver parfait was served with a cherry jam for summer. The parfait was rich and creamy; don’t miss this one. The cherry jam was tart and a perfect pairing with the rich duck. I would happily buy a few jars of this jam should Chef Turner ever decide to bottle it.

Penny Bun mushroom was topped with shavings of Wiltshire truffle. One of the quenelles was a verdant green and, curiously, was named Gentleman’s Relish. What a treat this was: the salty anchovies tempered with butter, parsley and chives, all combining into a fabulous mouthful on the warm crumpet. We kept the marmite butter for last. Neither my husband nor I are marmite fans, but this quenelle could convert sceptics.

Our second starter dish at Willett’s was Scottish langoustine cocktail, Marie Rose sauce, London lettuce, pink grapefruit. This was a lovely taste of summer, with a hint of nostalgia. Served in a glass coupe, four plump, shelled langoustines were dressed with a well-seasoned Marie Rose sauce alongside a fresh and crunchy salad of diced lettuce, avocado, and pink grapefruit.

The kitchen sent out another starter for us to taste, which brought the British seaside to our city table. Hand-dived Orkney scallop ‘scampi’, tartare sauce gave scampi a sophisticated polish. Beautifully presented in a scallop shell, on a pool of excellent tartare sauce sat a scallop, coated with Japanese breadcrumbs and deep-fried, topped with pipetted lemon gel and home-grown micro herbs. The Venus de Milo came to mind as I ate this sweet and tender scallop.

The main courses were full-flavoured, well-presented and delicious. I ordered grilled monkfish shank, sea vegetables, and peppercorn sauce. This was the first time I had eaten monkfish shank, which looked resplendent served on the bone, sat above a caramel-hued peppercorn sauce, which I would usually associate with a steak. The sauce was well-spiced, complementing, not overpowering, the flavour of the monkfish. The greenery of the sea vegetables added colour and additional flavours to this fine dish.

My husband had intended to order the 350g bone-in sirloin from the menu. Our delightful server persuaded him to try the 800g sirloin that was sitting in the meat trolley alongside our table. It was beautifully cooked, medium rare, and deeply flavoured, almost gamey. The meat is aged in-house between 45 and 75 days. The spice rub was perfectly judged, not overly salted, and sweetness was added by the roasted garlic cloves and shallots strewn over the steak.

We ordered two sides to accompany the main dishes. Triple-cooked chips were fat and Jenga-style, well-seasoned, crispy on the outside and fluffy within. Hipsi cabbage with smoked almonds was light with a generous topping of chopped smoked almonds. The kitchen sent out two further sides, including an Isle of Wight tomato salad – a multicoloured selection of heritage tomatoes, fresh, sweet and crisp in a light vinaigrette – along with Tenderstem broccoli perched on a green goddess dressing and blanketed with crispy shallots.

The sommelier introduced us to a choice of 137 wines by the glass from the extensive wine list. We put ourselves in his enthusiastic and deeply knowledgeable hands and, after enquiring about our likes and dislikes, he brought us two reds to taste. The first, Ferraton Cornas Les Eygats 2021, was deeply smooth with spicy undertones. The second was a surprise – London Cru Cabernet Noir 2019, from London’s first urban winery in Fulham. How lovely to drink a London wine in a British bistro with every course showcasing the best of British ingredients.

From the seven options on the dessert menu, we chose a lemon posset with raspberries and a chocolate mousse with English strawberries. Lemon posset is a quintessential British dessert that, not unlike the langoustine cocktail, might go in and out of fashion but is always delightful to eat. This one was light and lusciously lemony, not overly sweet. The tart flavour was accentuated by a quenelle of raspberry sorbet dusted with lemon zest. There was a slight crunchy texture which seemed to be a shortbread biscuit ground to the consistency of sand. A fabulous dessert.

The dark chocolate mousse with English strawberries was served in a glass coupe with a cascade of shaved chocolate. I found the mousse to be slightly dense and too sweet for my taste, although I am aware that mousse aficionados divide in their preference for a very light or denser texture. Our server had suggested that we try the rice pudding with apricot jam, but we demurred. When he brought a serving out just for us to try, once again, I was taken aback. This was perhaps the best rice pudding I have eaten – it was lightly bruléed, resulting in a caramelised and crunchy topping. The apricot jam added colour, texture and fruitiness and turned what I associate with cold weather, winter desserts, into a summer special.

Three and a half hours into the meal, I thought we might still be at the table when the dinner service began. Our sommelier appeared with a bottle of Hattingley Valley Entice dessert wine, an English wine made in the ice wine style. It was beautifully floral and fruity on the nose, and a perfect way to bring this vast and excellent lunch to a close. When the trolley of petit fours arrived, resplendent in tiers of colour and delightfully tempting, I had reached beyond my limit. Adrian kindly packed up the five petit fours into a little box, and we ate them in the evening at home. Each was gorgeous – a square of Rocky Road, a chocolate and orange bonbon, lavender chocolate fudge, a strawberry jelly with strawberry sugar, and, one last surprise, a passion fruit and mango caramel, in what looked like a plastic wrapper but turned out to be edible.

Our meal at Willett’s was excellent from start to finish. This is British cuisine served with top-quality seasonal ingredients, transformed through Chef Turner’s technical excellence and good British humour into the sort of food that made me very happy. The ambience of the dining room, plus the talent of the staff – from the server to the sommelier to the maitre d’ – all added to a relaxing and thoroughly enjoyable afternoon. With its location close to Chelsea, Knightsbridge and Belgravia, and particularly within the five-star The Cadogan, Willett’s is a fine addition to the restaurant scene in this part of London.

Willett’s, 75 Sloane St, London SW1X 9SG

Tel: 020 80897070

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Last Updated on July 12, 2026

French-American fusion, bistro style

AVI is a new neighbourhood transatlantic restaurant in Belgravia, serving French-American fusion cuisine. It’s conveniently situated just a few minutes’ walk from Knightsbridge station, overlooking a quiet leafy square. It is part of The Lowndes Hotel, though with its own separate entrance.

Arriving on a warm, sunny June evening, it was an easy decision to dine alfresco on their pretty covered terrace, which is framed by royal blue window boxes overflowing with hydrangeas. Inside, the decor has the feel of classic Paris bistros, with cherry-red banquettes, bentwood chairs tucked beneath white linen-clad tables, and vintage French posters and artwork adorning the walls.

AVI comes from the team behind Belgravia’s stylish Prince Arthur pub, which I recently had the pleasure of visiting. Whilst retaining the same elegant vibe, AVI has a very different cuisine altogether, with a menu that reimagines classic American dishes with a distinctive Parisian flair.

Designed for sharing, the menu spans small plates, sandwiches and burgers, pasta, seafood, grill and sides. Specialities include New York fried chicken & caviar, caviar fish and chips, LA brioche lobster rolls, and their signature Le Big Mac elevated with luxurious black truffle, a very different offer to the McDonald’s classic!

Feeling summery, we ordered a bottle of Whispering Angel, a popular Provence rosé from Château d’Esclans – pale pink, crisp and refreshing, with notes of summer fruits and a mineral finish.

Dining with a pescatarian, we chose to share seafood dishes, although if you’re in the mood for meat, you won’t go hungry with a good selection of steaks and burgers. The choice of starters/small plates is a little limited, with steak or tuna tartare, salads, taramasalata, and posh chicken or fish & chips. With the tuna off the menu that evening, we went for the Caviar Fish & Chips, perhaps a little greedily! I could quite happily have eaten this alone, with a generous portion of deliciously crisp cod goujons served with an authentic tartare sauce and a luxurious tin of caviar (available in 10g, 50g or 100g portions), adding an indulgent creaminess and a briny taste of the sea.

We moved on to a whole grilled lobster, which looked quite spectacular, dressed in butter sauce with fries on the side. The meat was tender, though it wasn’t quite as fresh as I’d hoped.

The Carabinero arrived, butterflied, meaty, scarlet-coloured prawns with a spicy butter marinade. Adding a side of green salad and creamy Dauphinoise potatoes completed the feast. By this point, we were well and truly luxed out.

Dessert was more restrained, with scoops of pistachio and vanilla ice cream. The terrace was peaceful and remarkably warm, so we lingered over the last of our wine.

As you’d expect in Belgravia, AVI isn’t easy on the wallet, but the location speaks for itself. Tucked away from the buzz of nearby Knightsbridge, it offers a more relaxed and elegant setting while remaining within easy reach of London’s best shopping and attractions. It’s a great spot for long lunches and cosy dinners, and with the heated terrace, al fresco dining is possible year-round.

AVI
21 Lowndes Street,
Belgravia
London,
SW1X 9ES

Tel: 020 4615 4777

Looking for something new? Check our feature on London’s recent restaurant openings.

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Last Updated on July 11, 2026

Kynren – An Epic Tale of England & The Storied Lands Day Park

The award-winning Kynren is a live-action experience in a stunning setting in Bishop Auckland, County Durham. The first performance was in July 2016; since then, Kynren has constantly evolved, with the latest iteration, new for 2026, being Kynren – The Storied Lands, an immersive and memorable day park.

A series of spectacular live-action shows, drawing inspiration from the surrounding area’s history and legends, culminates in the evening tribune, an epic journey through two thousand years of history, myths, and legends staged by a cast of hundreds. A visit to Kynren is an unforgettable experience with incredible live shows set in a theatrical production; it will take your breath away. It is akin to a live history outdoor theme park.

New for 2026 is Kynren – The Storied Lands, a thrilling day park experience. Five separate shows, each with a different theme, take place in custom-built settings, with one show leading onto the next. 

On our preview visit, the experience began with The Trusty Steed, an equestrian story set in medieval times on the main tribune stage. A young woman is bereft when her father is imprisoned, with his sole possession left being a wild horse. In a moving display, she gains the trust of the horse.  Together, they compete to secure his release. The performance features horses and jousts; the skills of the riders and daring stunts they perform on horseback will make you gasp. This is a thrilling start to Kynren – The Storied Lands.

The next live show we visited was The Lost Feather, staged in an arena topped with a huge eagle’s nest. From owls to falcons, vultures, cranes, eagles, and pelicans, the cast for this show creates an aerial display framed by a massive waterfall. They sweep and glide through the air to the atmospheric backdrop of an original score recorded by the BBC Concert Orchestra. The story tells the tale of a young bird guardian learning wisdom from a wise old guardian. The magnificent birds in flight are a spectacular sight. This was a highlight of the day for me.

Victorian Imaginariums followed, bringing the Victorian era to life. As you make your way through a winding hedged path, characters in Victorian dress engage in conversations and make comments. The central area contains the Birch & Birch store based on the Victorian provisions shop, which was located in Angel Court in London. The Victorian Imaginarium is a taster for what will be developed into a full experience in 2027.

Leaving this area, we moved on to The Land of the Vikings, staged in the Viking settlement. This show features fire, drums, and fast-paced combat.

This is a powerful, moving performance, telling the tale of two groups of Vikings who fight each other. The underlying conflict being Vikings who want to settle in a new land and those who wish to continue their warrior way of life.

The final daytime show for us was entitled Legend of the Wear, based on the legend of the Lambton Worm. This is set in a lakeside arena, inspired by the traditional folktale centring on the River Wear and the Lambton family of County Durham. Water erupts from the lake in a thrilling manner as John leaves his village on a dangerous rescue mission. A powerful witch controls the water with her staff, creating watery chaos.

These five live-action shows are staged at set times during the day leading up to the finale of Kynren – An Epic Tale of England, which commences as dusk falls.

A break in the live action will give you time for refreshments before you take your seat for Kynren – An Epic Tale of England. There are food and drink courts in the park; alternatively, why not book The Time Travellers’ Feast? A limited number of tickets are available to purchase in advance for this experience, where costumed performers entertain you whilst you indulge in a sit-down feast.

The night show Kynren – An Epic Tale of England starts as day turns into night. This ticketed seated event is performed on the seven-and-a-half-acre stage with Bishop Auckland Palace in the background.  A journey through two thousand years of history is told through the eyes of young Arthur, who is seeking his ancestry.

This thrilling, ninety-minute performance is based on historical scenes interwoven with myths and legends. Some of the events depicted include Boudica’s battle with the Romans, the Viking invasions and combat with the Anglo-Saxons, the legend of King Arthur, a conversation between Queen Elizabeth I and Shakespeare, Winston Churchill delivering his uplifting speech and the sorrow of the mining community following a colliery incident. Along with the large cast, sheep, geese, horses, and a real locomotive all play a part in this incredible production. Rousing music accompanies the show, which ends in a joyful dance with a pyrotechnic display lighting up the skies.

Kynren is an unforgettable experience. The storytelling will delight people of all ages. The scale of the event, staging and costumes is world-class – a truly memorable outdoor event. Kynren – The Storied Lands is the UK’s first live-action show park, bringing together spectacular live-action productions, immersive storytelling and themed worlds in a unique way. 

I attended the press preview on Saturday, 4 July 2026.

Opening on 18 July 2026, Kynren – An Epic Tale of England, the night show, is staged on Saturday evenings, with two Friday performances on Friday 21 August 2026 and Friday 4 September 2026, until 12 September 2026. The timing of the live night show changes during the course of the season, coinciding with the sunset.

Kynren – The Storied Lands day park will be open from 18 July to 12 September 2026, daily apart from Mondays.

A combined ticket for both the day park and night show can be purchased. On dates when the night show is staged, only full-day tickets can be bought. Day park-only tickets, on dates with no night show, give timed entry for the live shows based on the arrival time selected when booking your ticket. 

There is ample on-site car parking; it should be booked and paid for in advance. Kynren is an accessible site with all the facilities you need for a great day out. The closest station to Kynren is Bishop Auckland, a 15-minute walk away.

Kynren, Bishop Auckland, County Durham, DL14 7SF.

Tel: 01388 436 030

For more detailed information and to purchase tickets, visit Kynren.

County Durham has a wealth of attractions and places to visit on a stay in this beautiful part of the country, amongst them the historic Durham Cathedral, the Auckland Project, Raby Castle, and the Bowes Museum, to name a few.

To plan a trip to Durham County, visit This is Durham.

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Last Updated on July 12, 2026

Two American Dance Companies Share a Bill at the Place

Two American contemporary dance companies that use movement as a vehicle to build community, Matthew Westerby Company and Ariel Rivka Dance, shared a bill for a one-off show at The Place entitled Cross Current.  It marked the London debut of the former and the latter’s return after a three-year absence.

Both companies are explicit about what they consider their mission and how that transpires in their work.  Founded in 2009 and led by the British choreographer Matthew Westerby, who self-describes as “an immigrant, gay man New Yorker”, Matthew Westerby Company aims to engage communities as both participants and audience members, under the banner of “equality, inclusion and human connection.”

Ariel Rivka Dance (ARD) is a female/non-binary contemporary dance company based in New Jersey, led by Artistic Director Ariel Grossman.  Founded in 2008, it aims “to create a space for open-hearted movement collaborations rooted in women’s experiences”.

Each contributed three pieces to the 80-minute-long Cross Current programme, half of which caught my fancy, the remaining three not so much.

Unorthodox, by ARD, was danced by four women in stern black costumes and ankle boots (Asia Bonilla, Hana Ginsburg Tirosh, Gabrielle Marino and Casie O’Kane), and choreographed by Ariel Rivka with the dancers to a gripping, very rhythmic score by Stefania de Kennessey.    Formed in a line, the women make their way downstage on a diagonal with steps that thump the floor following the 4:4 rhythm of the music.   At intervals, one woman peels off from the group and does an individual dance; as strings join percussion in the score, so the sound and movement acquire a quality reminiscent of Greek folk.    The movement is interesting: very grounded, it offers freedom while maintaining clear connections between all performers.  I found it original and very engaging

City of Ashes (excerpt), from Matthew Westerby Company, was a duet performed by two men in white (Mar Lures-Keller and Jack Murphy) to a fragmented voiceover in which a man recalls coming out just as AIDS was at its most devastating, something which, the voice told us, “stays with you for life”.  Choreographed by Matthew Westerby in collaboration with the dancers, it was an intense, very physical piece where sex and death entwined, each embrace containing promise and threat.  

City of Ashes was very human, very moving and through its movement spoke directly to your heart.  As an excerpt, it left me wishing I could have seen the whole piece.

My third-preferred piece in Cross Current was Nineteeneightyfour, also by Mathew Westerby Dance.   Like all pieces in the programme, this, too, was credited to the choreographer in collaboration with the eight performers.   Set to an ominous score by John P Hastings, which relied on nerve-grating industrial noise, and costumed in stern grey and black uniforms by Kristin Licata, it was not so much a retelling of George Orwell’s famous dystopian novel about life in a totalitarian state, but rather a distillation of its main theme of oppression of minorities.  I found its narrative clear and cohesive, the dancing theatrical and full of intention.

The remaining three pieces were Selves II and The Milk (excerpt) by ARD and Object Trouvé by Matthew Westerby Company. 

None of them seemed as tightly knit as the previous three, and to my mind none made its message clear and cogent, with Object Trouvé, in particular, occasionally self-indulgent in its childish hoppity-hops and seemingly improvised individual dancing. I also found the dissociation between music and movement mildly annoying. No matter: if I can misquote Meatloaf, “three out of six ain’t bad.”  And the pieces I enjoyed, I really enjoyed. 

I do wonder, though, what they’ll make of it all in Rwanda, where the Cross Current tour will end, following a few dates in Madrid.

Cross Current was at The Place on 10 July at 7.30 pm

The Place
17 Duke’s Road
London WC1H 9PY

Check our previews for more London Dance

The post Cross Current appeared first on London Unattached.

Last Updated on July 11, 2026

English National Ballet School Summer Performance 2026

There was plenty of talent on display in Steps Toward Tomorrow, English National Ballet School’s summer performance, presented at the small Bloomsbury Theatre.  

Steps Toward Tomorrow consisted of five tailor-made pieces, followed after the interval by Act III of The Sleeping Beauty in simplified form – a bold choice, bearing in mind we’ve just recently seen that ballet performed by the seasoned dancers of  English National Ballet.

English National Ballet School (ENBS) is a finishing school, offering three-year graduation courses.  In Steps Toward Tomorrow Year 1 students joined counterparts from Years 2 and 3 in the first piece of the programme, entitled Before Jupiter and set by Juan Eymar, choreographer and ballet tutor at ENBS School, to Beethoven’s ‘Symphony No. 7’. The printed programme offers a slightly convoluted narrative about “searching for identity, strength and belonging”, but to me it came across as a plotless academic exercise designed to showcase the ability of male dancers, and all the better for that.  Well-placed classic arm movements and proficiency and musical timing in increasingly difficult enchainements made this an interesting watch, enlivened by virtuoso solos by Year 3 dancers Kota Haratani and Kaede Nakajima.

The women came next in Waltz for Eight, choreographed by school director Lynne Charles to Blue Danube by Johan Strauss II.  Harking back to the look and manner of Romantic ballet, the eight women from years 2 and 3 wore long black gloves, bejewelled ribbons over their brows and a black sash across long white skirts, and their movements oscillated between the sweep of flowing water and the twee mannerisms of the ballroom.  They performed well. 

A complete change of mood came with Say What?, a fun short piece choreographed by Martha Graham specialist Sarah Sulemanji to music set to Funky Wiggly Lines by Harrison Chang Goldsmith and Alan Watts.  Year 2 students in soft shoes, black trousers and white shirts over differently coloured leotards, clearly enjoyed letting their hair down to a funky contemporary piece that seemed to speak to them.

Also contemporary, but more serious in tone, was Thrum of Bones choreographed by Liam Blair to vocal  and percussive music, and focused on rhythm, with increasingly complex structures, by turns athletic and gentle.  It was a demanding ensemble piece and Year 3 did it justice.

The first half of Steps Toward Tomorrow ended with W.I.G.U – When I Grow Up, a concept piece by Lynn Charles, danced by Year 1, where two young people look to the future and ponder what career to follow.  Will the girl, the charming Kano Hashizumi, become a tennis player (cue two girls brandishing rackets), a cheerleader (here come the pompoms) or a ballerina (two couples embody the option)?  Will the boy, Toby Walker, become a swimmer (two men in swimming caps show him the ropes), or an ice skater, maybe… Or will they become doctors, as suggested by two figures in long white coats?  It’s a nice idea, and everybody gave it their all, but it went on for far too long.

Act III of Sleeping Beauty celebrates the wedding of Princess Aurora and Prince Désiré.  Adapted here from the Kenneth MacMillan version danced by ENB, it’s still a tremendous ask, particularly out of context and on a bare stage – I wonder why ENBS didn’t provide a backcloth projection of a sumptuous ballroom, the better to anchor the scene.  I’m assuming all performers were Year 3, and on the whole they tackled the many difficult variations with aplomb, Rei Kida particularly impressive as Gold in the Jewels section.

Kaeda Nakajima and Yuna Shiozawa gave us a very good Bluebird pas de deux, sadly abridged to exclude the individual variations.   Maho Yanahari was an assured Aurora, ably supported by Rocco Strickland, whose looks and elegance mark him out as a danseur noble of the future.  He was an able partner – they delivered themselves with impressive aplomb of three challenging fish dives – but again, I missed the individual variations which could have told me a little more about themselves as dancers.

Never mind: all this took place in energy-sapping heat, but you wouldn’t know it from the performances. Well done the students of ENBS!

Steps Towards Tomorrow is at Bloomsbury Theatre, 9 – 11 July. Evening performances at 7 pm, matinees at 2.30 pm
Dur.: 2 hours 15 mins inc one interval. Tickets: £20 (concessions available)

Bloomsbury Theatre
15 Gordon Street
London WC1H 0AH

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