Edinburgh
Education, Education, Education
14/11/18
Bedlam Theatre, Edinburgh
This quirky little play, originally devised by The Wardrobe Ensemble, is the perfect vehicle for the EUTC, offering a real opportunity for these talented students to show their acting chops.
It’s 1997, and it’s Tobias (Max Prentice)’s first day at Wordsworth Comprehensive, where he’ll be working as a German language assistant. But this is no normal day: Tony Blair was elected as Prime Minister last night, and there’s a strange emotion pervading the staffroom. Could it be… hope? Might the ‘education, education, education’ mantra that’s propelled Blair to the top job actually translate into something real, like new textbooks, or permanent classrooms, or reduced class sizes?
Whatever. It’s still a school day. The bell still rings; there are still lunch duties and lesson covers – and the small matter of ‘muck-up day,’ as the Year 11s seize their opportunity to cause consequence-free chaos: they’re leaving this afternoon. And, amidst all this, there’s Lauren: troubled, angry, vulnerable Lauren (Lauren Robinson), who wants to go on a history trip to York, but who’s been told her past behaviour precludes her from such treats.
This is a lively, energetic production, with all actors (except Prentice) dual-rolling as staff members and pupils. Tobias’s outsider’s eye exposes the vagaries of our education system; he’s a positive, engaging character, a Brit-o-phile, more gently observant than sharply critical. The performances are all strong, but standouts include Fergus Head as ineffective head teacher, Hugh Mills, and Lauren Robinson as the self-destructive teen mentioned above. Robinson in particular excels at portraying a heartbreaking mix of fragility and bravado, the all-too-recognisable frustration of those who have too little autonomy.
The Brit-pop music provides a dynamic aural backdrop, and the high-octane dance moves and scene transitions all help this small cast to convince us we’re in a busy, bustling school. There are some sombre moments: Tobias’s flash-forward narrative reminds us that, although Blair did indeed inject a lot of much-needed money into the system, and things did improve considerably, this too has now passed: schools are academised and closing, begging parents for provisions, dropping ‘frivolous’ subjects from their timetables.
Don’t get me started. This one’s personal for me. I was a teacher for twenty-two years; I left because of what the job became. I’ve been a foreign language teaching assistant too (in Germany), so this play really speaks to me.
But even if your own experiences are vastly different from these, this is a piece well worth seeing. What happens in education affects us all.
And this is fun. So, you know – win, win.
4 stars
Susan Singfield
Southside Scran
13/11/18
Bruntsfield Place, Edinburgh
We can’t help but notice the smell of fresh paint as we enter Southside Scran. It’s rare that we visit such a recently-finished venue, but, over the past few months, we’ve watched with mounting excitement as Tom Kitchin’s latest project has taken shape in Bruntsfield. ‘As soon as we’ve got something to celebrate,’ we tell ourselves, ‘we’ll give this place a whirl.’ The opportunity arrives sooner than we think.
It’s clear from the outset that the venue is still going through that ‘settling in’ phase. When we arrive, the person on the front desk is locked into a long phone conversation, but a friendly waiter ushers us to the bar and supplies us with complimentary glasses of prosecco, whilst our table is ‘sorted out.’ Clearly, this man knows the quickest route to our hearts. It’s a Tuesday evening and during this bedding-in process, covers are restricted to 26 diners, so its relatively quiet tonight – but there’s a cheery wood burner on the go, a rotisserie is filling the place with the appetising aroma of cooked chicken and we’re perfectly content to sit perusing the menu and sipping our drinks.
Once at our table, we’re presented with chunks of fresh sourdough, some butter and a delicious pot of intensely flavoured chicken liver parfait. We try valiantly to hold ourselves back for the actual meal, but it’s difficult, especially when they replace the bread we’ve already eaten.
For my starter, I’ve chosen the Borders game pithivier, a delightfully crispy pie which is surrounded by a rich and fruity jus. It’s note perfect. Susan has the West coast shellfish ravioli, liberally doused in a delightful seafood bisque. In both cases the plates are virtually licked clean.
My main course is Clash Farm pork belly, with apple sauce. It’s soft, and sticky with a chewy, rather than crispy skin, good, if perhaps a little over-salted. Susan’s Orkney scallops with herb butter are nicely judged, just firm enough to offer a little ‘bite.’ For sides, we’ve chosen a bowl of macaroni cheese (I know, I know, it doesn’t really go with anything but, whenever we see it we somehow can’t resist ordering it and this is exactly as we like it, thick and gooey with a nice crispy top.) There’s also an earthy ragout of lentils and lardons and a green salad, which, in its own way, is a bit of a stand out. Perhaps you’re thinking, ‘oh, it’s just a green salad, a few leaves, a bit of cucumber, right?’ No, this is a little masterpiece, incorporating avocado, endives and pumpkin seeds, crunchy, and zesty and very nice indeed. So often, it’s the details that lift a meal above the run-of-the-mill.
We’re pretty full, by now, but the rice pudding with pumpkin, orange and salted caramel sauce sounds too good to ignore, so we opt to share a bowl – and we’re glad we do, because in many ways, this little belter is the other star of the show, so rich, so satisfying, that it makes the plate of strongly flavoured cheeses we finish up with a bit of a let down – nothing wrong with them, you understand, but that pudding is a tough act to follow, and perhaps more the kind of flavour my taste buds want to remember.
When it comes time to pay the bill our waiter informs us that because everything this evening hasn’t been ‘absolutely perfect,’ they’ve discounted the wine we ordered. It turns out that they haven’t charged us one penny for a bottle of Marlborough sauvignon blanc, which is very noble of them and a move that’s guaranteed to prompt me to return, once things are more settled. But really, I have no complaints anyway. I’m full and happy, a perfect combination.
It’s early days of course, but this first visit augers well for the restaurant’s future. Southside Scran offers really clever food, a sizeable step up from mere pub grub. The fact that the place is ten minutes walk from where we live is simply the icing on the cake – or, if you prefer, the sauce on the pudding.
4.8 stars
Philip Caveney
The Last Witch
10/11/18
Traverse Theatre, Edinburgh
It’s 1727, and Janet Horne (Deirdre Davis) is eking out a living in the Scottish Highlands with her teenage daughter, Helen (Fiona Wood). Times are tough: they have no peat for their fire and very little food. But Janet knows what to do: a few incantations, some good luck charms and a venomous tongue are all she needs. If the neighbours think she’s a witch, then they will try to keep her sweet…
And, by and large, it seems to work. The people of Dornoch might fear Janet, but they like her too, for her healing hands and her lively spirit. Even the local clergyman (Graham Mackey-Bruce) seems content to turn a blind eye her way. But, when Douglas Begg (Alan Steele)’s cattle succumb to sickness, he blames Janet and, in his anger, reports her to the sheriff, David Ross (David Rankine). And the wheels are set in motion for what turns out to be Britain’s last ever legal execution for witchcraft.
This revival of Rona Munro’s 2009 play has been designed by Ken Harrison, with two huge discs dominating the acting space. The first forms a stage, raked at a steep angle, cracked like dry earth; the second is suspended above, a moon, sometimes reflecting the ground below, sometimes projecting other images. It’s stark and atmospheric, ingenious in its simplicity – and the brutal beauty of the final scene is really something to behold, especially the light on Elspeth Begg (Helen Logan)’s face as she shouts her cryptic message of support.
Deirdre Davis is superb in the lead role, a beguiling, unapologetic rebel, forging her own path. Janet Horne is a strong woman: sensual, clever, brave and charismatic – and Davis’s performance brings her forcibly to life. She might cling a little too closely to her daughter, afraid to let her go, but she loves her fiercely nonetheless; she only wants to keep her safe. Because the world – as Janet knows – is cruel, and Helen’s claw-like hands and feet will be seen by some as the devil’s mark. Their spiky relationship is delightfully depicted, Fiona Wood subtly teasing out Helen’s frustration and naivety. Little wonder she’s such easy prey for the enigmatic Nick (Alan Mirren).
Richard Baron’s direction is faultless: this is a fluid, unsettling piece, carefully choreographed and visually arresting. But the real magic lies in the writing, Munro’s lyrical script an absolute delight.
It’s a shame that this is such a short tour. There’s only one more chance to see this production; if you’re free, head to the Traverse tonight. Otherwise, you really have missed out.
4.7 stars
Susan Singfield
Stuff
06/05/18
Traverse Theatre, Edinburgh
Sylvia Dow’s Stuff, the story of Magda, a woman who struggles with a hoarding disorder, really resonates with me. Not that I have the same affliction – I don’t; I’m definitely on the ‘minimalist’ side of the spectrum – but I did have an uncle who lived a life a lot like hers. The play reminds me of him, and it makes me sad. Mainly because I miss him, but also because of how much he missed out.
Directed by Muriel Romanes, this is a subtle, nuanced piece, told with tenderness and care, and never judgemental: not about Magda and her teetering piles of junk; not about her daughter, Chrissie (Romana Abercromby), who’s never once phoned since she left home; not about Jackie (Pauline Lockhart), the social worker assigned to ensure Magda clears her home because the neighbours have complained.
Carol Ann Crawford’s Magda is at the centre of the piece, and it’s a lovely performance. Magda’s sadness and vulnerability are palpable throughout, but so are her humour and her humanity. And Rosemary Nairne’s opera-singing Mama-ghost adds an extra dimension, physicalising the memories Magda can’t let go, not least her childhood in war-torn Ukraine. The singing is haunting and beautiful.
The set is rather special too. It doesn’t seem so at first: just a pile of boxes and scattered sheet music. But the boxes begin to reveal a doll’s house of recollections, cleverly constructed miniatures, designed by John and Jeanine Byrne. There’s a graveyard, a grand piano, a teetering pile of chairs: eight boxes, eight spaces, eight specific memories. No wonder Magda struggles to give up her precious things.
Tonight is Stuff‘s last night at the Traverse, and it’s sold out – but, if you can get hold of a return ticket, it’s certainly worth your while. This is a thoughtful, thought-provoking play, and I know that it will stay with me.
4.3 stars
Susan Singfield
Brewhemia
03/11/18
Market Street, Edinburgh
This is our third visit to Brewhemia, and this time we’ve persuaded friends to join us. The promise of live music, themed performances and – not least – Schöfferhofer grapefruit beer on tap makes this an offer they can’t refuse. We’re ready to have fun.
Brewhemia is a vast enterprise, appealing to a wide demographic. We’re here on a Saturday evening, and there’s a nightclub vibe, but it’s oddly inclusive: there are people of all ages, some dressed to the nines, others much more casual. It doesn’t seem to matter; the place is big enough to accommodate all sorts. This is reflected in the building too: we’ve chosen to sit in the huge beer hall, because we want to see the band and the performers, but there are plenty of more intimate spaces tucked away up on the mezzanine, and a quieter dining area at the front of the venue.
Tonight’s theme is ‘Vegas’ and there are already actors mingling with the crowd: a couple of showgirls, a croupier, a ‘just married’ husband hugging a stuffed tiger. It sounds tacky – and it is – but it’s all done with such vivacity and good humour, such unabashed pleasure, that it really works, putting smiles on our faces – or maybe that’s just the beer. (On our previous visits, we’ve been treated to ‘The Wizard of Oz’ and ‘Women from History’ – the themes are nothing if not eclectic!) The house band perform a selection of speakeasy classics, crowd-pleasing covers that we’re happy to hear.
But we’re not just here for the entertainment: we want to eat as well. Unsurprisingly, the food is of the robust, ‘soak-up-all-the-beer’ variety, and we’re delighted to oblige. Philip starts with the smoked haddock bon bons & Stornoway black pudding, which is served with slow cooked leek, pea puree, and a hollandaise sauce. It’s bold and tasty – if a little filling for a starter – and he enjoys it a lot. I have the beet hummus with coriander, feta, pomegranate, and flatbread. The hummus and all the little bits are lovely, but I’m unimpressed with the bread, which is cold, dry and unappetising.
Still, I’m not too bothered: I don’t want to load up on carbs right now, not with the main that’s coming up. Because I’ve ordered the sausage fest, which is a platter of Crombies’ speciality sausages, served with wholegrain mustard, creamy mash and gravy. There are three sausages, and they’re not only enormous, they clearly have a high meat content. I’ve eaten vegan food for the last three days, so this seems particularly extreme. They’re delicious though, and I eat them all: the pork and fennel is the best, I decide, although the beef is good too, and the pork and herb. Our friends tell us Crombies’ butchers is a bit of an Edinburgh institution, and we resolve to check it out.
Philip has the winter schnitzel, which is chicken, served with truffle and parmesan mash, a fried duck egg, crispy onions, and beer-candied bacon. He declares it a triumph and polishes it off.
I’m not minded to eat a pudding – I’m absolutely stuffed – and remain resolute until everyone else orders dessert. I hear the words “bread and butter pudding” coming out of my mouth, and – ten minutes later – I’m facing a bowl of the stuff, served with whisky marmalade, dark chocolate, vanilla custard, and marmalade ice cream. Somehow, I find the space for it, and very good it is too, especially the marmalade ice cream. Philip has no such qualms, and orders the sticky toffee and ginger pudding. It’s his go-to pud, and he’s pleased with the generous serving of butterscotch sauce, and not at all bothered that the kitchen has run out of vanilla ice cream; he prefers chocolate anyway.
It’s been a lively, boozy evening, and we’ve had a great time. And it’s not over yet: as the last plates are cleared, and we order a final drink ‘for the road,’ we’re treated to a glitzy lip-synching drag performance, ‘Jennifer Lopez’ and backing singers dancing on the tables and upping the vibe.
Brewhemia really is a special place: an oddity, but a welcome one. We’re still grinning as we step out onto the drizzly midnight streets. Cheers!
4.3 stars
Susan Singfield
Arctic Oil
Oil platform in the Arctic Ocean
11/10/18
Traverse Theatre, Edinburgh
Ella (Neshla Kaplan) is a committed environmental activist, currently stranded on the remote Scottish island where she grew up. She and her infant son have been living near her widowed mother, Margret (Jennifer Black) and she has been going stir crazy. So, under the pretext of visiting London to attend a friend’s wedding, Ella has covertly planned to head off to an Arctic oil rig to join a team of activists in a potentially dangerous protest, leaving Margret to babysit her grandson. But Ella has underestimated Margaret, who is wise to her daughter’s plan and determined to keep her out of harm’s way. With this in mind, she lures Ella into the bathroom of the family home, then promptly locks the door and swallows the key.
What follows is a tightly constructed two-hander as mother and daughter argue, debate the future of the planet and uncover old grievances. Margret is quick to point out that the island on which they live is dependent on oil company investment. The industry provided work for her late husband, when he was in dire financial straits; and besides, instead of trying to change hearts and minds, shouldn’t Ella be more concerned with being a responsible mother to her son?
For Ella, it’s all about the future of that son and the doomed planet on which he’ll be expected to exist. It’s about the destruction of one of the world’s last true wildernesses, the inexorable rise of global warming – and the fact that if nobody takes a stand on this issue now, then its all headed for hell in a hand basket.
There are two strong performances here and, apart from a few nitpicks – would news of what’s happened to the oil rig protesters reach the mainstream media quite as promptly as it does, for example – Clare Duffy delivers a prescient tale that raises plenty of important questions. Gareth Nichols directs with a sure hand and I love the ingenious set, designed by Nichols and Kevin McCallum, which is built to withstand the onslaught of Ella’s rigorous attempts to kick her way through that locked door.
Perhaps, ultimately, this is all questions and precious few answers, but it’s nonetheless a thoughtful piece, which arrives at a time when the world has been publicly warned of the dire consequences of global warming. But, at its heart, this is far more about the mother-daughter relationship, and the love that underpins all their differences.
4 stars
Philip Caveney
Rebus: Long Shadows
09/10/18
King’s Theatre, Edinburgh
Edinburgh’s most famous detective is making his theatrical debut, and I’m really looking forward to seeing how the iconic character fares in his home town. But we spend all day unsure if the play is going ahead after lead actor Charles Lawson was taken ill on-stage last night – the sort of dramatic twist nobody wants to experience. We wish him a speedy recovery. In the meantime, we’re relieved to hear that understudy Neil McKinven has stepped into the role, and that the show will go on.
Long Shadows is a new, original Rebus story, co-written specifically as a piece of theatre by Ian Rankin and Rona Munro. It’s a sensible decision: instead of shoe-horning a complex novel into a two-hour slot, this tale is suited to its form, and pared down, free of the literary clutter that scuppers so many adaptations. It fits into the novels’ time line though: this is retired Rebus, unable to let the job go, still haunted by the ghosts of all the crimes he didn’t solve.
In this incarnation, though, the ghosts are made flesh, with murdered teenagers Maggie (Eleanor House) and Angela (Dani Heron) given a formidably physical presence, a sort of chorus of the dead. I like this device: it gives the girls a voice, makes them real characters instead of mere victims, showing us their combined strength instead of focusing on their frailty. There’s also wit in using these ghosts as stage hands, making the scene transitions seamless, and emphasising the idea that the girls help shape the narrative.
We’re in cold case territory. DI Siobhan Clarke (Cathy Tyson), Rebus’s longterm sidekick, finally has the chance to see known killer, Mordaunt (played tonight by Andy Paterson), pay for his crimes. Technology has improved, and there’s DNA evidence tying him to Angela’s murder, twenty-five years ago. He’s got away with it so far, and Siobhan is determined not to let any loose ends threaten this opportunity to take him off the streets. She visits Rebus to see what he remembers, to see if he has any idea what the defence might have hidden up its sleeve.
Inevitably, all roads lead to Cafferty, Rebus’s Moriarty, played here with great aplomb by John Stahl. He’s exactly as I imagine him from the books, all machismo and panache, charm and thuggery. And Maggie’s death, seventeen years ago, is woven expertly into the mix, brought to mind by the arrival on Rebus’s stair of her teenage daughter, Heather. It’s a clever plot, with twists and turns that keep me guessing. I can’t deny it’s all quite expositional, a lot of telling-not-showing of the past; we’re watching people sit and talk about events rather than seeing them unfold before our eyes. But it’s enlivened by the presence of those ghosts, the gobby teenagers who won’t be shut up, and by strong performances all round.
McKinven does a sterling job. In the first act, he’s faultless: the role belongs to him. He does have a script in the second act, but he doesn’t refer to it often. It makes sense: the first act is much more of an ensemble piece, and McKinven, in his usual multiple roles, clearly knows this section well. But the latter half is essentially a three-hander between Rebus, Cafferty and Clarke; presumably McKinven has habitually spent this time in his dressing room, relaxing, before appearing briefly in the concluding scene. No matter, the script stuffed into his pocket doesn’t look out of place – Rebus is always carrying case files around. And he only seems to need it to place what’s coming next: he’s acting the dialogue, not reading it. And maybe, by tomorrow, he won’t need it at all. Either Lawson will be back, or McKinven will have learned the lines.
The set, designed by Ti Green, is perhaps my favourite thing about this whole production. I love the simplicity of it, the economy. There are no unnecessary props or pieces of scenery; it’s as uncluttered as the script. But it’s wonderfully evocative: Edinburgh’s tall grey walls and winding paths, tunnels and closes, stairs and bridges, all there at once, their purpose and atmosphere changing with the light. It’s almost breathtaking when the streets of the Old Town are turned instantaneously into a glass penthouse on the Quartermile by the stupidly simple method of lighting the side panels from behind. It’s a revelation as remarkable as those related to the crime.
So, a welcome addition to the Rebus pantheon, and certainly a must-see for fans of the irascible ex-detective.
4 stars
Susan Singfield
Calendar Girls the Musical
02/10/18
Festival Theatre, Edinburgh
As the curtains rise at the Festival Theatre, we can’t help but notice that the look of this production has changed considerably since we first saw it in Manchester in January 2015. Back then, Tim Firth’s latest version of this story was known simply as The Girls, and the set comprised a huge heap of lockers, piled higgledy-piggly one on top of another. Now, we find ourselves looking at a rather fabulous Yorkshire landscape, where a stone wall and a gate overlook a surprisingly convincing valley, complete with woodland and a picturesque cottage. At various points, that landscape opens up wider perspectives, as though stretching itself towards new horizons. The script has been worked on too, though it remains unremittingly focused on a small town in Yorkshire and on the close-knit community that lives there. Calendar Girls is, after all, based on real life.
Annie (Anna-Jane Casey)’s husband, John (Phil Corbitt), is suffering from leukaemia. As he goes steadfastly through chemotherapy, assuring his wife that everything will be fine, she relies heavily on her best friend, Chris (Rebecca Storm), and on the local WI, whose meetings are presided over by the officious Marie (Fern Britton, who – despite never having really acted before – is clearly a natural: funny and charismatic in the role). Marie is strictly old school, a ‘jam and Jerusalem’ diehard who seems intent on keeping her members strictly in line. But, when tragedy inevitably strikes, Chris comes up with a novel way of raising money for a memorial – but how far are the other members of the group prepared to go in order to back her up?
The truth is, we all know exactly how far: the Knapely WI’s nude calendar was an international phenomenon. So there are no surprises here – but that’s really not the point. What we have is a beautifully articulated tale of humanity: of life and death and love and loss, of generations learning to accept each other, and people working together to support one another, through all the trials and tribulations thrown their way.
There’s a real sense here – more signposted than in the previous version – of transience: the seasons’ passing is illustrated by changing light and blossoming trees; there’s a slow recognition that the current crop of teenagers should be allowed their indiscretions, that time will turn them into adults soon enough; they’ll turn out okay, just like their parents have. It’s a truly heartwarming piece, with community at its core.
The music complements the story perfectly, illuminating the characters’ lives. And it’s memorable too (well, of course it is: if there’s one thing Gary Barlow knows how to do, it’s how to write a hit song). There are melancholy ballads here – the story demands them, and they’re genuinely emotive – but there’s an overwhelmingly upbeat mood to the whole piece, a lively positivity that means we’re smiling through our tears. Not all of the performers are stellar singers, but it’s cleverly cast, so that the most demanding songs are sung by those who really can do them justice, with AJ Casey, Rebecca Storm and Karen Dunbar (Cora, the vicar’s daughter and reluctant organist) all showing they have exactly what it takes. The choral numbers are impressive too.
This is feelgood theatre at its best – and you’re bound to leave the auditorium humming, with the sound of ‘Yorkshire’ in your head.
4.8 stars
Susan Singfield
Trenchtown
29/09/18
Gilmore Place, Edinburgh
‘Good things come to those who wait.’
How many times have I heard that said? The thought crosses my mind more than once as we sit in Trenchtown waiting for our food to arrive. Okay, it’s a Saturday night and the place is packed with hungry punters, so we’re not expecting miracles here, but…. maybe I need to get into the Jamaican vibe a little more. Everything in it’s own time, right? Only, I’m hungry.
We’ve been meaning to try this Caribbean eaterie for some time and tonight, in the company of good friends, seems a propitious time to give it a whirl. We are initially charmed. We like the lively, bustling ambiance of the place, we enjoy the eclectic design replete with vibrant murals and shanty town/beach hut trappings. We enjoy the pulsing reggae music that throbs urgently in the background and the staff are as cheerful and friendly as you could reasonably expect of people who are dashing back and forth trying to feed battalions of diners. But it’s still a good hour before anything more nutritious than Red Stripe lager arrives at our table.
Luckily, the food, when it finally comes is well worth waiting for, simply served on enamelled plates or from stainless steel mess tins. Nice touch. There are four of us so we decide to maximise our options and share a range of starters. There’s fiery fried squid, light and crispy, coated in panko crumb and sprinkled with mango mole, coriander and lime mayonnaise. There’s a bowl of jerk wings, marinated for 24 hours in a finger-lickingly sticky sauce. There are Trinidadian doubles – bara roti flatbreads coated with spiced chickpeas, mango chutney and shredded coconut (these are quite the ugliest things on the table, but have a lovely earthy flavour that more than makes up for their homely appearance). And there are sweetcorn fritters, liberally coated with spiced mango and lime sauce, as light and crunchy as you like, but challengingly spiced, so that even the most hardened of us can’t resist letting out an ‘oof’ when we take a bite. Those who prefer milder things, please take note: these may be too much for you!
So far, so good. For the main course, I have chosen jerk beef ribs and when they eventually arrive, I’m very pleased with the look of them. There are two thick lengths of rib on the plate, thickly coated with meat so tender it’s virtually sliding off the bone. They are garnished with sweet onion chutney, there’s some crunchy lime and coriander chow, a dressed salad and a side of spicy French fries. The latter are a bit ‘meh,’ evidently frozen and sprinkled with paprika, but the rest of it is very nice indeed. Susan opts for the Trini chicken curry, which comprises a chicken breast cooked in coconut milk with mango. This comes with a side of rice and peas. Again, its nicely executed. The meat is succulently tender and the rice is fluffy and delicious. The portions are all on the generous side, so much so that we find ourselves unable to even contemplate a pudding. Which is a rare occurrence but maybe no bad thing.
The bill comes and we’re genuinely surprised at the price, which – with two rounds of drinks – comes in at less than £25 per head. We’ve enjoyed our visit to Trenchtown, despite that long wait for service. Maybe the answer is to visit earlier in the week, when it’s less rammed. Or maybe they need to put on some more staff at the weekends. Or maybe I just need to chill.
Because the food is really very good.
4 stars
Philip Caveney
Bouquets & Brickbats 