Edinburgh

The Ivy on the Square

11/02/18

St Andrew Square, Edinburgh

Let’s be honest, we’re here because of The Ivy, the famous London restaurant none of our party has ever visited, but which is synonymous with celebrity and exclusivity. Not that we’re expecting either of these tonight, but we’re keen to see what this Scottish outpost has to offer, and perhaps to gain some insight into why its progenitor is so talked about.

We’re with good friends, so we’re off to a promising start: we’re predisposed to enjoy ourselves when we’re in their company. True, we’ve looked at the menu on line and found it pretty uninspiring, and our companions have read some mixed reviews. But we’re here with open minds (and mouths); we’ll give it a fair chance.

And we’re glad we do, because it’s hard to find much fault. The decor is idiosyncratic, all busy prints and reflective surfaces, but it works: it’s modern and traditional and quirky all at once. Okay, so the tables are crammed a little closely together, and it’s busy and bustling so they’re a little slow with our drinks orders, but that’s no problem really; there’s a lively atmosphere and we’re in no rush. The service is attentive without being overbearing, and the food is really rather good.

I start with the tuna carpaccio, which is yellowfin tuna served with ponzu dressing, avocado purée, toasted sesame and coriander shoots. It’s a thing of beauty, and the standout of the meal for me. It’s spicy but delicate, and the fish is melt-in-the-mouth soft. Lovely! Philip has the warm crispy duck salad, which comes with five spice dressing, toasted cashews, watermelon, beansprouts, coriander and ginger. He’s especially impressed by the textures, and by the surprising addition of the watermelon, and declares it a winning way to begin.

His main is line-caught swordfish with red pepper sauce, Provencal black olives, fregola and chimichurri dressing. It’s a simple dish, but a well-executed one, the fish seared to perfection. I opt for the ‘classic’ Ivy on the Square shepherd’s pie, which comprises slow-braised lamb shoulder with beef and Isle of Mull Cheddar potato mash. It’s not like any shepherd’s pie I’ve had before, its elevation completed by the robust gravy that accompanies it, which is rich and densely flavoured.

Do we have  room for pudding? Of course we do. And, having seen it delivered to a neighbouring table, we both opt for the chocolate bombe,  a delicious dome of milk chocolate, which – under a torrent of hot butterscotch sauce – melts into a vanilla ice cream and honeycomb centre. It’s as theatrical as it is sinfully delicious, and we’re suitably impressed.

All in all, we’ve had a great evening, relaxed and unhurried, and we’ve thoroughly enjoyed ourselves. Will we be back? I’d say it’s highly likely.

4.3 stars

Susan Singfield

 

Tower Restaurant

07/01/18

National Museum of Scotland, Chambers Street, Edinburgh

We’ve been meaning to try the Tower restaurant for a while, and we’re reminded of this fact when we’re sent an email with an enticing offer, namely the chance to enjoy the Table d’Hote menu (£38 for three courses) with the added benefits of complementary champagne, coffee and petit fours. It’d be churlish to ignore this one.

The restaurant’s location is sublime. It’s at the top of the National Museum of Scotland (incidentally, a location that features prominently in one of Philip’s YA novels, Seventeen Coffins) and boasts a divine view of the Old Town, most notably the castle, resplendent in all its lit-up glory. And the service is spot-on: the waiting staff are all friendly and attentive without being overbearing. It’s an auspicious start.

There are olives on the table and, when we finish them (which we do, embarrassingly quickly), we are immediately offered more. We decline, but appreciate the generosity. A malty, crusty rye bread is similarly devoured; again, we are given the chance to refill our plates; again we demur, because we need to leave space for the meal ahead.

Philip starts with the Inverawe Loch Etive smoked trout, which is served with beetroot gel and lemon crème fraîche. It’s as pretty as a picture and tastes as good as it looks. I opt for the  game terrine with pickled pear and walnut croutons. This is superb: densely packed with a range of meats, all distinctly flavoured and utterly delicious.

For his main, Philip has the Borders beef Bourguignon, which comes with button mushrooms, bacon lardons and mashed potato. It’s a rich, sticky delight, packing a real punch. I have the pan-seared fillet of seabass, which – served with crushed heritage potatoes, prawns and saffron butter – is a far lighter, more subtle dish. I really like it; the fish is firm and the skin is crispy. Good stuff indeed!

We share two puddings: the dark Belgian chocolate terrine  with Maldon salt and honeycomb, and the Bramley apple and cinnamon crumble with vanilla ice cream. Both are eagerly consumed, and we are – by now – feeling very full.

Still, we make room for the petit fours that come with our coffees (a flat white for Philip and a black decaf Americano for me). Of course we do! The truffles and tablet are tooth-achingly sweet and yummy. And we leave secure in the knowledge that we have had a lovely evening eating lovely food.

4.3 stars

Susan Singfield

Theatre Bouquets 2017

unknown-18

unknown-18

unknown-18

Once again we have been wowed by some fantastic theatre this year. Here, in order of viewing (and with the benefit of hindsight), are our favourite productions of 2017.

The Winter’s Tale – Lyceum Theatre, Edinburgh

The Winter's Tale

This thrilling, modern-day version of Shakespeare’s play was dynamic and audacious – with the whole fourth act recast in Scots. We loved every minute of it, especially Maureen Beattie’s performance as Paulina.

Chess: The Musical  – Festival Theatre, Edinburgh

Chess

The students from the Royal Conservatoire of Scotland thrilled the audience with a skilful display of all things theatrical. We loved the sophisticated choreography (often incorporating the real time use of video cameras) and choral singing that sent chills down our spines.

Nell Gwyn – King’s Theatre, Edinburgh

Nell Gwyn\

This superb production of Jessica Swales’ Olivier Award-winning comedy was a delight in just about every respect. From the superbly realised set, through to the opulent costumes and the lively period music, this was fabulous to behold.

Death of a Salesman – King’s Theatre, Edinburgh

Death of a Salesman

It was the direction that made this production so good: Abigail Graham did a wonderful job of clarifying everybody’s pain. And Nicholas Woodeson was perfect for the lead role, conveying Willy’s struggle with warmth and vitality.

The Toxic Avenger – Pleasance One, Edinburgh

The Toxic Avenger

A musical in the same vein that made Little Shop of Horrors such a pleasure, The Toxic Avenger was an unqualified delight, romping happily along powered by its own exuberance and the efforts of a stellar cast, who gave this everything they had – and then some.

The Power Behind the Crone – Assembly George Square, Edinburgh

The Power Behind the Crone

This was a wonderful piece of theatre, an exemplar of a Fringe show: beautifully scripted, and acted with precision and panache. Alison Skilbeck had absolute control of the material and created an impressive range of distinct, believable characters.

Seagulls – The Leith Volcano, Edinburgh

Volcano Theatre SEagulls at Edinburgh Fringe Festival

This was the most ambitious, exhilarating piece of theatre we saw this year. Site-specific productions – when the site is as spectacular and relevant as this (we were in an abandoned church, which had been flooded with forty-five tons of water) – can be truly exciting, and this one had a lot to offer.

Safe Place – Rose Street Theatre, Edinburgh

Safe Place

Safe Place provided a sensitive, insightful examination of the uneasy relationship between trans-activism and feminism. It asked (and answered) many questions, all within the framework of a nuanced and intelligent play.

Angels in America: NT Live – Festival Theatre, Edinburgh

Angels In America

Clocking in at just under eight hours, Tony Kushner’s play offered us a “gay fantasia on national themes” – a sprawling, painful and searingly funny depiction of New York in the 1980s, fractured and ill-prepared to deal with the AIDS epidemic. A truly iconic piece of theatre.

Twelfth Night/Romeo & Juliet – King’s Theatre, Edinburgh

Twelfth Night

Romeo & Juliet

Merely Theatre gave us some ‘stripped-back’ Shakespeare, performing Twelfth Night and Romeo & Juliet in rep. The plays featured only five actors and the casting was gender-blind. It all made for an interesting dynamic and prompted us to re-examine familiar scenes.

Cockpit – Lyceum Theatre, Edinburgh

Cockpit

Cockpit was a witty, clever play, which saw the Lyceum transformed into a truly immersive space.  Director Wils Wilson served up a fascinating piece of theatre: arresting, thought-provoking, provocative and demanding – and it kept us talking for hours afterwards.

Cinderella – King’s Theatre, Edinburgh

Cinderella

We never thought a pantomime would feature in any ‘best of’ list of ours but, for the second year running, the King’s Theatre’s stalwarts managed to wow us. Allan Stewart, Andy Gray and Grant Stott knew exactly how to work their audience, and the special effects were truly spectacular.

Susan Singfield & Philip Caveney

Passorn

13/12/17

Brougham Street, Edinburgh

It’s always exciting when you discover a great place to eat – and an extra bonus when it turns out to be within walking distance of where you live. Brougham Street, the unassuming thoroughfare that leads up from Tollcross to Edinburgh’s Meadows, has already yielded us two superb eateries. First of all, we sampled the quirky delights of Ong Gie, a fabulous Korean restaurant that specialises in barbecuing food at your table. https://bouquetsbrickbatsreviews.com/2016/12/18/ong-gie/

Next up, we decided to try Taxidi Greek Bistro, a brand new diner that now occupies the premises where My Big Fat Greek Restaurant used to reside. That too, proved to be an absolute corker. https://bouquetsbrickbatsreviews.com/2017/11/13/taxidi/

It has long been on our minds to try the restaurant right next door to Ong Gie so finally, on this chilly winter night, fuelled by a couple of drinks at the Cameo Cinema Bar, we decide that we really shouldn’t leave it any longer.

Passorn boasts that it offers ‘angelic Thai dining’ and it must be said there’s a lovely relaxed feel about this scrupulously clean restaurant. We haven’t booked, but it’s early in the week and they soon find a place for us. When we arrive, the restaurant is nearly empty but it quickly begins to fill up, so clearly it already has an established fan base. We order drinks and settle ourselves down to peruse the menu. What’s interesting here is that – with the curry dishes – the customer can choose the level of heat they prefer – I know of many people who have been permanently scared off Thai food simply because they’ve been on the receiving end of something way too fiery for them.

For my starter I select Bangkok Cakes: two perfectly formed Thai-style cakes, one of prawn and one of cod, served with kaffir lime leaves and red chilli paste. They are both exquisite, expertly spiced and yummy to the last mouthful. Susan opts for Nam Tok Moo, a dish from the North East of Thailand, featuring char-grilled pork with coriander, fresh mint, lemongrass, red onion, roasted rice and Passorn’s own chilli dressing, the whole thing attractively served in  a hollowed-out red cabbage. Again, it’s a knockout, absolutely scrumptious.

For the main course, I choose Pia Samun Prie, crispy monkfish pieces in a turmeric and coconut sauce, topped with crispy onion. The chunks of fish almost melt in the mouth and the dish makes a perfect contrast with Susan’s choice of main course, Angel Curry. This comprises a marinated 8oz sirloin steak in a spicy red curry sauce, served on a bed of crispy potatoes. (My mouth is watering just describing it!) The meat is so tender it can be cut with a standard knife and the tangy, palette-tingling sauce is just perfection on a plate. Furthermore, the combination of the two dishes is inspired, though I’ll admit that’s more down to luck than expertise on our part.

We also order side dishes of Pad Mee (stir fried noodles with beansprouts) and Sticky Rice. Regarding the latter, I’ve had various permutations of this dish all over the UK, but this can only be described as super-sticky, a satisfying gelatinous lump that actually has to be divided up with a knife – and possibly the main reason I end up too full to consider investigating the puddings. That’s not a criticism, by the way. But if you like to finish your meals with something sweet then maybe pace yourselves a bit more than we do.

No doubt about it, this is superb quality Thai food, as good as anything you’ll find in the New Town and, it has to be said, excellent value for money. Which prompts me to ask the question – is Brougham Street the city’s new ‘must-visit’ culinary location?

On the basis of the three restaurants we’ve sampled thus far, that would have to be a resounding ‘yes!’

5 stars

Philip Caveney

 

The Tin Soldier

 

The Studio, Festival Theatre, Edinburgh

09/12/17

Bird of Paradise Theatre’s production of The Tin Soldier is an object lesson in the art of storytelling. It’s thoughtful and vibrant and beautifully done.

Jack (Robert Softley Gale) and his friends live in The Place. Based on the Internats, where non-ambulant disabled children were ‘dumped’ in Soviet Russia, The Place is cold, inhospitable and under-staffed. Left to their own devices, the children forge strong ties, creating their own family units. And, central to this bonding process, is the sharing and telling of stories.

The appeal of The Tin Soldier is obvious: the loyal, steadfast toy is one of very few positive depictions of a disabled character in children’s fiction. He might not have a happy ending, but he’s undoubtedly the hero of the tale: dogged, determined, loving and loveable.

But the real beauty of this piece is all in the telling. The multi-media, multi-format approach is beguiling: the story is told simultaneously through spoken word, sign language, subtitles, music and animation. If that sounds chaotic, it’s not. It’s all perfectly choreographed, each form complementing the next, adding subtle layers of meaning and complexity. Caroline Parker, as the aptly-named Dancer, is especially mesmerising, signing the songs centre-stage; it’s visually stunning, even though I don’t know sign language.

Bird of Paradise’s artistic vision is of “a culture where disabled artists are recognised for the excellence of their work” – and Softley Gale, Parker and Joseph Brown (Kipper) certainly merit accolades for these performances.

The music is provided by Novasound, aka Audrey Tait and Lauren Gilmour. It’s lovely: Gilmour’s voice has a plaintive quality that really suits the tale.

The Tin Soldier is playing until the 23rd December, so if you’re looking for a festive family show that goes beyond the obvious, then why not take a look at this? You won’t be disappointed.

4.4 stars

Susan Singfield

The Arabian Nights
17.(L-R) Tim Licata, Nick Karimi, Nebli Basani and Patricia Panther. Photo credit – Tommy Ga-Ken Wan_preview

07/12/17

Lyceum Theatre, Edinburgh

The Arabian Nights is unusual: a children’s Christmas show that never mentions Christmas. Of course it doesn’t – this is a collection of mainly Middle Eastern and Indian stories – but they’re wonderfully apt for the festive season, as marvellous and magical as can be. Suhayla El-Bushra’s script is sprightly and engaging, and nicely complemented by Joe Douglas’s lively direction. This is a delightful production.

At its centre is Scheherazade  (Rehanna MacDonald), a young girl who has fallen foul of the tyrannical Sultan (Nicholas Karimi). Desperate to stay her impending execution, she regales the taciturn leader with tales she has learned from her storyteller mother (Neshla Caplan). Despite professing to hate stories, the Sultan is beguiled, demanding more and more. And, as time goes by, the two develop an unlikely friendship.

The staging is lovely: simple but evocative, brightly coloured and celebratory. And the stories are beautifully told: there’s puppetry and music, shadow-play and song. It’s zesty and energetic, the stories tumbling across the stage as quickly and impressively as the acrobats. It could be chaotic, but it’s not, even when we are faced with a sequence of four (or is it five?) tales within tales, each left open as the next begins, a masterful piece of writing if ever there was one. The actors are fantastic too: a true ensemble, most performing many roles with humour and precision.

Accessible yet profound; moving yet funny; sophisticated yet full of fart jokes: this is perfectly pitched for a family audience.

4.5 stars

Susan Singfield

The Real Thing

 

 

Laurence Fox (as Henry). Dress Rehearsal of The Real Thing by Tom Stoppard (a co-production by Cambridge Arts Theatre with Theatre Royal Bath and Rose Theatre, Kingston). Cambridge Arts Theatre. Cambridge, Cambridgeshire, UK. September 06, 2017. Photo: Edmond Terakopian
Laurence Fox (as Henry) and Flora Spencer-Longhurst (as Annie). Dress Rehearsal of The Real Thing by Tom Stoppard (a co-production by Cambridge Arts Theatre with Theatre Royal Bath and Rose Theatre, Kingston). Cambridge Arts Theatre. Cambridge, Cambridgeshire, UK. September 06, 2017. Photo: Edmond Terakopian

25/10/17

King’s Theatre, Edinburgh

Tom Stoppard’s The Real Thing is an arch examination of what we mean by ‘truth’ – in love, in life and, of course, in theatre. Despite the linguistic flourishes, however, the central premise – that reality is a shape-shifter, subject to narrative perspective – is pretty bluntly hammered home.

It starts well, with the initial confrontation between husband and wife slowly exposed as fiction: a scene from playwright Henry (Laurence Fox)’s House of Cards. The blurred lines between reality and fantasy are underscored by the revelation that Charlotte (Rebecca Johnson), the cheating wife in the first scene, is – in fact – married to Henry. Her on-stage husband, Max (Adam Jackson-Smith), visits with his real-life wife, Annie (Flora Spencer-Longhurst), and things are further complicated when we discover that Henry and Annie are having an affair. It’s the stuff that farce is made of, and it’s rather nicely done – even if it does at times seem a little too wordy and pleased with itself.

But I’m not sure we need the constant reinforcement of what is, at heart, a straightforward idea. Henry’s Desert Island Discs choices don’t reflect his real musical taste; Charlotte has never been a faithful wife. Brodie (Santino Smith), Annie’s ‘good-cause’, is not the wronged war hero she pretends he is. Most of Billy (Kit Young)’s dialogue is taken from ‘Tis Pity She’s a Whore: he’s rehearsing with Annie; they’re acting the part. It’s all very meta, and interesting to watch, but it does seem to over-complicate an essentially simple premise.

Henry and Charlotte’s daughter, Debbie, is nicely played by Venice Van Someren, but I really don’t understand the character’s function. The role doesn’t add anything to the piece.

The performances are good: the play is dialogue-heavy, but the actors make the most of the sprightly humour, and the verbal jousting is entertaining throughout. Fox’s voice seems a little strained at times, but he plays the part with relish and, particularly in the second act, imbues Henry with real depth.

Stephen Unwin’s direction is clear and unfussy, each scene separated by a choreography of moving furniture, which serves to underline the theatricality. But I think perhaps more layers might have been unearthed had the actors multi-rolled, further calling into question the whole notion of reality. As it is, it’s all a bit one-note, and something of a missed opportunity.

3.8 stars

Susan Singfield

 

 

The Kite Runner

09/10/17

King’s Theatre, Edinburgh

Khaled Hosseini’s best-selling novel, set against the changing face of Afghanistan through the nineteen-seventies and beyond, gets an assured if slightly pedestrian adaptation by Matthew Spengler, who opts to use the same first person narration as the book. It’s a powerful and deeply affecting story about friendship and rivalry and how the events of childhood serve to shape the adult psyche.

David Ahmad takes the central role of Amir – and it must be a punishing performance, as he is involved in every single scene. This is the story of young Amir who lives with his father Baba (Emilio Doorgasingh) in a fine house in Afghanistan. It is also the story of the two servants who live and work in the household, Ali (Ezra Foroque Khan) and his son, Hassan (Jo Ben Ayed). Amir and Hassan are friends who play together every day, unmindful of the fact that they are on opposite sides of the Sunni/Shia divide. When the Taliban take control of the country, that divide causes incredible tensions – and when Amir witnesses an act of barbaric cruelty enacted on Hassan by some Sunni boys, he chooses to look the other way… something that in the fullness of time, he comes to bitterly regret.

The play is simply and effectively staged. I love the device of the giant kite-shaped screen that descends from time to time with images projected onto it and shadows swarming behind it. The scene where it is used to mask the story’s most heinous moment is a brilliant piece of theatre – making the event infinitely more horrible, simply because we do not see it. The imagination always paints the most terrible pictures.

I also love the presence of tabla player Hanif Khan on stage, his urgent rhythms serving to propel the story along at key moments. If some scenes occasionally feel a little exposition-heavy, this is perhaps an inevitable consequence of the narrative – but those who love the novel (and they are many) will surely appreciate how much care and attention has gone into adapting this for the stage.

The rapturous applause at the play’s conclusion is ample evidence of how much the audience in the packed auditorium enjoy this performance.

4.2 stars

Philip Caveney

The Sunshine Ghost

07/10/17

The Studio, Festival Theatre, Edinburgh

The Sunshine Ghost, a co-production between Scottish Theatre Producers and the Festival and King’s Theatres in Edinburgh, is a brand-spanking new musical, performed with wit and vigour by its small cast.

Directed by Ken Alexander, it’s a convoluted, melodramatic tale, featuring love and loss, castles and ghosts – with lots of laughs along the way. We meet the cursed ghost Ranald MacKinnon (John Kielty), two hundred years dead, and doomed to haunt his family’s castle until an old wrong is avenged. And we meet the woman he falls in love with, the very-much-alive American archaeologist, Jacqueline Duval (Neshla Caplan), daughter of billionaire property tycoon, Glen Duval (Barrie Hunter). Before Jacqueline can stop him, her boorish father is buying MacKinnon Castle and shipping it stone-by-stone to the USA, all to curry favour with his latest amour, the repulsive media-astrologer, Astrobeth (played with real relish by Helen Logan). Can Ranald save his ancestral home and break the curse that binds him to it? Can the hapless caretaker, Lachlan (Andy Cannon, who co-wrote the play), do anything to help? Here, nothing is as it seems, and the resolution, when it comes, is sure to take you by surprise.

This is a thoroughly enjoyable piece of musical theatre, hindered only by a peponderance of exposition in the first act, and the inevitable limitations of a single piano (masterfully played by Richard Ferguson, who also wrote the score, but without the depth of a full band or orchestra). It’s a silly spoof, a daft extravagance, and the cast play up these elements with obvious glee. There are lots of cheeky little techniques employed with a knowing wink: a sheet cunningly moved to allow a shock reveal; a homage to Beetlejuice in the possession scene. Helen Logan’s Astrobeth is the standout performance (it’s a gift of a role, perfect for comic exaggeration), but the whole cast works well, and it’s a whole lot of fun.

A most enjoyable evening at the theatre.

4 stars

Susan Singfield

 

Maki & Ramen – Omakase Sushi Bar

06/10/17

Fountainbridge, Edinburgh

I was rather disappointed when Kampung Ali announced its imminent closure a while ago. This unassuming Malaysian cafe, though very basic in decor, offered great value rice and noodle dishes and was only a short walk from my home. Amongst other things, it did a fantastic coconut rice, one of the best I’ve ever tasted. Here’s what we said about the place back in 2015.*

Kampung Ali, Fountainbridge, Edinburgh

The premises didn’t stand empty for long. Pretty soon it was transformed into the Maki & Ramen – Omakase Sushi Bar. (A bit of a long-winded title, I’ll grant you, but the place seems to answer to both names and has an online listing under each of them. Go figure.) I kept promising myself that we would drop by and check it out but, for one reason or another, the time was never right. But now, for reasons too complicated to mention, I find myself alone on a Saturday evening and decide that here is my ideal opportunity to give the place a whirl.

The first thing to say is that the management have effected an astonishing transformation here. What was once a hokey, ramshackle diner with cheesy photographic dioramas on its walls, is now a sleek, dramatically-lit dining space with a selection of different-sized tables to cater for large groups, smaller ones and, luckily for me, individuals. It’s already pretty busy when I arrive and the place is buzzing, but they soon find me a spot and I’m left to peruse the menu and admire the extensive collection of Post It notes left by the appreciative (and often rather talented) diners who have preceded me. I go in there planning to eat ramen, but then I spot chicken katsu curry on the menu and decide that this is exactly what I am in the mood for. I also order a portion of  pork gyoza and a bottle of Sapporo lager.

The service is friendly and efficient and the food, which arrives in double-quick time, is piping hot. Those of you who are familiar with the katsu curry at Wagamama’s should note that this is a chunkier, earthier version of the meal, the piquant sauce thick and studded with vegetables. There’s a mound of sticky rice and (nice touch this) a chunk of al dente broccoli. The generously-sized portion looks so inviting, I quite forget to photograph it before I start tucking in. Doh! The same goes for the gyoza – these are moist and succulent, with soft, paper-thin cases that virtually melt in the mouth. There are five dumplings in the portion and I eat the lot. Oh yes, every meal comes with a little bowl of savoury miso soup, which is another nice touch.

Tonight is just a try out – I will go back, hopefully with friends, and sample some of the more adventurous items on the menu, but I have to say that this is a very promising first visit. Go and check it out. If you’re at all artistically inclined, leave an illustrated Post It note. You’ll be in good company.

4.2 stars

Philip Caveney

*I should also add that there is another Kampung Ali (or Ah Lee, as it’s spelled on the website) on Clerk Street, Edinburgh, still apparently going strong.