Bn1 Magazine August 2022

MAGAZINE | AUGUST 2022

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SIMON EVANS JOSHUA RAY WALKER

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LISSIE RECIPES DRAG IN THE PARK JUSTIN MOORHOUSE

CULTURE MUSIC EVENTS STYLE RECIPES GUIDE ART FILM FOOD BRIGHTON // SUSSEX // LONDON

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Thursday 15th September Pavilion Theatre wtm.uk/tbtd · 01903 206206

Thursday 29th November to Friday 2nd December Connaught Theatre

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wtm.uk/othello 01903 206206

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Charleston 2022 festivals

Small Wonder festival 13–16 October Photography by Lewis Ronald

Art direction by Kellenberger–White

CONTENTS Ju s t i n Mo o r h o u s e

24 Joshua Ray

Photo Credit: David McClister

20 Sugarhill B r i g h to n

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Photo credit: Zoran Jelenic

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Photo: Pamela Raith Photography

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News

Art & Design - a L ura Thorne

Drag in the Park

Stay grounded while travelling

Trockadero De Monte Carlo

Maris & Otter e R view

Goodwood Revival

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e R cipe from tA ul o K chhar

BN1 Chats with Lissie

e R cipes by Mmindful Mills

Joshua Ray Walker

New Sharing platform Pigeon

Justin Moorhouse

Fashion by Sugarhill Brighton

SPIKE (Spike Milligan theatre)

Scandinavian Style

Waiting for God

Cost of living crisis

Simon Evans

The Right o R yal um R pus!

Candlelight Concerts

TV and Cinema Guide

BN1 Book Club

Quick Crossword

EDITORS LETTER:

London 2012 seems like a very long time ago. And it might just be the last time the nation truly came together. I still have fond memories of one gloriously sunny Saturday, where we dashed between the Beach Volleyball at an amazing temporary stadium on Horse Guards Parade, on to the Barbican for an exhibition celebrating 50 years of the statesanctioned serial killer, James Bond, and finally to Waterloo’s IMAX for Christopher Nolan’s final instalment of the Batman trilogy. The only way you could get a more brilliantly British time out is if you went drinking with Danny Dyer in Spoons, and saw David Attenborough and Barbara Windsor having a tear up over who loved HM Queen more.

Ten years on, and this country is having an identity crisis. Nothing seems familiar any longer. The same arguments are constantly recycled, with no sight of real progress. Divisions run deep. It would be lazy to blame anything on Brexit or suggest that people are more selfish and ignorant than they were a decade back.

I put it down to the lack of access to decent and relatively inexpensive Pick n Mix on our high streets. We’ve lost a lot of things over the years.

Few people step aside on the pavement for someone else anymore.

What happened to the little tents over manhole covers? All the pipe smokers have vanished. Nobody wears those army surplus shirts with the West German flag on the shoulder. And now, if you fancy a sweet treat, you can’t indulge in a wide range of flavours and consistencies.

It’s one thing or nothing. Gone is the joy of filling a little paper bag with a selection which suits your mood or tastes. We can grab a packet of fizzy cola bottles, but we then dispense with objectivity. These are the sweets we’ve chosen, and we need to stick with them until all is gone. Other people might tell you how nice their sweets might be, even offering some unimpeachable evidence to support that, but you need to believe in the choice you made for fear of losing face. That’s a shame. And It’s inarguably what’s made this great nation so gloomy.

But we’ll always have the memories of those incredible Olympics, and the associated glory of having a little bag evenly filled with gold chocolate coins, flying saucers and marshmallow pieces. bn1magazine.co.uk

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CONTRIBUTORS COVER: The Trocks, Dance Consortium, Majisimas, photo by © Zoran Jelenic

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CHRIS SADLER CHRIS@BN1MAGAZINE.CO.UK

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Various internships are avaliable for writers, photographers, marketing, sales, creative types and enthusiasts to join Brightons leading culture and lifestyle magazine! just email your CV and a little about yourself to: info@ bn1magazine.co.uk All rights reserved including rights of reproduction and use in any form by any means, including the making of copies by any photo process or by any electronic or mechanincal device (printed, written or oral), unless permission in writing is obtained from the copyright proprietor.

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LIVE MUSIC & AUDIOVISUAL LANDSCAPES Ryoichi Kurokawa subassemblies. Courtesy of L.E.V. Photo by Elena de la Puente

SUNDAY 2 OCTOBER

POPPY ACKROYD SUNDAY 23 OCTOBER

LONELADY COBY SEY

SATURDAY 29 OCTOBER

KEELEY FORSYTH THURSDAY 10 NOVEMBER

KOKOKO

SATURDAY 19 NOVEMBER

BADUIZM: 25th ANNIVERSARY SATURDAY 26 NOVEMBER

attenboroughcentre.com

RYOICHI KUROKAWA SUBASSEMBLIES MYRIAM BLEAU UNSCULPT

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BRIGHTON NEWS RISE ANNOUNCES 15TH ANNUAL UNDERCLIFF RUN

C O M E DY S TA R S G AT H E R F O R S P E C I A L G A L A S H O W I N M E M O RY O F P H I L J E R R O D A star-studded line-up of Britain’s brightest comedy are gathering for a very special night of comedy. Coming to the Brighton Dome on Sun 18 Sept, in loving memory of their friend Phil Jerrod.

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ISE, Brighton & Hove’s domestic abuse charity, has announced its signature annual fundraising event, the 8k Undercliff Run for Women, is now open for registrations.

The women’s charity race will take place at 10am on Sun 16 Oct along Sussex’s famous chalk cliffs from Saltdean to Brighton and back. This annual event is now back at full strength after two years of restrictions due to the pandemic, with a virtual race in 2020 and a smaller event in 2021.

All the money raised through sponsorship will go directly to services supporting families from local communities who are affected by domestic abuse. RISE’s services include a domestic abuse helpline, counselling and therapy, support groups and a refuge space for those in urgent need.

“This fantastic event is vitally important for the continuation of the crisis support and emotional care provided by RISE,” said RISE’s fundraising and engagement manager, Ava Harding.

“I encourage women of all abilities to get involved if they can, whether it’s running, sponsoring, donating or spreading the word online - I hope that 2022 is the biggest and most successful Run for Women yet.”

Tributes came from all corners of the comedy world, when this brilliant Brighton-based comedian passed away last September after a battle with cancer. A towering figure on the local circuit, he also co-hosted the Crash Bang Wallop Podcast with fellow local comic Phil Lucas, which explored famous and over-looked disasters throughout history.

After going through a precession of unfulfilled jobs, Jerrod started out in comedy, winning the award for Best Debut Act at the Leicester comedy festival in 2015. The same year he made his Edinburgh Fringe debut with Neanderthal, winning more plaudits for his philosophical outlook and majestic beard.

While making a huge impact with his own tours, he also wrote for several major BBC shows, including The Now Show, The News Quiz and Mock the Week.

All proceeds from An Evening of Comedy in Memory of Phil Jerrod are going to in Sarcoma UK, which seeks to everyone affected by cancer receives the best treatment, care, information and support available and to create the treatments of the future.

The line-up draws from the rich group of friends he met on the comedy scene, including Angela Barnes, Carl Donnelly, Joe Foster, Kerry Godliman, Mark Steel, Michael Fabbri, Romesh Ranganathan, Seann Walsh and Tom Allen.

Find more info and tickets at: www.brightondome.org

A popular fixture in the local calendar, last year’s 8K Undercliff for Women raised over £25,000 by 100 runners, confirming its place as a flagship annual fundraising event for the charity.

Standard entry fees are £30 for a single runner, £77 for a single runner to include a donation and a technical running vest or £100 for a team of four. Entries for relay teams will open in August.

Register to take part in the race and raise money for RISE here: www.RISEuk.org.uk

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Sussex residents are being encouraged to put their best foot forward and unite against dementia at Alzheimer’s Society’s Brighton Memory Walk.

Hundreds of fundraisers will don their walking boots at Hove Lawns Sat 1 Oct, joining friends, family and colleagues to support local people living with dementia. Memory Walk will bring together those who have been personally affected by dementia, relatives who want to walk to remember a loved one, and anyone looking to raise money for charity.

Alzheimer’s Society is a vital source of support and a powerful force for change for everyone affected by dementia. Research shows that 900,000 people in the UK have a form of dementia.

By 2025, 1 million people will be living with the condition in the UK, and many millions more carers, partners, families and friends are affected.

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Alzheimer’s Society is offering walkers of all ages and abilities a choice of a 3km or 6.5km reflective stroll along the coastline, each helping the charity provide a lifeline for as many people affected by dementia as possible.

By signing up to this family-friendly walk, fundraisers will support people affected by dementia through some of the hardest and most frightening times, to improve their lives and help to avoid crisis.

Supporters can also opt to walk on their own, or with loved ones, on the paths, pavements, parks or pebbles in a location of their choosing throughout September.

Sign up for free at: www.alzheimers.org.uk/memorywalk

BRIGHTON NEWS

REDISCOVERED C O N S TA B L E PA I N T I N G GOES ON SHOW FOR THE FIRST TIME EVER IN BRIGHTON An unseen masterpiece by Constable has been unveiled for the first time in almost 200 years at the Royal Pavilion. Labourers and fishermen on Brighton & Hove’s beaches captured the imagination of the English artist and inspired him to produce Colliers Unloading On Hove Beach, Looking Towards Shoreham, Brighton.

The painting is now on display in public for the first time in the Royal Pavilion thanks to the generosity of London art dealer and collector Danny Katz, a former Brighton resident.

1968 while working in the family business of antique dealing in Brighton and is now one of the world’s leading art dealers.

“This wonderful unseen work of art will be displayed in the Royal Pavilion nearly 200 years after its creation and about 200 years after the completion of John Nash’s Royal Pavilion,” said Royal Pavilion & Museums Trust CEO, Hedley. So, it is particularly timely for us to unveil this beautiful and important painting, once again at home in Brighton.

Constable (1776 – 1837) first visited Brighton in 1824, relocating his family to the seaside resort for his wife’s health. With a good coach service between London and the resort, its location enabled the artist to continue working whilst his wife recuperated, visiting his family when his schedule allowed.

He took a house at Brighton at various subsequent occasions until 1828, during one of the most commercially active periods of his career. Constable much preferred painting the scenes of working life along the shoreline rather than the bustling, fashionable Regency world of Brighton.

During that time Constable’s career was going well and he was at his most productive. He had completed The Hay Wain (National Gallery, London) which later won Constable a gold medal at the Paris Salon that year and sold The Lock (Private collection, UK) at that year’s Royal Academy exhibition. The Lock is believed to be the highest priced Constable, reaching £22,441,250 at auction in July 2012.

Rediscovered in 2017, the painting is a significant addition to the body of John Constable’s work. Previously completely unknown to art experts, it belonged to the great French collector Camille Groult (1832–1908), who established the most significant collection of British art in France in the nineteenth century.

The composition is based on a series of drawings in pencil of shipping on the seafront, made at the famous Brighton & Hove beaches. It’s on a long-term loan to the Royal Pavilion & Museums Trust by Mr Katz, of the esteemed eponymous Daniel Katz Gallery in London. He started his successful career in

OOWEE

LAUNCH FIRST BRIGHTON SITE This August, popular vegan fast-food restaurant Oowee is launching a flagship restaurant in Brighton, which promises to offer the ultimate plant-based experience.

Crowned Deliveroo’s ‘Restaurant of the Year’ in 2019, the Bristol-based restaurant is now bringing their indulgent menu to Brighton’s Market St on Fri 27 Aug. This is their 7th UK opening, after successfully having opened two sites in London in 2020, despite it being one of the most difficult times for the hospitality industry in history.

Oowee are on a mission to revolutionise the fast-food industry, offering an experience which is tailored for meat eaters, just as much as vegans. With a focus on quality, flavour and innovation, Oowee’s menu really holds its own against even the best meat offerings on the market.

This entirely plant-based menu offers guests a vegan experience like no other. You can enjoy juicy plant-based beef-burgers grilled to perfection, their famous fried chick’n, made in house, known for the unique crunchy, flavour packed coating, used in their fried chick’n burgers such as the spicy Flamin’ Hot Clucker filled with cheese, fried jalapeños and their house-made hot mayo sauce, delicious dirty fries (the Cluckin’ Fries are a gamechanger) and a range of sides, house-made dips and shakes.

Did we mention it’s all vegan?!

Between 2014 and 2019, the UK saw the number of vegans quadruple, and after having been named the best place in the UK for vegans, it’s safe to say that there’s no better time to be opening a vegan restaurant in Brighton than now.

Everyone loved the food quality and huge portions so much that they moved on to dirty fries, chicken and burgers, and very soon after that they managed to move into a tiny takeaway premises where Oowee really began.

“Our mission at Oowee is to lead the way with the future of fast food,” says Oowee Co-Founder, Charlie Watson.. “The quality of vegan food being developed now is mind blowingly good, and we aim to be at the forefront of that, being enjoyed by meat eaters just as much as vegans. After a successful pop up in Brighton last year, we’re super excited to be back with our new design flagship store this summer. We have a fantastic position in the heart of the lanes, and can’t wait for the community to try our food.”

Without a huge amount of experience, Verity and Charlie’s focus on great quality naughty food with generous portions gained them notoriety in Bristol, leading to another, much bigger restaurant at another site in Bristol. Oowee Diner is still there today and is the location that offers meat options alongside lots of veggie and vegan options. In 2018, Oowee opened a Deliveroo Editions site in London. This is where Oowee’s first vegan menu really developed, and its infamous ‘Sneaky Clucker’ debuted. Here, the restaurant found it’s passion for creating the same delicious fast food as Oowee had started with, but with the challenge of making all the juicy, delicious food they’re known for 100% vegan.

Back in 2016, Oowee’s founders Charlie and Verity, started out as friends in the pop-up sandwich kitchen she was running.

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SUSSEX NEWS

C R IM ES ON C ENTR E C OU R T B AT S I T S

WAY T O

WO R T H I N G

The multi-award-winning New Old Friends are touring another dose of mirth, murder and mayhem, this time with a side of tennis. Heading to Worthing’s Connaught Theatre on Thurs 22 Sept, Crimes on Centre Court is a hilarious helping of mystery, packed with innovative set design, lightning-fast costume changes and witty dialogue.

This comic romp revolves around the sudden death of Lord Knows, the chair of The Whombledun International Invitational Tennis Tournament. His son, Hugh, is suspicious, but the police won’t take the case. So Hugh calls upon the services of private investigators Perry & Penny Pink. But there’s plenty more dastardly crimes to come, as a dastardly plot to wreck the competition unfolds.

T H E S E H I L L S A R E O U R S B R I N G S P U R E E S C A P I S M T O WO R T H I N G PAV I L I O N

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n story and in song, These Hills Are Ours is the story of what they found out on those journeys. It’s about escaping it all by running to wild places. Escaping the city, escaping your past, escaping the restrictions of upbringing or class or politics. It’s a celebration of wild places and our freedom to roam them.

What transpires has all the hallmarks of the company’s particular brand of theatrical hilarity. A cast of four performers play countless characters with quick-fire changes and quicker wits.

Crimes on Centre Court, based on a story from New Old Friends’ award-winning podcast (#2 in iTunes fiction chart), is an ace of a show which you’re sure to (fifteen) love.

New Old Friends have built a national reputation with their wildly inventive set-pieces, twisty plots and commitment to unadulterated entertainment.

This ‘deucey’ summertime treat will rally the spirits and leave you wanting a second serve-ing of the volley of gags and visual delights. You won’t see it game set and matched anywhere else.

For more details and tickets, head over to: www.wtm.uk

Heading to Worthing Pavilion’s Atrium on Mon 26 Sept, These Hills Are Ours asks if you’ve ever want to run away from it all.

Dan and Boff did exactly that: they ran a series of routes from the centre of the city in which they found themselves, to the top of the peak overlooking that city. But what are we really running from?

Audiences are invited to learn about our historical rights to roam the British landscape. Starting at 1932’s Kinder Scout Mass Trespass and moving on to the less well known Winnats Pass trespass, which led to the establishment of the Pennine Way, we learn how the public became able to move almost freely across the countryside. The inclusion of these Important historical lessons are combined with a shared burning passion for running, and we learn why it’s vital for us to take advantage of something which was hard fought for.

Danial Bye and Boff Whalley take us across the great outdoors with a mixture of story and song, it’s ostensibly a show about running up mountains. But, beneath the surface is a fascinating story of how groups of pioneering activists helped open huge sections of land across Britain for the working class.

Bye’s award-winning, internationally touring theatre is always engaging, thought-provoking and entertaining. Whalley, bestknown as a founder member of Chumbawamba, writes heartfelt, catchy folk songs. This, their first theatre piece together, sees them moving into their most personal material yet. It’s a not-tobe-missed collaboration between two of Britain’s most celebrated artists in their own fields.

Co-commissioned by Beaford Arts, Eden Project, Lancaster Arts, Leeds Playhouse and Shoreditch Town Hall with support from artsdepot.

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T H E A R T I S T ’ S G A R D E N E X H I B I T I O N C O M E S T O B O R D E H I L L Borde Hill Garden has been an inspiration for horticulturalists and artists for generations and this summer they continue this tradition.

On Mon 1 Aug – Fri 30 Sept, The Artist’s Garden will be displaying an artistic response to the beauty of nature, countryside and gardens by 20 established and up-and-co­­­ming artists.

Visitors will be able to explore the historical Garden, renowned for its rare shrubs and champion trees, where they can discover approximately 40 affordable sculptures inspired by both flora and fauna, alongside Simon Gudgeon’s stunning bronze work, Pelicans, taking centre stage in the Italian Garden pool – kindly loaned to Borde Hill from Sculpture By The Lakes, Dorset.

The exhibition also includes a variety of smaller works, with ceramics inside the Green Tree Gallery, printmaking in the Garden shop, and a selection of 20 paintings in the glasshouse

by Kenneth McIntosh and Karina Goldman from Horsham Artists.

Find out more at www.bordehill.co.uk

SUSSEX NEWS history linking ancient Chinese painting to contemporaries such as Warhol and Alice Neel who were both significant influences.

Lynch painted primarily onto salvaged plywood sheets and other found materials.

Partly from financial necessity and partly because of the contributions the grains, knots and marks afforded the work, often leaving areas raw and exposed. He depicted landscapes and wildlife, cultural artefacts and mythical symbols through instinctive and direct brushstrokes with a psychological connection to his subject matter.

B I L L LY N C H WO R K S H E A D TO BRIGHTON Brighton Centre for Contemporary Art has announced The Exile of Dionysus - the first major exhibition of works in a UK institution by American artist Bill Lynch (1960–2013).

Largely overlooked in his lifetime, Lynch was a painter of exceptional power and talent, His work ranges across time and cultures, continuing to speak to us about the power of the past in the present moment. Assessing Lynch’s work in the New York Times in 2014, critic Roberta Smith wrote ‘Genius lands where genius will, and I’m pretty sure some alighted on Bill Lynch.’

Running on Sat 6 Aug – Sat 15 Oct, the exhibition’s title is a reference to the Greek god of wine, parties, theatre, harvest, madness and ecstasy. As a young man, Lynch arrived to study at Cooper Union in New York in 1978. Described by his friend the artist Verne Dawson, ‘he radiated a

physical energy that was incandescent … of the Sufi bent – intoxication, whirling, playing the fiddle all in the service of connecting with the oneness of spirit and matter.’ Lynch it seems was a powerful force, but during his time in New York, he lived on the fringes – social, passionate, a huge fan of rock n roll and dedicated to his work, but never entirely embraced by the New York art world of the 70s and 80s.

He rarely sold his work and was never represented by any of the burgeoning number of galleries in the city at the time.

He couldn’t have cared less about the minimalist music of Philip Glass or Steve Reich. He consumed and considered pop stars and movies, not the new issue of Artforum’.

He might just as easily be found playing rock and roll records at a party, as in a state of revery drawing under a cherry tree in Central Park. Lynch had considerable depth of knowledge in art

The Exile of Dionysus is an exhibition in two parts, tracing connections in Lynch’s work between his wide-ranging interests spanning ancient cultures, mythology and art history. In the South Gallery, visitors encounter a world of lush vegetation, plants and landscapes interspersed with anthropological images and symbols. The work is heavy with both a sense of decay but also of magic, a visual language that resonates across time and cultures giving a sense of the layering of history, of long forgotten gods and pagan rites. The fertile growth and damp leaves suggesting a society of rich beliefs and celebration still there but only dimly remembered. Lynch himself said: ‘The idea is to give a glimpse at another world – the land of nods or possibly a more westerly location – by close examination of this one’ Moving into the North Gallery, there is a collection of works born from Lynch’s deep interest in traditional Chinese painting. It is in the apparent simplicity of these works that the artists’ skill as a draughtsman emerges alongside his mastery of technique; using space and light to suggest form, movement and glimpses of narrative. There are echoes here too of the spirituality articulated in the landscapes of the Ming Dynasty which intrigued Lynch; using the painting as a space for reflection, for contemplating simplicity and form.

Across the exhibition there is a conversation between two spaces, between the spiritual and the earthly, the tension between a past and the current moment. The spirit of Dionysus is an embodiment of these conversations - what might seem like contradictions now - half hidden by Lynch’s tangled vegetation, pagan spirits and pools of light but not entirely forgotten.

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ALFIE ORDINARY, THE HOST OF DRAG IN THE P A R K , TA L K S D TO US ABOUT THE SHOW IN THE RUN UP TO BRIGHTON P R I D E .

rag In The Park came into existence after the lockdown restrictions lifted and events were allowed back in outside spaces. Alfie Ordinary went looking for open air venues to put on a drag show after many gloomy months indoors and rang up BOAT (Brighton’s open-air theatre) to see if they had any space. They said they didn’t but would be interested in something for that years Pride, which wasn’t on due to Covid-19 restrictions.

From this slightly awkward collusion, amongst many like it, sprang the highly acclaimed Drag in the Park, a beautiful and flamboyant drag show hosted by Alfie and accompanied by a cohort of Queens and Kings from Brighton and beyond.

There are two shows; an evening one as well as an afternoon showing for families, which Alfie says are pretty much the same minus the swearing. The performers rightly attest to the fact that they are not kids’ entertainers and declare drag is for all ages, sequins and lip-syncing galore. The kids who come along love the queens, who are naturally entertaining and bewitching in their delightful outfits and bubbly personas.

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Although born out of necessity, the airborne nature of the show has retained a more stripped backed version of drag, without the costume changes and glitz of the usual indoor venues. Alfie explains, “it’s all the camp and glamour of drag, which obviously just means there’s loads of dogging jokes.”

The shows have been such a success they have continued over the summer months and will celebrate a year anniversary this coming Pride.

Behind the show is a resiliency akin to the adaptability of the drag community. Alfie explains that drag queens almost have it built into them to make the most out of any situation: “They’re very resilient. Very adaptable.” From putting on a show for a huge audience to turning up to the top floor of a pub and being stuck in a corner to perform to twelve hens, everything is done with charm and grace. Alfie expounds, “There’s no flashing lights, there’s no reverb on the sound. It’s just raw drag. We’re really good at pretending, we can do a show to 10 people and perform like Beyonce performing for 10,000. That’s the part of drag where you’re suspending belief.”

Despite the hurdles that are thrown at drag queens or kings, Alfie explains “it is our job to make sure we are entertaining”.

He muses that perhaps, because the job comes from a sense of queerness, drag performers can make the most out of any situation. Whenever it has rained at BOAT, the queens have simply got their umbrellas out.

Alfie got into drag whilst he was studying theatre, which was also where he first discovered cabaret and clowning. He was drawn to drag as an art form, including but not limited to the more flamboyant aspects of theatre and cabaret. Alfie believes that the dressing up and entertaining nature of drag bares a close similarity to clowning.

As a queer person he found that clowning and drag played the same role for him, just that one was “queering it in a more straightforward sense”.

Drag can often be misinterpreted as men dressing up as women for a while, but in reality it is far from this. Drag is its own art-form, exploring gender through exaggeration and entertainment. Alfie explains how both drag and clowning employ objects and entertainment to act as a critical mirror held up to society.

Exaggerated accessories or items of clothing act as tools to explore gender and reveal its boundaries in an unserious and playful way.

What happens when you put a man in sequins and give him false eyelashes? Most of the time this is confusing for people, who don’t understand how a man in a dress and makeup doesn’t want to be defined as a woman. This second guessing is the beauty of drag. Just how clowns or court jesters’ roles were to use humour to question society and shine a light on societal norms, drag queens and kings similarly use humour and entertainment to question things most people think are entrenched into modern society such as tightly defined gender roles.

Alfie explains: “Clowns would take something that was every-day, but they’d wear it in the wrong way. So, like the trousers are too big or the tie is too small, and it is the same with drag queens, it’s like hey, they’ve got the hair but it’s massive.

And the shoes are huge. What I like to do is find fun costumes, but then make them out of sequins.”

Seeing something which sits outside of society’s norms gives people permission to relax and let their hair down a bit. Alfie explains that when he first started he wanted to be the most outrageously camp person in the room; in case anyone felt like they were too camp they could look at him and be reassured that they weren’t. He remembers “growing up feeling a lot of camp-shaming.

If you’re too feminine as a boy, then it’s a bad thing. So, when I started doing drag, I wanted to really push it”.

He taught and wrote a show called “Help I think I might be fabulous” which was about growing up feeling you weren’t the same as everyone else. But it was set in a school and the school was a preparatory school for fabulous boys. The main character’s big secret was that he liked football and he was ashamed that he wasn’t actually that into dancing or being fabulous. He got a lot of parents coming up to him afterwards saying that their child was being bullied at school or struggling in some way and how the show helped them understand more of what their child was going through. One review called it ‘entry level queer’ for its abridged storytelling. This simplification, Alfie says, gave parents the tools and language to support their children who had come out or were struggling with being bullied. He says, “I had lots of people saying their son’s just come out and they feel like they can really support him, and this opened up a conversation or just gave parents some extra bits of language.”

Although drag is often adorned with glitter and sequins, the long battle fought by queens and kings to get drag to where it is today was brutal and difficult. Fighting the pillars of traditional attitudes took decades of work, much of which is still ongoing. Alfie explains, “Our rights as queer people have changed and developed over the years, but there’s still so much to do. There are still people out there that think it’s okay to be gay but only behind closed doors. There is still very much an idea that gay people are different, they only come out at pride…

The only gay people I saw growing up was either in EastEnders where they were having a terrible time or comedians on telly that were these big ridiculous characters or Freddie Mercury who was so out of this world. I remember thinking, right okay, so if I want people to accept me for being gay I have to became famous”.

Pride started out as a protest and in the fifty years since, many things have changed and evolved including the human rights of the LGBTQ+ community. Brighton has the largest Pride in the UK, but there are countless celebrations springing up in smaller towns, cities and villages all over the UK which Alfie says are just as important as

the big ones. He elaborates, “there’s a need for pride in everyone but I think for young people, just being able to see other queer people is so important.”

Brighton’s reputation as a welcoming and inclusive LGBTQ+ city has been hard earned and fought for over generations.

During the lockdown, Alfie did a web series called Living Legends which received funding from the Arts Council. In the series he interviewed queens and kings that had been doing it for a long time, inviting them to talk about how they started out in the 70s when it had only been legal to be gay for around three years (Homosexuality was partially decriminalised under the 1967 Sexual Offences Act). Not only was he blown away by their ability (pre-technology) to double record cassettes for shows, but also by how much they have lived through and seen their rights change. “They’ve seen so much change, not only in technology and petrol prices, but in our lives and especially as queer people in the last 50 years since the gay rights movement started. To get into a gay bar, you had to knock on the door and a little patch would open and you would have to say a password to get in. That was purely for safety, because people would come in with bad intentions, whereas now you’re getting lots of gay friendly places rather than a gay bar, because they welcome anyone as long as you’re well behaved, and not being disruptive then, which is lovely, because that has been the intention of the gay rights movement. People just want to be accepted as part of society.

The drag queens that have been through that, you just see them looking around thinking this is what we’ve been fighting for.

And it’s here and it’s still going on obviously, but you can see the joy and pride in the way that they’re passing on their knowledge. I am constantly in Kemptown watching the shows because they’re the ones that if you want to learn a thing or two about drag then you should go and see someone that’s been doing it for 30 years… They’re absolute professionalism.”

Alfie was warmly welcomed into the Kemptown community and the elder generation of drag artists have imparted many words of wisdom and support over the years. What Drag in the Park does so well, he explains, is its ability to pair up these different generations of drag artists in one show.

For this year’s Pride, Drag in the Park (Sat 6 - Sun 7 Aug) will host Cherry Liquor, Son-of-a-Tutu and Tayris Mongardi as well as the UK’s youngest ever drag queen Kosmo.

Tickets can be booked through: www.brightonopenairtheatre.co.uk

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LES BALLETS TROCKADERO DE MONTE CARLO

By Stuart Rolt

N

ot all rebels wear leather jackets or break the law. Some can be found in tutus, adding a slyly comedic twist to some of the most recognisable theatrical dance classics. Les Ballets Trockadero de Monte Carlo are unconventional, powerful and thoroughly captivating; staging standards like Swan Lake, The Nutcracker or Vivaldi Suite as you’ve never seen them before. “It’s an allmale comedy ballet company,” says Creative Director, Tory Dobrin. “Each of those words carry the same amount of weight. The nice thing about it is that it can appeal to just about anyone.”

“Apart from maybe the conservative, religious far-right,” he adds with a big laugh. “But, theatre-goers love it, dance people love it, comedy fans love it, kids love it and LGBTQ people love it. The appeal is quite wide.”

Founded in 70s New York, just after the Stonewall Riots, Les Ballets Trockadero de Monte Carlo offered a platform for dancers underrepresented in classical ballet due to gender identity, sexual orientation or ethnicity.

Over the last four decades the company

has taken its polished parodies of classical ballets onto stages around the world. Boldly defying classical ballet’s conventional gender classification with powerful en pointe and enchanting en travesti, their gentle subversion has gone from a drag insurgency to mainstream sensation.

Dobrin says it can offer a terrific introduction to ballet. “Not to participate in stereotyping, but a woman who loves ballet can bring their husband who hates it, because he would be interested in the comedy and the colour of it all. It’s a fun show.” Most dance companies have to fulfil a limiting obligation to the public, meeting expectations of what the company is about and what it should present. Whether it’s a single choreographer or a full company, they usually need to offer something which will be traditional, interesting or worthy. Les Ballets Trockadero de Monte Carlo (or The Trocks, as they’ve been dubbed by their fans) don’t suffer such constraints. “What we’re trying to do is entertain the public, so we devise programmes with lots of different elements, like costuming, personalities, music,

styles… the most important thing is – will the performance work for the public?” It’s an almost unique way of thinking for a company of their stature. Offstage, the company’s education and engagement programs allow them to engage communities and redefine expectations of ballet and its intersection with gender roles and identity.

This diversity means there isn’t really such a thing as an ‘average The Trocks dancer’.

The company does seem to attract performers from the fringes of the form. “There are not that many guys, at the moment, who want to dance en pointe. And there aren’t that many guys in classical ballet who are comedians.

It tends to attract a ‘serious’ type of person.

We garner in the class clowns of the ballet.

Dancing on point has its challenges.” Within

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The Trocks, Dance Consortium, Photo Credit Sascha Vaughan Swan Lake, photo: Sascha Vaughan

ballet, the largest differences between the genders (body types excepted) is that the women start training earlier. They develop a sense of delicacy about their craft, in a constant search to give the impression of defying gravity. “Just as if you’re a writer, and you just start writing when you’re older, it takes you time to hone your craft. But if you’ve been writing since you were a teenager, by the time you get to middle age, you have your craft honed. It’s the same thing with point work in ballet. Girls are expected to have to have a sense of finesse, and although we’re going for that we don’t often achieve it.” Part of what is attractive to their audiences is the ‘blunt instrument’ point work and the strong and aggressive aesthetic which is brought to the stage. Only tradition dictates that girls don’t do double pirouettes and the boys don’t perform fouetté turns. But everyone learns the same set of steps.

it would be nice to experiment with a lot of different choreographies and styles. “I know our audience isn’t looking for those.

They want the classical ballets, catchy tune music, the colourful characters, so we try to remain faithful to that.” Obviously, some evolution comes with each new artist passing through their community. The Trocks don’t hold big auditions as it’s considered cruel.

“Nowadays, I’ll get an email form a dancer who wants to audition, so I’ll have them come and take a class. If I’m interested, I’ll ask them to come back a few times. You can tell within the first five minutes of the barre if they have good enough training to handle the material.

When you go into the centre-work, you can tell within two minutes.” The Trockadero guys are all very friendly, and like it when people come in to audition. Even if it just temporarily breaks the insular nature of training, performing and touring as a close-knit unit.

Dobrin has gone from being a dancer with The Trocks, to nurturing their artistic vision.

He says the whole company has seen a lot of changes through the years, and there is a responsibility to honour the original concept. From a performer’s point of view,

“They’re welcoming and fun with a new person. So, I look to see how new people function with the other dancers during class.

I’m looking for an easy smile, but a serious approach to work. I also look to see if they’re muscling their way to the front.” Not

all traditions are being trampled on. There’s still protocol which dictates newer dancers stand at the back. Occasionally the company see auditions from extremely shy people, who’ll often be the most outrageous when performing. “We want a variety of everything.

Right now, the thing that is popular is diversity – in dance companies and everything else.

We’ve always been diverse. We’ve always every kind of shape, colour and attitude, and even a few straight guys. I don’t take into consideration anything apart from if they’re a decent dancer and can integrate into the group.”

Now The Trocks are heading out tour again, bringing a dynamic splash of colour to venues across the UK – including Brighton Dome on Fri 23 - Sat 24 Sept. Dobrin is dismissive of my concerns about keeping a ballet company fit and engaged while on a gruelling schedule on the road. Simply, dancers like to dance.

They love to take class and work on new material. “When we’re on the road, we’ll go in about 3pm. We don’t go in earlier, because the theatre and our technical crew is setting up. bn1magazine.co.uk

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Then we take class for about 1 ½ hours. Then we do spacing, where we put the ballets and the people onstage, so everyone is comfortable with the new spaces. If all of this is taken care of, we rehearse a ballet which we’re doing later on down the road, so we can get it onstage.

Then we do the show at 7.30. Basically… they’re working from 3.30pm until 10pm.” Each dancer oversees their own fitness, but none of them want to go onstage unprepared. There’s no room for a substandard performance.

Like many forms of dance, ballet offers a universal language. Movement can portray anger, joy, fear and excitement. It transcends cultures, gestures and dynamics allowing audiences to instantly interpret what’s happening within each piece’s narrative. With their comedy, The Trocks manage to add another layer on top of this understanding. “The music helps. These catchy tunes from the 1800s, like Swan Lake and Don Quixote… it’s upbeat. So, it helps the lightness. Once you have that, ballet has a lot of characters. And a lot of comedy is character based. So, I think they blend perfectly well together.” People who love traditional ballet tend to embrace its serious elements and whilst there are comedic inflections, it tends to attract a more staid audience.

“It’s like if you go into a museum and look at a bunch of Renaissance paintings and you have a favourite, then you go to a modern art museum, and you see all the hyper-modern. It takes a special kind of person who really loves both. That’s why we do well because we manage to marry the two forms.”

The company has become something of a dance phenomenon, participating in dance festivals and tours across the world. Performing a full repertoire ballet and modern dance, with faithful renditions of classical and original works. The comedy comes from exaggeration, portraying swans, princesses and exotic creatures with honesty and

power. It’s a playful enhancement of the form, rather than a blunt parody. “Our programmes are made of several small pieces. We generally open with a white ballet like Sawn Lake Act II, and close with a big classical ballet. In-between we do these smaller works.” He likens it to preparing a meal. You don’t want to have nothing but protein or too many carbohydrates. They try to make a balanced performance with different kinds of colours, music and personalities.

“We’re not a museum. Things are never set in stone. We have at least two or three casts, and these dancers are encouraged to develop their own kind of comedy.” You could see two nights in a row, and if different people were doing the roles, find a different take on the same material.

“The steps don’t change, but the comedy does. If you had Lucille Ball and Gracie Allen, they’d do the material completely different. Just like if you Hermione Gingold and Jennifer Saunders. That’s sort of like us.”

Dobrin admits to occasionally standing on the stairways in venues, just as everyone is walking out, so he can listen to the comments.

“They’re often in really good moods, it’s not like a five-hour opera when everyone runs out. They usually say: ‘I never expected the dancers to be so good.’ That’s the important thing. It’s like at a party, when someone’s telling a lot of jokes and everyone is laughing, it develops an element of good cheer. The audience is enjoying that, and so do the dancers. It’s collective good cheer, so that’s what we’re going for.”

Les Ballets Trockadero de Monte Carlo perform Swan Lake Act II and selected works at Brighton Dome on Fri 23 - Sat 24 Sept

Photo credit: Zoran Jelenic

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B N 1 C H AT S W I T H …

L I S S I E

BY LYDIA WILKINS

“If we’re responsible for our feelings and our emotions, I feel like we’re less likely to project them onto other people and create problems.”

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It’s been a while since the honey-tinged voice took to the airwaves; not a lot has been heard from American artist Lissie since the release of 2018s Castles. Now she’s back with a new record, Carving Canyons, due for release on 16th September.

“Obviously the pandemic happened and so for the first 5, probably about 6 months of that I was really just, y’know like everybody else in some state of shock,” said Lissie, adding that like everyone else it took time to adjust to a “more isolated life”. In the early days of the pandemic she had been living in Virginia, later moving back to her native Iowa in May 2020. A romantic breakup had also taken place in the early days of the pandemic, one of the narrative themes of the incoming album.

Describing of that time Lissie comments: “It just felt like there was so much pain everywhere” - suggesting there was something almost palpable about the mix of politics, the pandemic, the breakup - something experienced as “so much intensity personally”. Like everyone else who experienced the onslaught of varying lockdowns across the world, she could be found gardening and walking - a time she since reflected allowed her to heal, to grieve. Lyrical metaphors transported themselves from seeing, observing the change in seasons, and plant life growing, perhaps best alluded to in the lead single Flowers. “As the seasons started to turn into fall, really felt just inspired and comforted by the… time really does heal. And there’s so many metaphors for hope and strength.” Said Lissie.

Carving Canyons was recorded in chunks of time, contrary to previous efforts, beginning in early 2021. She also reflected that she was in a “different place emotionally” by the time finishing of writing - and that, as a result, “the arc of healing is definitely in this album.”

A lot has changed since, and not just because of a pandemic; every human being has had to adapt and take on new responsibilities. “I have lots of projects,” she says, illustrating this by explaining she has 15 acres of woodland. (And perhaps not what you would necessarily expect from a member of the music industry.) This land has been entered into improvement projects, such as where invasive species like Honeysuckle would be removed, with a view to improving the land. She expresses how she wishes to “reset the balance.” Of damage caused by the invasive nature. Along with this she also runs a popcorn company, enough to show sample packaging off on Zoom with the words “we have a store now, in town”. “Anyhow - I digress,” redirecting herself back to the question. To record in chunks of time was perhaps more edifying, adding “I also felt like I didn’t just want the whole album to be like ‘I’m so sad and angry about my break up, y’know, I’m pissed’!” There it is again, the honey, sultry laugh. Anger gives way to sadness, and sitting with that feeling in the knowledge it will pass leads back to hope. The “grief cycle of that relationship” Is explored on the album she said, noting “Carving Canyons really shows kind of the entire journey, I’d say”.

Photo Credit Lili Peper

Asked if she is happier now, she says yes - with an interesting caveat. “In theory I’m happy but I am like just so scared about everything that’s going on with the Supreme Court over here. It’s so unbelievably scary…” Lissie muses, adding she feels that this has overshadowed so much.

(We are speaking in the aftermath of America’s Supreme Court striking down the landmark ruling of Roe vs Wade, rolling back the right to abortion for millions of American women.) The conversation turns to the topic of activism as a result. She laughs: “I have a lot of opinions about things that are going on in the world for sure”, while also suggesting it is not an easy topic to articulate in music, while in the hope of trying to avoid sounding “preachy”, “holier than thou” or as if you are “trying too hard.” Previous lyrical topics had included environmental issues in the song Mountaintop Removal, for example, or feminism in Daughters, a song inspired by the documentary Pray The Devil Back To Hell.

She muses further, with the caveats she knows this is oversimplifying the issue. Lissie suggests that individuals have already made up their minds on particular political issues, and that “ I think my response to that has been to write, I think that it’s still activism to create music that makes people feel emotional.” She further adds that those who are angry or perhaps acting out in revenge, are not as emotionally in touch with themselves as they could perhaps be. She laughs: “All of these people who are going around fucking everything up, are at the root!” Music is a form of activism, she suggests, if it creates an emotional response, by encouraging an emotional openness to tap into. “If we’re responsible for our feelings and our emotions, I feel like we’re less likely to project them onto other people and create problems.”, Adding, “I think there’s a lot of people [who are] hurting” - such as proponents of the incoming abortion ban, those involved with the January 6th Capitol storming, and others. “Instead of taking responsibility for their wounds”, she muses out loud that humans look for others to blame, often for reasons of a shortcut. “Emotional intelligence is a really important part of peace.” She intones somewhat prophetically, noting that it is incredibly easy to find someone else to blame as humans.

Is there still a place for the arts post pandemic?

Of course, says Lissie - but how do we process the collective seismic changes of the last few years, in order to be able to create? “I think the processing is still happening.” She says, thinking out loud. The impact of music, movies and art is all too real to her. “My grandpa who was in World War Two, who was this tough guy…” would be moved to tears, weeping, such as if she and her sister would sing, or if listening to a particular piece of music. There is a power that is “so helpful” in the arts, she expresses, as there is an emotional release, preventing the bottling up of feelings. The first show back after lockdown had me “Choked up”, because of the impact of people, a “collective sigh”, just freely interacting.

“Witnessing that joy is contagious.”

Carving Canyons is out on 16th September. Lissie is also expected to tour the UK, with a Brighton date to be announced, early next year.

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JOSHUA RAY WALKER WALKS US THROUGH HIS WORLD OF COWBOYS, WORKING GIRLS AND HONKY-TONKS.

By Tallulah Taylor Joshua Ray Walker felt like an old man coming out of the pandemic, despite only entering the first lockdown in his late twenties and exiting the last one in his early thirties. He laughs, “I’ve never felt more disconnected from what’s popular.”

“For the most part I knew what kids in college looked like, what kids in high school looked like – and then exiting the pandemic I don’t know what happened or changed but something about the way people were acting on social media, as well as 90s fashion coming back in, meant I wasn’t plugged into what was going on.”

This disconnection led to him writing the upbeat lead single Sexy After Dark, on his most recent album See You Next Time. His third full-length in three years, the album marks the final instalment in a trilogy that originated with Walker’s globally acclaimed 2019 debut Wish You Were Here and its equally acclaimed follow-up Glad You Made It. “There’s a deep history of sexy-crooner country songs played by dudes who were pretty unsexy by all accounts but still had so much swagger,” says Walker. “‘Sexy After Dark’ was my attempt at writing a song like that, a fun song I’d want to crank up and party to.”

The fiery horn and swoony lyrics in Sexy After Dark also stemmed from the isolation and loneliness he experienced during the pandemic.

Walker was regularly racking up over 250 shows a year for nearly a decade and has been playing in dive bars and Honky Tonks since he was thirteen. His norm was a constant stream of strangers in interchangeable bars and joints.

“I was missing that initial spark you have when you’re meeting someone for the first time, whether its romantic or platonic. One of the things I love most about travelling around, playing music is that I’m always a stranger wherever I go. When you’re aware you’re never going to see each other again people are surprisingly open. And vulnerable because there isn’t any risk there and I miss that. Being locked in my house did make me want to write a party song.”

Despite growing up in Texas it wasn’t that common to see cowboy hats or boots around much and he was teased for wearing them to school.

“Now I go to Dallas and everybody’s in a fresh hat they’ve just bought.

Nineties country is kind of an aesthetic right now and western wear is just in”.

Now the young people Joshua claims to know nothing about are showing up tenfold to see the ballads they know all the words to. Like ‘Lot Lizard’, which was actually a b-cut from his first album, whose quakes and chilling yodels tell the story of a truck-stop-prostitute’s optimism and self-worth.

Joshua’s voice is almost bittersweet. It is warm and kind and lulls you into an unconventional sense of safety. Because underneath those honey tones is a darkness akin to the true hardship and suffering that he’s experienced and witnessed growing up in Texas.

“My first love for music came through bluegrass. When I was a kid my grandpa and I would just stay out in his garage and listen to bluegrass records all day”. Growing up in East Dallas, with his parents on one side and his grandparents on the other, meant Joshua was surrounded by fiddles, accordion and country twang from a young age.

His recently retired grandpa had a couple of old instruments in his garage, and Joshua’s first experience trying to be a musician was playing along to his old bluegrass records, attempting to mimic the lips and the yodels.

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Although he can play guitar, bass and the drums and can write music for any sort of genre, country is what comes out naturally for him. In his teens, he didn’t realise that what he was writing was country until he played it to his friend, who then laughed and told him it sounded like country music. “I argued with him and said it wasn’t! I thought it was folky singer-songwriter stuff”.

He wasn’t able to write lyrics until his grandpa, the one who introduced him to bluegrass, passed away when he was 18. He went into the hospitals parking lot and got the guitar he kept in his car, sitting down on the concrete to write his first ever song, ‘Fondly’, which ended up going on his first record. “Something just clicked that day and ever since then I’ve been able to write lyrics and come up with melodies, but really I didn’t see myself as a singer until the last five years or so”.

His voice takes fascinating turns through ‘Wish You Were Here’, masterfully playing around with his voice, with a nod to his influences of Slim Whitman and Dwight Yoakam. However, it took him a long time to learn to like his voice and overcome crippling stage fright. He forced himself to play four or five open mics a week to practise and gain more confidence. Through this he gained confidence and was able to grow and find more of his personality in his voice.

Growing up in a low-income family, he has faced his own share of hardship and has been on his own since he was a teenager. “At some point you have to have some sort of confidence in yourself or you’re just not going to make it. Not just in music but make it at all as a person. So, I guess it was some time in my late teens I decided I was going to have self-worth and confidence and I faked it till I made it.

Faking that confidence became actual confidence some point in my mid-twenties.”

Joshua’s three-part trilogy, culminating in his latest album ‘See You Next time’, uses the honky-tonk as a setting for all the characters he had created from his years in the dive bars he snuck into and played in as a teenager. “In my mind, this album’s taking place on the night before the bar closes forever—the songs are just me taking snapshots of that world, and all the moments that happen in it.”

The songs paint pictures of truckers, working girls putting dinner on the table for their families and homeless people dying in Lower Greenville, without any kinsfolk to claim the body. Others, like ‘Gas Station Roses’, showcases the melodic and artistic side of Texas through its soaring meth addiction and those who fall through the cracks.

“I grew up around a lot of kids who had parents with substance-abuse issues, and in high school a lot of my friends got hooked on heroin,” says Walker. “This song in particular is about crack, but the overall story is addiction leading to a loss of innocence.”

The album came about through his imagination conjuring up the different kinds of fictional characters that would have been in the bar he discovered after cleaning up his grandfathers’ belongings after he died. He found a pin he used to wear, that had ‘Bronco Billy’s’ written on it. A few years later he found the pin again and found out it was a honky-tonk in South Dallas, which is the rougher side of Dallas. The bar closed down right before the big urban cowboy boom in the late 80s and early 90s. “If it had held on a little longer it might have been successful again and that just kind of touched me. I started writing a few songs and attributing these songs to the characters that would have been in the bar” “There’s not a lot of pretension at a honky-tonk, and there’s much more interaction than in other bars - you see a lot less people on their phones,” says Walker. “We’re there to talk to other humans, put a song on the jukebox and dance with a stranger, get to know your bartender and tell them all your problems. I really wanted to capture that feeling

“There’s a deep history of sexycrooner country songs played by dudes who were pretty unsexy by all accounts but still had so much swagger,”

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on this record - I want everyone to feel like they know all these characters, and that they’re somehow better understood because these songs exist.”

The album takes you through the inner world of characters who often exist on the margins of society, exposing their vulnerability and by nature also offering a glimpse into Joshua’s. Although, with his vivid imagination, Joshua has managed to provide a buffer between himself and the world, through which these beautiful and eccentric characters are like conjuring tricks. They take your attention away with their veracity and vulnerability, so you nearly forget to look for Joshua within it all.

In some tracks you find glimpses of him. ‘Glad You Made It’ opens with ‘Voices’, a first-person narration with harrowing lines about putting their truck into neutral and letting it roll into a lake but leaving an emptied bottle on the floor to make people second guess.

Although he has never actually done this, the song is metaphorically about his experience with suicide ideation. Joshua says that if he is afraid to sing this in front of people, he is only adding to the pre-existing stigma surrounding mental illness. He needs to let people know he has experienced this so maybe it will make them feel more understood. When he wrote ‘Voices’, he felt he needed to give back and make himself vulnerable in the same way.

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“It’s been beautiful and amazing to have people come up to me and say that my song has helped them in some way or helped them feel heard or seen, or even just helped them through a hard time. Because that’s why I listen to music and so it’s pretty special to be making music that makes people feel that way.”

Joshua tells me there is a certain power in being open about the things you might be the most scared about people knowing. Putting those feelings on the record and owning them has improved his confidence. Having struggled with mental illness and grown up around people who have also struggled, he has witnessed many of the hardships which come with it, such as the lack of understanding as well as a lack of resources.

When he writes about these characters, he has three or four people in mind. “. A lot of people I write about in these songs still show up to my shows. They don’t know the songs are about them…” Up until now nobody has figured out a song is about them, or if they have, he’s yet to find out.

The characters appear cascading through personal battles, drug addiction, prostitution or homelessness. Welfare Chet conjures up the poor man’s quest to find love.

“Yeah, everybody wants to go home But no one wants to go home with me Is it cause my welfare checks Pay for motel room sex And I lie about being clean?”

The musical landscape Joshua has crafted through his heart-breaking lyricism, paints a picture of the poverty, addiction and decay of Texas as well as the stark beauty residing in its corners. Captivating the storytelling is beautiful fiddle work (by Heather Stalling) and banjo’s, accordions and guitar by the musicians he has been playing with for 10 or 15 years “at this point we’re all like family”.

Joshua Ray Walker is on the European leg of his tour from Aug 10, and is playing Norway, Sweden, Denmark, Germany, France and the UK. He is playing O2 Academy, London, on Aug 27 and the Mid Sussex Americana Festival, Hassocks, on Aug 26, 2022.

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BN1 CHATS WITH...

J U S T I N MOORHOUSE

BY TALLULAH TAYLOR 24

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Justin Moorhouse muses on his own position as a middle-aged white man, catholic yoga and raising teenagers.

Justin Moorhouse’s new comedy show is called Stretch and Think, named after his daughter’s school yoga lessons: “Because that’s the world we live in now”. But she is at a strict catholic school, so they don’t call it yoga (because of the Buddhist affirmations), instead, they called it stretch and think…

The name of the show also comes, in part, from Justin’s existentialism about reaching middle age. He says he used the time during the lockdowns to reassess and accept a few things about himself and has accepted his demise after realising he has reached his ‘best before date’. He doesn’t want the show to be a pandemic show; it is not about the pandemic but about the opportunity it gave him to think about his life. He tells me, “Sometimes I think the biggest thing for me that came out of the last couple of years is that we decided what was important and people made massive decisions about their lifestyles and things like that”.

Essentially the show is about Justin. It is him working some things out; “I am a middle aged, white, straight man with all the privilege that comes with that.” Cue; stretch and think. He is aware it is difficult to talk about privilege because it is easy to say the wrong thing and be misquoted. Using himself as the butt of his own jokes is essentially fine because it gives him licence to talk about himself in a disparaging way.

He muses “But occasionally you do problem push against people who are less advantaged than you in life. So, you have to accept that you’re doing that from a point of privilege. It doesn’t mean you can’t make jokes about it, but you have to be aware.”

Justin pauses for a moment and announces, “You could say that the overarching theme of the show is the Patriarchy”. As he is a middleaged man and active member of the patriarchy, I’m somewhat amazed when he elaborates; “Take a look at the state of it. The patriarchy is awful. I mean, it’s so bad. Look at what’s going on in the world. Right now, our prime minister is the worst example of a middle-aged man.

Putin is a terrible middle-aged man…why do men suddenly think that when they get to this point in life, just at the point where they go off the boil, when they become less than desirable, they actually think themselves more so?” I am now especially intrigued because it is rare to hear a man talking about privilege or the patriarchy with such candidness. Without hesitation he continues, “You can only really be a middle-aged man. And once you’ve accepted that, we, middle aged men, are entirely pointless.”

According to Justin, for a very brief moment men have purpose in their part of the continuation of the species, and when they have delivered this end of the bargain their purpose ceases. He thinks we are no longer hunter gatherers; at best we are click and collectors. To Justin we are all like little kings.. “living in our houses, which are like the Palace of Versailles, asking people to bring us things. And it’s exactly the same way as that kind of bloated French aristocracy.”

At the time of writing, he is blaming mums (take this with a pinch of salt). In particular, mums who treat their little boys like princes. He uses his children to hammer home the point. His son is 25 and his daughter is 17. With seven years difference between them he thought at first it was a reflection on the way society had changed in between them growing up. But he realises now that it is simply that girls mature faster than boys. It almost as if Justin didn’t know much about girls until he had one. He grew up with three brothers and a much younger sister who they babied.

He wouldn’t call his mother a feminist; she is an angry northern working-class woman who isn’t into gender politics. Using the term on himself, he is also a little wary. Will a small amount of trepidation he does say he thinks of himself as a feminist because for him feminism means equality and quality of choice and chance and realises that at the moment there isn’t an equality of opportunity. His daughter, who is co-host of Justin’s Podcast “About 30 minutes, no more than 45” has taught him a lot and he holds a huge amount of respect for her. He admires her feistiness and funniness, as she will not accept some of the things that his peers or women his age have had to accept. Smiling, he tells me that his daughter has taught him more than anything. In

particular that the kind of ironic humour, about race or gender, when it’s in the same space with friends, “isn’t great, especially as it numbs the effect when you hear it in the ‘real world’”.

Reflecting on his position, not just as a parent but as a middle-aged man, has provided him with fuel for his new show alongside a more intimate reflection on his own life. Working out why he wants to make people laugh through therapy has given him more insight into his own life as well. This self-acceptance appears to have led to a wider evaluation of the position of those like him in society. The awareness of his own positionality and the privilege that comes with that is rare, especially amongst those who are positioned at the top of society through their gender, ethnicity or age.

It seems that his insight into the challenges of the patriarchy have come through the women closest to him. Having a teenage daughter has given him unparalleled insight into the difficulties and challenges of being a teenage girl today, and how she is set back a step compared to her older brother despite being more emotionally mature than him. I ask him what the differences are between girls and boys: “You look at little boys and little girls in on the whole, you know, generally, boys are dumb, little dummies, where we are emotionally and physically more immature than girls are. The same ages, we developed slowly. And I think once we get to equality we’ve spent so far being behind I think we think we gotta be in charge.”

Obviously Justin is a comedian not a sociologist, but his use of comedy to highlight the violence on women and the dominance of men in positions of power is significant. His clever and poignant unravelling of the patriarchy is both illuminating and unusual, offering an unusual perspective.

Take for example his joke about the menopause. For many women the menopause is a painful and difficult time taken up with fraught battles with doctors and work. A woman talking about the menopause will probably linger on details like the side affects on their physical and mental health, and the lack of medical care or research. Comparably we see the other side through Justin’s sketch, which depicts the sidelined husband going into old age without a list of ailments which produce sympathy from doctors and colleagues. He is left with crushing existential doubt and uptakes cycling and running (or buying a soft-top) to compensate for his declining masculinity.

Justin says, “I genuinely think that men are jealous of women having them and they go ‘What can I be? What can I have? Well, what about me?.” He says it would have been very easy to write a show about those guys, the ones that get left behind in the hierarchy of suffering.

But he finds those people, the ones complaining, “quite upsetting”.

I ask him if he ever gets worried about how his sketches will go down, especially considering the demographic in this one. Unsurprisingly, he says no. His creative process involves taking the nucleus of an idea and giving birth to it onstage. It is a clumsy process, and he often gets it entirely wrong. He writes his new material whilst on stage, forming it as he goes and every few shows gets it transcribed. In one of these recent shows, he was trying to make a new joke work. He tells me the nucleus of this idea involved people coming to this country seeking refuge for a better life and being treated badly by authorities and people. It involves him exploring power and role reversal through a sketch about a car wash. He explains, “Now, when I go to have my car washed. And one of these people are often washing the car, and they’re telling me drive forward, drive back, stop, I forget how to drive the car.” Unsurprisingly, it didn’t go down too well when he tried it out on a new material night in Leeds recently. A woman took umbrage with him about it. He tried to explain he was coming from a place of good intention and as he was getting more and more exasperated as he tried to joke along, he finally said ‘look, I’m just trying to write jokes to feed my family’ to which she replied, ‘and I’m sure the man is just washing cars to feed his.’

Justin’s new autumn 2022 tour Stretch and Think visits Komedia, Brighton on Weds 12 Oct. bn1magazine.co.uk

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To find out more about part-time courses at the MET please visit: gbmc.ac.uk/what-comes-next bn1magazine.co.uk

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SPIKE Ian Hislop and Nick Newman bring a heartfelt portrayal of a comedy genius to the stage

By Stuart Rolt

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“There’s a letter from one of the BBC management saying they saw him as a freak contributor because they couldn’t pigeonhole him.” Nick Newman is talking about the tremendous amount of archival material they had access to when writing their touching new production, Spike.

Now out on a national tour, which calls in at Theatre Royal Brighton on Tues 11 - Sat 15 Oct, it looks at the most productive time in the life of Spike Milligan. Still touted as an influence by almost anyone with a love for word play, this brilliantly singular comedian went to war before battling the BBC, and inarguably changed the nature of comedy forever.

Newman and his Private Eye colleague, Ian Hislop, were instantly faced with the challenge of writing a play which did justice to Milligan’s genius but wasn’t an audience-punishing length. “The trouble with a lot of biopics is that they go on for a long time and try to cram too much in,” says Hislop. “We focussed on when The Goon Show was becoming a sensation in British comedy. We wanted to show just how good he was, and how happy he made people.” 1950s England was an exciting place to be. Despite austerity, you could still find a spirit of optimism and ambition with the Festival Of Britain and, for many, the war was a fading memory. Radio was the dominant source of entertainment in millions of homes.

And something revolutionary was about to come over the airwaves.

Born Terence Allan Milligan in 1918, in India, Spike’s family moved to London when he was 12. He had ambitions to be in entertainment from early on, learning to play the trumpet, ukulele, and guitar. During World War II, he served with the Royal Artillery, meeting future Goon Harry Secombe on a posting in North Africa. He began organising shows with the armed forces entertainment organisation ENSA, writing and performing comedy sketches to other troops. Later, he was wounded at the Battle of Monte Cassino, which would have a lasting impact on him.

These experiences formed the framework for his books, Adolf Hitler My Part In His Downfall, Monty, My Part In His Victory and Mussolini, His Part In My Downfall, which all riotously veer between satire, whimsey and brooding terror.

“In spite of his own personal problems, he suffered from shell shock in the war, he used his experience to comic effect,” Newman tells me. “A lot of Goon Shows were about the war.

He satirised the ‘Officer Class’ relentlessly, which got him into lots of trouble with the BBC. But he used it to exercise his own demons.”

Returning to London in 1946, Milligan faced a slew of difficulties finding steady employment as an entertainer. Harry Secombe was also in a similar position at the time, and introduced him to fellow veteran, Peter Sellers. The young men used to meet up in a London pub, and The Goons formed out of their simple desire to make each other laugh. When Secombe and Sellers started working in radio comedy, Milligan was hired to write gags for them.

Then Sellers devised a format for their own show, and successfully pitched it to the BBC. Photo Credit Pamela Raith

To put it simply, The Goon Show was different bn1magazine.co.uk

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to anything else on radio that year. The BBC’s output consisted mainly of informative discussions, plays, light orchestra music and well-mannered comic acts. There was little to offend or corrupt the listener. What Milligan, Sellars and Secombe brought was a kaleidoscopic barrage of silly voices, strange characters, and nonsensical vignettes. And sound effects. There were plenty of sound effects. “Remember 50s Britain was incredibly grey, with austerity and rationing. Along came The Goon Show which was an audio splash of colour. It was bright, loud in-your face, surreal, and quite subversive.”

With its twisting of familiar radio and cinema tropes, The Goon Show was driven by Milligan’s tightly scripted wordplay and madcap ideas. Throughout were constant interjections from an increasingly extreme range of sound effects. It’s as if he was still out on the battlefield, the sound of falling artillery replicated by braying donkeys, church bells, rumbling stomachs and (reportedly) socks filled with custard. “Spike revolutionised comedy in that way,” says Newman. “We have a foley artist who is a central part of our play.

The audience can’t really believe that you’re hearing somebody move through the bushes, while seeing someone rustling old audio tape.

It’s very funny and very life-affirming to see all this.” The constant demands placed upon his production team meant the BBC continued to have trouble in genuinely recognising Milligan’s brilliance. Alongside the challenge

of realising the flood of ideas inside his head, there were also a few issues with alcohol and general reliability.

He was incredibly demanding to work with.

Milligan would push the technology available harder than anyone else, scripts would be delivered late and he’d often have bouts of manic depression, which would see him disappear for weeks. “They just couldn’t cope with him at all,” Newman tells me. “It took special producers, like Dennis Main Wilson and Peter Eton, to harness this genius and recognise that what he was doing was groundbreaking.” Hislop suggests the BBC didn’t really know what he was. “You’d find them saying things like: ‘We love Harry Secombe because he can sing. And Peter Sellers does very funny voices, that’s marvellous. What does Milligan do?’”

It’s the hottest day of the year. Until tomorrow, that is. Temperatures are so high that Hislop, a reliable bastion of sartorial elegance on Have I Got News For You and his bucolic BBC Four documentaries, has decided to forgo wearing a tie. It’s a sure sign of a genuine crisis. “It’s very rare for me,” he chortles. “You can tell Britain’s melting down.” The pair are clearly delight in discussing this new work about one of their idols. To the extent I forget to ask why they’ve created this labour of love. Part of the appeal seems to have been finding out more about this complex and remarkable man.

Starring Robert Wilfort (Gavin and Stacey,

Bridgerton) as Milligan, Patrick Warner (Peter Cook In The Crown, One Man, Two Guvnors, Play That Goes Wrong) as Sellers and Jeremy Lloyd (The Comedy About a Bank Robbery, Trial by Laughter) as Secombe, Spike recreates the frenetic energy of The Goon Show – taking audiences from their boozy nights in the pub and the battlefields of Italy to their assault on the rarefied atmosphere of the BBC. There’s a post-show Q&A planned for the opening night, where Hislop and Newman will be discussing their writing process and the legacy of this curious star.

At the BBC, the pair uncovered a huge archive of reference materials, including some fruity letters between Milligan and the Corporation’s management. “They are very funny, pompous and ridiculous,” Hislop tells me. “They’re asking why he’s going on about the war all the time. And he’s going: ‘Look, we’ve only just come out of it. It was eight years ago...’ Harry Secombe, him and Sellers… they’d been in it.

Part of their comedy and their experience was that shared anarchy of the war. No wonder you come out thinking nothing makes much sense.”

Themselves taking inspiration from some of English literature’s finest creators of whimsey, like Lewis Carroll and Edward Lear, Milligan and The Goon Show in turn fired imaginations for new generations of performers. “At the end of the show we name some of the people who credit Spike with influencing their work,”

Photo Credit Pamela Raith

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Photo Credit Pamela Raith

says Newman. “The list is endless. He is a legend to all comedians today.” People like Dawn French, the Monty Pythons, League Of Gentleman, Eddie Izzard and even John Lennon, have all found themselves touched by this unique brand of absurdity and clever wordplay. It’d also be rude to ignore the huge contributions made to the noble art of satire.

Nobody was off limits, even the hand which fed them. “He did an entire episode as a parody of 1984, which had just gone out,” says Newman. “Spike did it two weeks later, as 1985. Big Brother became the Big Brother Corporation. It was just full of jokes attacking the Beeb.”

“There was a continual fight with Spike,” Hislop adds. “He always wanted a fight with someone. He talked about his father, who was in the British Army, saying: ‘My father hated anyone who wasn’t Irish. And he hated anyone who was Irish.’ Spike had a bit of that in him. He just basically wanted to have a go at everybody.” Even in death Milligan would be finding these squabbles. Passing away at his home in Rye 20 years ago, he’s buried at St Thomas Church in Winchelsea – his headstone famously stating: “I told you I was ill.” Hislop says he visited the grave quite recently. “It’s written in Gaelic because there was an argument about whether it was suitable. Right to the end and past, Spike creates trouble.”

There’s already been plenty of discussion and documentation of the various personal issues faced by Sellers and Milligan, and the damage they did to themselves and those nearby.

Milligan’s occasionally fragile mental state

was arguably caused by his war experiences, along with constant belittling from BBC bosses and a ludicrous workload (he was writing 30 episodes a year, mostly on his own). With Spike, Newman and Hislop have attempted to avoid the usual tropes around tortured geniuses, instead focussing more on the magic which made The Goon Show such an extraordinary point in broadcasting.

“What we wanted to do was create a celebration of the comedy,” says Hislop.

“Other people are obviously interested in other aspects of his personality. There are a lot of people, sadly, who have mental health issues, but there’s only one person who created the Goons. Writing about him, as though that was a minor part of story wasn’t what we wanted to do. We’re doing the bit in 1953 when nobody had heard anything this funny, and it gave millions a huge amount of pleasure.” They haven’t shied away from addressing Milligan’s fraught psychology with the play offering two instances which are profoundly sad, but oddly quite funny. “The things he did all had an element of humour about them,” says Newman. “We were quite nervous, but Spike’s family have been to see the show, and they loved it. Jane Milligan has been very supportive. Hopefully she’s going to join us when we tour for Q&As.” After The Goon show’s nine-year run, Milligan continued to share his unique view of life with the world. He moved into TV, with his hugely influential Q shows, which delighted and bewildered audiences between 1975 and 1980, and became a chat show favourite.

There were also big screen productions like

The Magic Christian, The Devils and Monty Python’s Life of Brian, and a host of stand-up shows.

Almost 70 years on from The Goon Show, I wonder if anyone understood the real Milligan.

Hislop says he got to meet him a few times through interviews and a family connection.

“I saw him during the later part of his life in Sussex.” This was an older Spike, no longer the rebellious whiz kid who would play the trumpet and blew everyone away, so it was an opportunity to discover another side to the comedian. “We’d all got used to the three Goons by that time. Harry was doing religious programmes, Spike was occasionally appearing on chat shows, and Peter had done some films, or not done some… We got the wrong end of their story and wanted to go back to when they were great.”

Newman and Hislop have concentrated their focus on celebrating a unique point in British entertainment, capturing the time when an extraordinary individual used the darkness of chaos to create something which brought happiness to a nation. “We love shows where you come out with a spring in your step,” says Newman. “It’s a joyous experience. It’s full of laughter and fun. And revives your admiration for his ‘Goonius’, as it were.” Hislop considers this for a moment. “I think it showed us what we really do best is take other people’s jokes, put them onstage and hopefully take the credit,” he adds with a chuckle.

Spike comes to Theatre Royal Brighton on Tues 11 - Sat 15 Oct, as part of its UK tour. bn1magazine.co.uk

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WA I T I N G F O R G O D

Sarah Mann Company bring much-loved sitcom to BOAT

By Stuart Rolt

A

t a time of life when most people are expected to spend their days dozing in front of the TV or doing jigsaws, there’s a couple of retirees who’ve decided to not take any nonsense. The idea behind Waiting for God is a simple one, but it increasingly seems to reflect reality. “We want people to recognise that older people are still rocking,” Sarah Mann tells me. “We’re still out there and doing stuff, we fall in love and have arguments.

We’re still the same. It’s changed so much when I used to watch stuff in the 60s. You’d be old at 50, women would get their hair dyed lilac. It started off with the glamorous grannies, but people are getting fitter and they live longer.”

After being a TV mainstay in the 90s, the BAFTA nominated Waiting For God has been revitalised for the stage. Michael Aitkens, the show’s original writer, brought its setting into the present day for new audience.

Now, another five years on, the Sarah Mann Company are bringing this cherished show to Brighton Open Air Theatre. “He rewrote in 2017,” Mann tells me. “It went on tour with Nicola McAuliffe and Roy Hudd.

Hopefully we’re bringing it even more up to date, although Covid isn’t getting a whisper.”

Watching the original TV production back thanks to the marvel of modern streaming services, I’d forgotten just how subtly sardonic and anarchic it was. “It is quite dark sometimes. There’s senior citizen sex, non-prescription drugs, hip replacements and dodgy prostates. There are all sorts in there.” Waiting For God follows Diana Trent, a fearless former photojournalist, who now seems to be angry at everything – particularly the indignity of living in a retirement home. The mood lifts when the quirky Tom Ballard moves into the room next door. Striking up a friendship, they playfully set about undermining the facility’s scheming and avaricious manager, Harvey Baines.

The antics at the fictional Bayview Retirement Home succinctly feed into very real issues faced by people in later life. Some can be at risk of exploitation by a minority of unscrupulous providers in the huge elder care industry. There are some questionable practices where property is bought for a pittance, or retirement communities provide a less than stellar service. “This highlights that a bit,” Paul Moriarty tells me. “The guy who runs this place, Harvey Baines, is a real shyster. He gives them substandard food when they’re charged a high price. One of the characters points out: ‘Aren’t you my employee? I’m paying you, why have I got tinned carrots?” Luckily for Bayview residents, Tom and

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Diana are about to upset the management’s machinations. They’re not prepared to keep quiet anymore, like older people were expected to.

Heading to Brighton Open Air Theatre on Weds 17 - Sat 20 Aug, this new staging sees Mann take the role of Diana, while Moriarty brings his versatility to Basil the Bayview stud, a drunken vicar and a somewhat sober doctor. BOAT’s glorious outdoor environment provides a perfect setting for the production’s patio-based plotting and philosophising.

Mann says they have a fantastic set designer in Sean Chapman. “He’s brilliant at doing minimalist things to make statements on the stage.

Rather than have some crappy old furniture…” Much of the outdoor venue’s appeal is that it forces more attention upon the dialogue and acting. “Audiences don’t have to worry about sets being flown in and out interrupting the action,” adds Moriarty. “Two planks and passion, they used to call it. That’s all you need.” Most people would prefer to be in the open air, rather than sit in the dark. BOAT provides its own unique relaxed atmosphere, with plenty of families and picnics. Mann says the company likes to make their shows a real event. So, this time they’re having a raffle, making up a summer playlist and at the end everyone’s going to be encouraged to get up and dance.”

For Mann, Waiting For God brings the added challenge of being compared to the legendary Stephanie Cole – who portrayed Diana in the original BBC show. “It’s terrifying... Obviously, as I was when I did Lady In The Van and took on the Maggie Smith role. And BOAT does require you to be quite fit and vocally quite loud. It does help that I’m younger than the character.” “Stephanie Cole is brilliant, but she does have a tendency to be ‘Stephanie Cole’,” chips in Moriarty. “Whereas there’s other layers to this part.”

This summer’s production of Waiting For God also stars Nathan Ariss as Tom, Sarah Anne Barfoot as Diana’s niece Sarah, Nick Bartlett as the fiendish Baines and Winnie Ikediashi as Jane, Harvey’s prudish, devoted assistant. It’s a tight-knit company, which are traditionally offered roles first before a wider casting call goes out. “I need to rely on actors,” says Mann. “They all need to be good, with a standard and a passion for it.

We work as a collective in a way. Although there is a director, a lot of the decisions are made in the rehearsal room by the actors. Because that’s what comes up.” There’s also an understanding that the cast and crew need to chip in with activities beyond the performance. Everyone works together, putting up sets and taking them down after shows. The pair reckon they can pack down the entire production in under half an hour

now. Which is only possibly with everyone working as a unit.

“Actors did have a reputation for being prima donnas,” says Moriarty. “But now it’s all about ensemble work. If you don’t work together it’s going to be torture and take forever.”

The aspiration behind the Sarah Mann Company is to stage plays which have also received popular TV or film adaptations.

Two years ago, BOAT saw their triumphant staging of the Mike Leigh classic, Abigail’s Party. This brought to life the brittle melodrama of suburban life, as a disparate group of people are forced to make small talk and confront their diminishing relevance. Aspiration clashes with boredom, as a boozy soiree exposes an inherent existential crisis. “The lower middle class is a very difficult place to be,” Moriarty tells me, who played the crushingly awkward Tony in the production. “You’re not working class, and know exactly who you are, and not middle class and have adopted something else. Who are you? There’s desperation under there. They’ve got their Shakespeare books, but never read them.” Like the company’s staging of Waiting For God and Alan Bennett’s The Lady In The Van in 2021, a good play allows you to peer into a hidden world, and better understand some complex but less-observed issues.

As such, there’s a well-mannered political edge to Waiting For God. It questions attitudes to older people. “Someone said to me the other day: ‘Aren’t old people getting younger nowadays,’” Mann tells me. Life expectancy is extending, and retirees have a different attitude. They demand to be heard and have a different life from that of their parents.

It’s a pertinent moment to re-examine these themes. The generation now considering elder care saw the coming of age in the 80s, an era of new wave, acid house and tremendous social change. Expectations have shifted, and the reworked Waiting For God reflects the world around it. Perhaps it also inspires us to reconsider our own attitudes to older people. “Like everything else they are a commodity,” says Moriarty. “They’re being exploited in these homes. When the Covid thing happened, Johnson and Cummings were saying: ‘It doesn’t matter if they die, because they’re a bloody nuisance to the health service.’

They’re human beings, they shouldn’t be treated like trash...”

Hailing from the classic age of British sitcoms, shows like Waiting For God seem to have faded away in television’s hunt for a more diverse audience. “There’s been a discussion in TV, and also in the theatre, about the lack of material and plays for the 50s and 60s generation,” says Mann. Which is odd because the overwhelming majority of viewers sit within an older demographic.

This nation used to have unwavering respect for its elders.

There used to be a more rigid sense of community, where people would look after each other. “We learned that in Covid,” surmises Moriarty. “We’ve had a diaspora, where children live miles away and the parents are left. So, who’s going to take care of them? The council, carers, the Government?” Diana does say in the play: “In decent cultures, they don’t have senior citizens.

They have elders who are respected and revered. In England we’re just called bed-blockers and get left in the snow to be eaten by wolves.”

With a perfect blend of superb one-liners and philosophical musings, Waiting For God might feature plenty of Third-Age characters, but it’s modern and sassy to the core. It sets out to challenge stereotypes and highlight that bonds can form at any age. “The story between Diana and Tom is really interesting,” says Mann. “And how older people want to remain their own person, whether they’re in a relationship or not. It’s a slightly different dynamic between two younger people falling in love, whose all-consuming passion means they can’t be apart for long.” The connection shared by the pair seems hinged on mutual admiration. Perhaps each notices qualities in the other which they yearn to have. Diana is full of steely-eyed cynicism, while Tom is more open and optimistic. And potentially stoned…

“She starts off really bitter and upset. So, she pushes people away. But with the birth of her niece’s baby, she softens. And Tom comes along. He’s fairly whacky, so she finds him funny. It is a love story really, just between older people.”

Sarah Mann Company present Waiting For God at Brighton Open Air Theatre on Weds 17 - Sat 20 Aug www.brightonopenairtheatre.co.uk

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S I M O N

E V A N S

C H AT S T O U S A B O U T H I S N E W S H O W

THE WORK OF THE DEVIL.

By Tallulah Taylor Simon Evans’ new show The Work of the Devil comes with his usual vein of scrutinising identity politics and resurgent nationalism but ends in him doing a ‘big reveal’… (whatever that may be) which the Times has called ‘terrifically tender’. He draws on his past 21year career to dwell on the big issues facing society today and admits to harbouring more tolerant views as the world shifts around him. We catch up with him about innovation, genetics, Brexit and progress.

Can you explain the meaning behind “The Work of the Devil’’?”

The title of the show-The Work of The Devil comes from my comedic hero, Douglas Adams. It’s from one of his unpublished, unfinished passages for Dirk Gently– a theory about the three different stages of progress in everyone’s life. Firstly, there’s what existed before you were born and until the age of about 12 or 13: with me, I grew up accepting that television, for instance, simply existed.

Then there are things which are invented in our late teens and 20s which are exciting innovations that offer us opportunities to experience the thrills our parents never knew.

For me, again, computers, digital watches, and arguably sandwich toasters. And then there are things which arrive from our mid-30s onwards, by which point we can no longer keep up with change and which we therefore denounce as the work of The Devil. Any innovation that arrives after that point leaves you are saying, ‘You mark my words-no good will come of this’.

The Work of the Devil refers to the phenomenon, whereby after a certain age, we become suspicious of innovation - innovation that the young all think is a wonderful boon!

I understand you had some personal revelations revealed and have used them to reexamine your 23-year career in comedy. Could you talk a little about this?

I don’t want to spoil what is an unusual twist in the final third of this show, but it is to do with ancestry and identity. Issues that I had long thought settled in my case!

What is your opinion of the modern world and how does 34

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this feature in your comedy?

The modern world is superficially very different from the one I was born into. But beneath the surface eternal forces are always at play. Signalling, projection, mimesis. It is fascinating watching how as a species we get lured into the same traps time and again.

What I’m gradually realising is that while my views may not have changed that much, the world has shifted underneath me and I’m now something of an outlier. There seems to be more of a political consensus among comedians than ever before, for want of a better word, and half the country is struggling to find their voice heard; what has happened of course is Brexit. It has polarised the nation and the overwhelming majority of comedians seem very comfortable expressing their remain views and I do feel that I’m getting an audience which is looking for a break from that. Not that I’m pro Brexit exactly but ironically I have preached a lot more tolerance for a wider range of views even though I’ve made my career in a character as the most intolerant old bugger you can imagine.

Can you elaborate on your “rueful attachment to traditionalism”?

I am sentimentally attached to tradition, yes. I like old stone, old logs on the fire, old wine in the glass, old friends around the table.

What is the message that comes out in the show?

It’s an unusual show for me in that regard because the message of the show– almost beyond my conscious control–has become one that is genuinely heart-warming and uplifting, rather than just another weary sigh at society’s collapsing values and so on. And honestly, I couldn’t be happier. The subject matter, the show itself and audience reaction to it– it’s no exaggeration to say that it had a positive effect on my mental health, just performing it every night.

What is your scepticism towards the claimed achievements of progressive politics and modernist aesthetics?

I wouldn’t want anyone to think I am overly exercised by these issues. But I do wonder

whether progress is something achieved by intellectuals and political measures, or more by hard working innovators, inventors, and individuals taking responsibility for their own happiness. I am not sure that the current show is overly dogmatic on this issue though!

What can we expect from “The Work of the Devil”?

Two hours of great comedy and a good deal more emotional heft than any of my previous shows have packed!

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Fever’s Candlelight Concerts brings Hans Zimmer’s best works to Brighton

With exceptional instrumental classical music concerts, which aim to democratise access to culture, Candlelight Concerts offer another selection of iconic pieces at an affordable price in Brighton this month.

These intimate performances, which deliver a magical atmosphere at St Mary’s Church on Sat 13 & Sat 27 Aug, continues a practice of opening distinctive heritage spaces up to the community - instead of staging shows in more-common concert halls.

This Fever Original concept, which sold 3M tickets in 2021 alone, managed to bring classical music to a whole new audience, with 70% of attendees under 40 in over 100 cities worldwide.

Fever constantly strives to inspire its users with innovative experiences, imagining and producing new ‘Fever Original’ ideas that we know

will be of interest to them. Beyond the Candlelight Concerts, some of these include Stranger Things: The Experience, Jurassic World: The Exhibition and Dopamine Land.

We managed to get some time with Candlelight Concerts Project Manager Ari Hutchison, to delve deeper into this new concept.

What are the Candlelight Concerts?

Candlelight Concerts are a series of intimate classical music concerts aimed to democratize access to classical music by allowing people all over the world to enjoy the works of the greatest composers such as Vivaldi, Chopin, and Beethoven. The ever-growing list of programmes includes a wide variety of themes and genres that goes beyond classical, such as jazz, pop, movie soundtracks and ballet, paying tribute to the best hits of contemporary artists such as Queen, Coldplay and Taylor Swift.

How did the Candlelight Concerts start?

Fever constantly strives to make culture more accessible with innovative original experiences. The Candlelight Concerts were launched to democratize access to classical music by bringing the genre closer to a new demographic that would not normally be interested in it. Candlelight Concerts are present in more than 100 cities worldwide, with over 3M attending in 2021. This Fever Original concept brings classical music to an entirely new demographic, with 70% of attendees under the age of 40.

What makes these concerts unique?

Candlelight concerts create visibility and opportunities for local and talented musicians; cultivate stunning locations that form part of each city’s cultural heritage, ranging from rooftops with great views to cathedrals and iconic palaces, and bring traditional classical music closer to people from all over the world.

What can the public expect from the Brighton special series of concerts?

The concerts are honouring Hans Zimmer’s iconic film scores at St Mary’s Kemp Town. The works of the musician, well-known for composing music from Pirates of the Caribbean, The Crown and Gladiator, will be played by a string quartet in the stunning alter flooded with candles.

For more details and tickets, head over to: www.

candlelightexperience.com

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Book Recommendations

By Amy Stanborough

Is it just me, or does everyone suddenly become bookworms as soon as the days get warmer and summer strikes? As a literature student myself, I love to see it. Whether it is making the most of the long evenings with a cuppa and a book in the garden, or tucking into a novel as you sunbathe by the pool or beach, I have rounded up a list of some of my current faves. Amongst my recommendations are books and authors that you may have heard of, but also writers you probably do not know, but most definitely should. Within the world of contemporary literature, postcolonial and queer voices are finally getting heard and their writing not only bears social significance, but challenges the way we understand fictional stories. From dramatic fiction to get you out of a reading rutt, to books beautiful enough to double up as decor; poetic portrayals of the mundane, and literature to inspire you to write yourself, this list of recommendations is guaranteed to level up your choice of texts and the way you read them.

Post-colonial Writer:

The tear-jerker:

Science fiction and fantasy are not amongst my favourite genres of literature, but the social reality behind the magic in Butler’s text somehow managed to connect with me.

She disguises her awareness of the effect of climate change with Lauren’s magical powers (to feel other people’s pain) except this dreaded black cloud over Lauren’s world is inescapable. In Butler’s construction, violence and crime rises, hurting and affecting the people Lauren loves most. There is a sense of apocalypse throughout this whole novel which will keep you on the edge of your seat, and encourage you to route for Lauren as the only one able to save the world with her powers. Butler thus makes us consider our own powers to save the world and the social crisis(s) we have at hand.

Klara and the Sun is another dystopian science-fiction novel, published in 2021 by nobel prize winner Kazuo Ishiguro. It is a story about a young girl named Josie in nearfuture America, who buys an artificial friend called Klara who aids her into adulthood as an observational companion. With overtones of sickness and the dangers of technology, this novel cleverly demands its readers to consider humankind's relationship to each other, nature and the mechanical world.

What I loved most about this novel is the characterisation of Klara as somewhere between human and robot, and the way in which her emotions and ability to learn develop as the story unfolds (but also sometimes fail).

Short Fiction:

Coffee-table book:

Why Don’t You Stop Talking by Jackie Kay

Grayson’s Art Club - The Exhibition by Grayson Perry

This collection by the Scottish, lesbian, adopted author Jackie Kay, is unapologetically and humourously written from experience. Her stories are full of themes of family, love, sex and places, but the deeper meanings are embedded behind poetic portrayals of mundane scenarios and experiences which are unavoidably relatable. Amongst the story titles are ‘Big Milk’, ‘Trout Friday’, ‘Shell’, and ‘Making a Movie’, all of which are equally enticing and the narratives are just as curious about society as we readers are. Kay constructs human interactions and digs into character’s mentalities in a way in which you would expect to be impossible in such a few words.

If you have never read a collection of short fiction before, let this be your first, and allow yourself to immerse into quick snippets of nostalgia, sadness, contentment and comfort.

Who doesn’t love a chunky non-fiction book to stick on your coffee table and use as decor, a placemat, or mid-evening entertainment?

Especially when it is fun, full of colour, and so current to the modern history we have all experienced in the last few years (I won’t use that dreaded C-word). Grayson Perry’s project Art Club sprouted during the pandemic for a Channel 4 TV series of the same title. He asked members of the public to send in artworks they had created at home, with each week’s episode having a different theme including ‘Animals’ or ‘The view from my window’. The book is an exhibition of these artworks, also featuring art from professionals including Antony Gormley, and celebrity comedians such as Harry Hill and Noel Fielding. This book is bound to put a smile on your face because it turns a time in our lives that we are possibly keen to forget, into something colourful and memorable, with blank pages and stickers to encourage you to unleash your own creativity.

A Thousand Splendid Suns by Khaled Hosseini I first read A Thousand Splendid Suns when I was studying English Literature for my A-Levels, and I was beyond excited to delve into this novel after being recommended Hosseini’s writing multiple times (particularly for his other well known novel, The Kite Runner). While this international bookseller is already hugely popular, I could not help but put it at the top of my list. Hosseini, being an Afghan man himself living in America, portrays Afghanistan in a way which reads as hauntingly personal. The narrative explores the life and development of fifteen year old Mariam, and exposes us to the stirring and heart-rendering realities of femininity in the Middle East. Periodically following the Taliban’s take-over of the country, this novel is not just evocative and encapsulating through its use of story-telling and language, but cleverly educational.

Crime Fiction:

Gone Girl by Gillian Flynn Another personal favourite of mine, Flynn’s Gone Girl is in a league of its own in terms of gripping characters and addictive drama.

This multi-perspective novel demands its readers to trust the villains of the story, even when we have been conditioned to trust narrators the most. Flynn’s writing style makes it easy for the reader's imagination to flick between people, space and time, and reading Gone Girl feels just like you are watching the action unfold before your very eyes because her description and detail is that good. The characterisation is unmatched to the point that you may even put this book down and question the people you love in your own life.

Other books by Gillian Flynn, Dark Places and Sharp Objects, are just as gripping. Gone Girl was also transformed into a film in 2014 if you want more of this story even after the pages run out.

Summertime by J.M Coetzee South African writer J.M Coetzee is obsessed with challenging the boundaries of fictional writing. Published in 2010, Coetzee created a masterpiece by naming his main character after himself, John Coetzee. Through a series of diary entries, interviews, reports and possible memoir, the most important question this novel demands is how much of this novel is fiction and how much of it is non-fiction.

This groundbreaking novel explores love and hate between people, and a compelling relationship to South Africa. Summertime is serious and edgy while also full of personality and humour, which makes you want to trust this book, no matter how unlikeable Coetzee makes himself to be.

Dystopian science:

Parable of the Sower by Octavia Butler

Non-Fiction:

Writing Down the Bones Freeing the Writer Within

by Natalie Goldberg

I was introduced to this pocket guide in my first year of studying English at university, and let me tell you, it is like a little bible of bliss and aid for anyone keen to get into writing practise themself. If you are eager to put down the books and write your own, this book is essential. With chapters on prompts, exercises to practise, and tips for searching for inspiration, Goldbergs advice is inspired by writing as being meditative in nature. The title of her book alludes to the idea of really tapping into that voice in your head, and truly getting to the soul or the bones of the writer within all of us. Some memorable advice includes allowing yourself to write “junk” and not stop your hand from scribbling on the paper. Whether you want to write poetry, a memoir, fiction or even a shopping list, Goldberg encourages us all to develop our own style and voice to write in.

Contemporary Fiction:

Klara and the Sun by Kazuo Ishiguro

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Laura Thorne

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We managed to catch up with Laura Thorne in her studio whilst she was working on a project for the part-time Foundation Diploma in Art & Design at Greater Brighton Met politan College (GB MET).

Laura used to work in the events industry in London, including working on the Olympic Torch Relay for Coca-Cola back in 2012. However her life suddenly changed when she started experiencing health issues which meant she had to stop her career.

“My first symptom was losing my speech. Initially they thought it was a stroke, but after that, everything else was slowly deteriorating. I couldn’t speak, I couldn’t read or write or understand any information. I had an emergency investigation to find out what was wrong with me, which meant they had to do an intensive operation, leaving me with 28 staples in my skull.

It was a really unusual time because they were consistently doing so many tests like “can you pick up that cup?” and I couldn’t pick it up. My brain was saying ‘pick it up, pick it up!’ but I had lost the pathways from my head to my arm. Different things were happening like that which were really unusual and I think I was freaking out.”

After three months of continuous testing and one year of rehabilitation, Laura was finally given the diagnosis that she had aggressive multiple sclerosis, a condition which affects the brain and the spinal cord. Multiple Sclerosis can impact vision, movement, sensation, balance and even cognitive function.

“After the operation and diagnosis, I decided to change my career because I had to. I moved from London to Brighton and after finding my feet, I decided to enrol at GB MET on a head massage course. It was important to keep my brain working and alive; essentially moving forward. When you’ve lost your career it’s quite hard, as it has a knock-on effect on so many different things, especially your mental health.

I did the massage course and loved it, but I didn’t want to continue it as I found it quite difficult, as it was very exhausting due to it being quite physical. So I became a yoga teacher as I felt that doing something for myself on a regular basis that is going to benefit my body would be a positive thing.

After a while, I went on to find my interest in art, which made me feel inspired to travel and explore different things. I’d always produced events with clients where I had to have a creative element anyway, so to me it was a perfect stepping stone in my career.”

In 2021, Laura returned to GB MET to enrol on the Part-time Foundation Diploma in Art & Design –a course designed to develop creative independence and encourage experimentation in a dynamic and safe creative environment.

“I joined the course because I wanted to go back to my roots.

Ten years after my diagnosis, I felt that exploring more creativite aspects was a very natural progression to link back to what I am good at and what my professional career was and try and re-fuse those neurological pathways, relink and regenerate them.

It has been really intensive, but it has been so good! It’s been an amazing course because you’re constantly learning and developing. I try to be creative as much as I can, because this helps to open pathways within your brain, and overall makes you feel good!”

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Laura told us that the support she has on her course, with members of staff helping with her cognitive functions, by writing and checking everything, has really helped her to develop. She also mentioned that the technicians have been incredibly helpful and are such an inspiration to work with.

“My work is inspired by my neurodiversity, my journey and what happened to me.. I think about my personal story and making things accessible to people. When I was diagnosed with MS, I felt quite ostrichsised, and although people know about it, people don’t typically understand it. I think my art is another pathway through which people can get a better understanding of my journey.”

At the start of July, GB MET hosted their annual Creative Industries End-of-Year Show, which showcases the creative and inspiring student work. Of which Laura was able to display her artwork to the public over the five-day exhibition. Alongside showcasing students’ work, GB MET held an award ceremony, celebrating inspiring students, including Laura, who won “Most Improved Student”.

Laura has expressed her love for art and that she wants to continue to work creatively, with the goal, one day to have her own exhibition.

“I feel there is so much stuff I need to get out and that there is so much content and so many avenues I can go down with my art; that I just need to start putting it out there, whether it will be a sculpture or a painting. I am just focused on continuing my art moving forward.”

Feel inspired by Laura’s journey or interested in exploring your own creativity? GB MET has a wide range of creative courses that will help get your creative juices flowing.

For more information on what’s on offer, visit www.gbmc.ac.uk

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H

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GROUNDED W H I L E B Y

T R A V E L L I N G

A M Y

S T A N B O R O U G H

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oogle ‘holiday’ and click on pictures; you are presented with a montage of beach and pool images which can only be associated with relaxation and serenity.

We go on holiday to escape the chaos and routine of our working lives in search of pure peace. Except, travelling, going on a short break, weekend away, roadtrip (however you choose to holiday) can sometimes be anything but peace. From packing with ease to putting your phone away at the dinner table, here are some of my top tips for staying grounded while travelling.

STUFF THE SOCKS Literally. The key to a good start to your holiday is to pack with ease so that you can enjoy the feeling of butterflies in your stomach as the countdown to one more sleep dawns closer. It should be an enjoyable and exciting experience, so be kind to yourself and get organised way ahead of the night before.

Make sure the clothes you want to take are clean and ironed (you might not have access to an iron once you are away) and create a checklist of items you want or need. You know when you see those mums and dads at the airport with a binder stuffed with passports, boarding passes, parking info and medication documents? Be that person. Worried not everything will fit in your suitcase or hand luggage? Avoid playing Tetris with shoes and sunglasses at the airport by stuffing your socks in the gaps and shoving them in your shoes.

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HAVE A PLAN OF WANTS N O T N E E D S Visiting big cities and cultural regions may mean there is a long list of restaurants you want to try or galleries to visit. Maybe you want to do an excursion or see a local area, but always remember that you are only going away for a break, not to relocate. Enjoy your holiday with the mentality of “I would like to do this”, but bear in mind there might not always be time or energy. It is easy to get excited about your holiday and idolize the pictureperfect meal and lots of exploring, but the reality is that holidays are also often consumed by blistered toes and sunburn and hangry children. The unspoken truth is that holidays are not always picture-perfect, but the best way to keep cool and to stay grounded is to listen to your body. Spending your holiday laying in the shade, and snacking on crisps is just as valid as tasting local cuisines and getting bored by museums. There are no rules or ‘correct’ ways to holiday. Ditch the itinerary and those trip advisor reviews you had bookmarked on your search engine. Do what you want in that given moment and there is no need for anything else.

REMEMBER YOUR SIMPLE P L E A S U R E S While you may be wanting to escape the 9-5, fancy a change of scenery, or just looking to enjoy some quality family time, this does

not mean you have to completely stray away from the things you love. Stay grounded by remembering your personality and staying true to your simple pleasures. I need my morning tea, except on holiday I can enjoy it on the beach, or with a tranquil view. Sometimes a lay-in is just what I need - tumbling out of bed hungover and craving some crisp bacon and creamy scrambled eggs from an allinclusive buffet breakfast. However, I would rarely give up my long afternoon walk to get some movement in my body. Enjoy your simple pleasures like watching the sunset and running through waves, avoiding the taste of salt as water is splashed in your face.

Enjoy a cold shower and sit on a balcony in your towel, sipping sangria and drinking lays.

Try an activity like pottery painting or a pilates class; it can be making the most of something you already love or trying something new.

Staying grounded is all about being in tune with yourself and there is no better opportunity to feel the grass beneath your feet or the sand in your toes than when you’re on holiday.

TA L K T O S T R A N G E R S I remember talking to a French man from Madagascar smoking a cigarette outside a shop in Ibiza and I remember how friendly the waiters were at an Italian restaurant in Venice. They were two brothers running the family owned business. I also have a memory of the waiter who wore an England football top even though he was working in Chinatown in Sydney, Australia, and the lovely man in LA

who recommended we went to The Grove for dinner. There is always a curiosity and kindness in me that makes me want to talk to strangers when I am abroad because you meet some incredibly amazing and interesting people from all different cultures, backgrounds and businesses. Reconnect with your social self and don’t be afraid to ask people questions. I have had some of the best restaurant or location recommendations by waiters or simply people I have stumbled across on the street when travelling. A great way to approach someone if you’re nervous is to start with a compliment and see how they respond.

The locals are ideal to speak to because they, of course, know the area you are visiting best of all. Having small human conversations with strangers reminds me that the world is much smaller than we think. You may find yourself educated, inspired or even making a friendship and these people you meet along the way will always become a large part of your holiday memories.

E M B R A C E A L O N E T I M E I am sure you love your friends and family, but let’s face it, spending twenty-four hours all under the same hotel, tent, caravan, villa, or motorhome roof can be intense and overwhelming. Constantly on the go, or feeling drained from the sun, there is no harm in taking five to yourself. Go for a walk or stick your head into a book. Plug in the earphones. Holidays are for you as well as enjoying the company you are sharing it with so ensure you still make time for your own space and serenity. I suggest keeping a journal and at the end of every day, use your evening time to write all about the highlights of your day, list the restaurants you ate at, and record any fun or interesting conversations you have. Create your own souvenir to take home by keeping a diary of your days and enjoying these moments alone.

P U T T H E P H O N E A W A Y The constant buzz of work emails from people who forgot you booked the week off; those vibrating apps demanding you to take a selfie and post it to your feed; ignored “have a great time” texts from your aunt, and missed FaceTime calls from your brother - simply switch it all off and put the phone away. Our phones and devices are our best friends when it comes to networking and keeping up with people around the world, but when you are the one going around the world, it can become a burden. Escaping your everyday life is impossible if you keep the notifications on which connect you to that life. Put the phone away and immerse yourself in the moments and memories which do not come around often. Of course, living in the social media decades, it is essential to take photos and I encourage you to capture those memories and treasure them forever. I recommend taking the picture and then putting the phone away. Ignore the desire and demand to spend hours posing and searching for the non-existent “perfect” shot, and instead chose to live and appreciate every meaningful moment. Especially at the dinner table, take the picture, then switch the device to airplane mode. Tune all of your senses into your meals and engage in conversations for you to remember for the rest of your life. Dedicate time at the end of your day or the end of your trip to post, share, engage and catch up on all things social media. Holidays are for making memories, not constructing and highlighting them. My number one tip for staying grounded on holiday is to get your head out of the devices as much as possible. Breathe the air and look around.

Soak it all in because sooner or later, you will be begging to be back on holiday again.

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rooklyn Bridge - the gateway to Manhattan from Brooklyn. Similarly, Western Road: the understated gateway for Brighton to Hove (or visa versa!) is becoming a hotspot for exciting new restaurant openings and gastronomic delights. From Archipelagos Gyros to Wendy’s, Shaake to Little Paris House, there’s certainly something for everyone.

Brighton is rich in its diversity and Western Road is no exception to that rule. Maris and Otter sits proudly in the hub of the Western Road action, offering a warm and cosy interior and generous outdoor seating options to enjoy some people watching.

Communal tables and benches adorn the perimeter of Maris and Otter, creating an almost Parisian and community-focused outdoor dining experience whilst staff generously welcome patrons with pride and encourage “buddying” up to create a special social atmosphere.

Maris and Otter, formerly Revelator, has undergone a tasteful and cosy renovation. Think wooden beams, plush cushions, tartan carpets and local art. Equally, the well-presented staff and warm and friendly atmosphere they create further enhance their offering. Gem, proudly representing Maris and Otter, warmly greeted us with a drink menu. Usual classics were available, including a Cosmopolitan (£8), Mojito (£8) and Espresso Martini (£10). In addition to these, Maris and Otter added their own unique flare to the menu; Otter Fizz (£9, a concoction of gin, prosecco and bitter lemon) was delicious, as was the Flat White Martini, made with Blue Mountain Coffee, Baileys and Vodka (£10).

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MARIS OTTER

BY KYLE GARLAND

If cocktails aren’t your thing, there are plenty of European wines available by the glass or bottle, as well as Harvey’s Brewery Ales and alternative International Beers and Spirits. Even more so, check Maris and Otter out after 8pm on a Friday or Saturday night and enjoy 2-4-1 cocktails!

Once the drinks were savoured and complete, it was time for the main event: the food. Myself and my patron couldn’t pick, so with the help of a VERY hungry stomach and bespoke recommendations

by Gem, we were finally ready. To share, we opted for the loaded skin-on-fries (£5) with crispy onions, gherkins, ketchup and mustard as well as the Breaded Goats Cheese (£6.50) and Spicy Buffalo Cauliflower (£6).

Each dish was absolutely delicious and more than hit the spot, but our personal favourite was the fried Goats Cheese – then again, who doesn’t like fried cheese? For mains, we opted for the Vegan Hot Dog (£11.50) laced with crispy onions, mayonnaise and ketchup. The bun was soft and pillowy and my guest commented on the elegant texture of the vegan sausage – not always easy to achieve. Personally, I went for the build-your-own-burger, a fun and playful experience where you can be a kid in a sweetshop and enjoy a variety of classic and quirky toppings, from sauerkraut to ‘otter burger sauce’ (signature sauce!), salted tortillas to vegan gouda! The perfectly cooked burger was encased in a robust yet soft toasted bun and they were VERY generous with the toppings – I recommend getting a fried egg on top for extra indulgence!

Every Wednesday, Maris and Otter host a quiz night from 8pm with a stand-up comedian which comes highly recommended and is a fun way to get over “hump day”! I was very impressed by this venue and there really is something for everyone here, so whether you’re looking for an indulgent meal, a quick snack or a pint of real bitter, you’ll be sure to enjoy this exciting new opening. Go check them out!

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113-114 WESTERN RD, HOVE, BN1 2AB

MOUTHWATERING MENUS REVELAVED FOR

PUB IN THE PARK

The delicious dishes that will be served in Preston Park have been announced!

From Fri 16 - Sun 18 Sept, Pub in the Park will, for the first time ever, transform Preston Park into a food-lovers paradise serving a selection of delectable dishes created by some of the most talented chefs in the UK. The stellar line-up of pubs and restaurants coming to the new event include The Hand & Flowers founded by Tom Kerridge, Atul Kochhar Restaurants (try his recipe below!), Ox Block by Kenny Tutt, The Tanner Brothers’ The Kentish Hare, Buffalo Trace who have paired up with The Cadogan Arms, plus The Half Moon Inn by Jodie Kidd and British-Afghan barbeque sensation, Cue Point from Josh Moroney and Mursal Saiq.

Tom Kerridge said “What incredible menus from all the pubs and restaurants joining us at our first ever Brighton show. I know the chefs have been working hard and I can’t wait for you all to come and experience the fantastic music, good times and amazing flavours on offer!”

Tickets on sale now at www.pubintheparkuk.com

ATUL KOCHHAR’S CHICKEN TIKKA PIE Ingredients: For the first marinade • 1 garlic clove, peeled • 1cm piece of fresh ginger, peeled • 1 teaspoon chilli powder • Juice of ½ lemon • Chicken thigh, boneless, skin-off - 750gms • Salt For the second marinade • 250g greek-style yoghurt • 1 teaspoon each garam masala and ground coriander • 50ml vegetable oil • ½ teaspoon each ground cinnamon, chilli powder and dried fenugreek leaves (kasoori methi) • 2 teaspoons gram flour • Salt For brushing • Small knob of butter • 2 teaspoons lime juice • 1 teaspoon chaat masala For the mash potato • 250g potato (desiree / king edwards) • ½ teaspoon sea salt • 50g cold unsalted butter • 30ml double cream For the masala • 1 small onion, peeled • 2 garlic cloves, peeled • Vegetable oil • 2cm piece of fresh ginger, peeled • 2 level teaspoons each ground coriander, chilli powder and garam masala • ½ teaspoon of turmeric powder and dried fenugreek leaves (kasoori methi) • ½ large bunches of fresh coriander, leaves picked • 3 ripe tomatoes • 20ml double cream

Method

1. For the first marinade, finely grate the garlic and ginger and place in a bowl. Add the chilli powder, lemon juice, chicken & salt and mix well, then set aside to marinate for 30 minutes.

2. For the second marinade, add all of the ingredients into a mixing bowl and mix thoroughly, Add the chicken, mix together well, then leave to marinate for a further 4 to 6 hours.

3. Skewer the marinated chicken pieces and cook over a barbecue, or in a hot oven at 200ºC/400ºF/gas 6, for 15 minutes, or until cooked through. Brush with a mixture of butter, lime juice and chaat masala and set aside. Dice them into smaller pieces (approx 2cm dices) 4. For the mash potato, boil the peeled & washed potatoes, mash (pass it through Moulin or Sieve for better results) and add the butter, cream and seasoning.

Atul Kochhar will be appearing at Pub in the Park Festival. Tickets and further info available at www.pubintheparkuk.com. Recipe taken from Atul’s website www.atulkochhar.com

5. Preheat the oven to 180ºC/ gas 3. For the masala, chop the onion and garlic, then add with a little vegetable oil to a pan over medium heat and sauté for 5 minutes until soft and golden brown. Finely grate the ginger into the pan and cook for 2 minutes until golden.

6. Stir through the spices, then chop the coriander and tomatoes and add to the pan, stirring to combine. Stir for a couple more minutes until everything is cooked through and the tomatoes are mashed up. Toss the chicken in the masala along with cream and stir well. Add to a dish roughly 20 x 20 x 6cm 7. Add the mash potato onto the top of the filling. Sprinkle Garam masala and couple of cubes of butter.

8. Bake in the oven for 12 to 15 minutes and the potato topping got a golden brown crust.

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RECIPES Meet our guest cook Millie, known in the world of social media as Mmindful Mills!

Millie will be bringing her fresh, plant-based flavours to our wonderful city of Brighton from July onwards. For more information on upcoming events, pop-ups, live cooking workshops and collaborations, follow her on Instagram

@mmindfulmills

CREAMY PORRIDGE A classic, and of course, there are a ridiculous amount of benefits to starting your day with a bowl of porridge. Also, probably the best way to sneak a load of nutrients into a child’s diet!

So you may as well make it taste decent. This will easily serve 2 large portions.

INGREDIENTS: • • • • • • •

1 1/2 ‘Free From’ (co-op range)rolled oats.

2 Finely chopped Medjool dates. Waitrose does the best dates that are the fudgiest.

2 Tbsp goji berries.

2 Cups (Whole Oatly is my go-to).

1 Tbsp chia seeds.

Pinch sea salt.

Pinch grounded cinnamon.

GARNISH (optional): • • •

Finely chopped cashews.

Black cherries.

Cacao nibs.

METHOD: 1. Into a pan on low heat, add the goji berries, chia seeds, oats and about 1 cup of plant milk.

2. Keep stirring for about five minutes, add more milk or even some water too if needed.

3. Add everything else keep stirring for another five mins then plate up.

If you give this ago I would love to see it! Catch me on Instagram @mmindfulmills and tag your take on this recipe! Be sure to tag @bn1magazine as well.

COURGE T TE FRIT TERS There’s currently an abundance of courgettes about as they are right in season!

Here’s a perfect summertime snack with a few beers, or even a great addition to a salad or a layer of a banging burger. Give it ago and I would love to hear what you think!

INGREDIENTS: • • • • • • • • • •

1 Large courgette/zucchini.

Marigold Engevita nutritional yeast.

1 Tsp cumin.

1/2 Tsp chilli flakes.

1/2 Tsp curry powder 1/2 Juice lemon (zest optional).

1 Cup sifted self-raising flour.

1 1/2 Tsp tahini.

1 Tsp Cornish sea salt and the rest based on preference.

A small handful of chopped coriander and parsley.

TO DIP (optional) • • • • •

1 Tbsp vegan Hellmanns mayo Light drizzle of lemon juice 1 Tsp extra-virgin olive oil.

Pinch of salt.

Give it all a good mix and serve.

METHOD: 1. Place the grated courgette into a colander/sift over the sink/bowl, add salt, gently toss and set aside for ten minutes. You’ll be amazed at how much excess liquid there is!

2. Give it a good squeeze with your hands to get the remaining liquid out (or even wrap up in a kitchen towel/ cheesecloth if you can be bothered to drain the courgette completely).

3. Place into a mixing bowl, add in fresh herbs, tahini, spices, nutritional yeast and self-raising flour (or plain flour and a little bit of baking powder).

4. Add a small glug of rapeseed oil into a non-stick pan on low-medium heat. Then measure the batter with a tablespoon and press down lightly.

5. Fry on each side for four minutes or even until golden and brown.

6. Serve up how you choose to, I served mine up with a spruced-up mayo and was quite happy!

CONCHIGLIE WITH ‘ROMESCO’ Living by the beach has a knack to spur on my cravings for a big fat bowl of pasta after a sea swim, and without a doubt, it always hits the spot.

This is something super simple that also worked a treat with my nine-year-old little brother.

Even if you just make up the sauce to have on the ready, it will last 3-4 days in the fridge, easily.

For a family I would double the ingredients, this was enough for a large bowl for one.

INGREDIENTS: • • • • • • • •

Large handful of cherry tomatoes, halved.

1/2 Red bell pepper (chopped).

2 Cloves chopped garlic.

Rapeseed oil (to fry).

A handful of cashews.

2 Cups conchiglie pasta.

1 Tbsp Nutritional yeast.

Salt and pepper to taste.

GARNISH (optional): • • • •

Glug of extra-virgin olive oil.

Chopped parsley and capers.

Salt and pepper.

Extra bashed up cashews would be good too!

METHOD: 1. Into a pan on a low-medium heat add in the garlic for a minute or so and then the veg. Cook until blistered and soft.

2. Add water into a pot and a large pinch of salt, bring to a boil, then add cashews until soft (save water for pasta).

3. Get the pasta cooking.

4. Into a blender add fried goods, 2 ladles of pasta water, soaked cashews, nutritional yeast, salt and pepper, and blend.

5. Add the sauce in with the pasta (along with more pasta water if necessary). Plate up, garnish how you like and enjoy!

@mmindfulmills

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25/07/2022 13:15

ark Ward nder M Fou

New interactive skill sharing platform

T

he one thing we can all relate to during the pandemic is the word “Zoom” or “group chat”. Love it or hate it, this technology continues to help people and businesses connect in realtime from the comfort of your home.

Mark Ward was one of these people who saw the benefits of connecting in such a way and PIGEON was launched - the new peer-to-peer e-learning and skill-sharing platform.

Skill sharing online is not a new idea, but the way in which PIGEON enables anyone from any background to offer their time and skill set was something that hasn’t fully been tapped into yet.

Mark tells me that PIGEON’s technology connects people from all walks of life, at any age, to learn new skills or share their passion whilst getting paid in the process.

Live 1-2-1 video chats enable ‘Sharers’ to pass on unique knowledge and expertise from a range of passions, hobbies and interests. ‘Learners’ can perfect existing skills or discover new ones, asking as many questions as they’d like and receiving personalised feedback and demonstrations through live video chats.

With the release of the platform in beta mode, the focus was on food and drink, with more and more skill areas being added as the brand expands. Ever wondered how to make an Espresso Martini? Well, you’re in luck! You can log into PIGEON, find a ‘sharer’ who can give their time and away you go - enabling a more personal experience, asking questions as you go whilst the sharer can give you additional tips or tell you where you are going wrong.

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PIGEON

Mark credits his parents as the inspiration behind the platform: “I grew up watching my mum run her own businesses, all centred around caring for other people and being part of a community, and my father who has mastered his passion of handcrafts and woodwork. Sometimes my mum was running meals to elderly people for her domestic care agency, other times she was blowing up balloons on the weekends for parties. To this day, she continues to share with others.

“Meanwhile, I’ve spent 20 years working in the hospitality industry, founding Regal Rogue in 2011. Throughout this time, I’ve been contacted by friends and family to walk them through recipes or discuss party ideas. Supporting each other and sharing is human nature. We all have people we turn to for their tips and advice within our friend and family networks. So why not unlock that potential and allow people to monetise their homegrown talents?”

The beauty of this platform is anyone can offer their expertise or passions to eager learners. Think of yourself as a master chef? Perfected the art of baking? A DIY expert? You can give your time to others and earn from it. Get good at it and you could find yourself in a new career!

With behaviours changing in how people work, many are looking to become financially self-sufficient, especially at a time when the cost of living is spiralling high and people are looking at ways to top up their income. PIGEON is that unique tool that means you can engage with others from the comfort of your home.

IT’S YOUR TIME Sounds like a phrase Simon cowl might mutter on prime-time TV, but this is the clever catch line from PIGEON, and it really is ‘your time’ that you can be offering to someone who wants to learn a new skill or gain more confidence in their abilities.

You can make a nice little earner on the side or if you become in demand, it could be a whole new career path! So why not give it a go? It’s free to do taster sessions and a great way to see if you want to continue learning from a particular ‘sharer’.

JOIN THE FLOCK! Anyone can start to learn with PIGEON from just £4.99 per month or Pay as you Chat, while Sharers can set their own hourly rate starting at £12 an hour, roughly 12% above the London living wage. The more they share, the more they can earn.

The brand also aims to use its technology to ensure everyone has access to learning, with a dedicated purpose over profit fund.

5% of revenue from the monthly plans will be invested each month and the “PIGEON flock” get to vote on what happens to that money - whether it’s peer-to-peer e-learning, connecting the isolated, or helping hidden communities bring their handcraft to others.

Register now and join the flock: www.pigeon.me

www.pigeon.me

bn1magazine.co.uk

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Sugarhill Brighton www.sugarhillbrighton.com

By Tallulah Taylor Sugarhill Brighton are a family-based team, set up by Pawel and Aleks (Brother and Sister), with their designer Olivia working on site in their local studio to draw up designs by hand. Their bold, bright colours reflect the vibrant city and its local charm. They hold sustainability at the heart of what they do and offset much of their carbon footprint with planting tree’s as well as donating 10% of their profits to a mixture of charities and organisations.

What is Sugarhill Brighton and who is the team behind the brand?

Sugarhill Brighton is a family-run business based in Brighton!

We’re known for our hand-drawn prints and our philosophy has stayed the same since we began, to design fun, joyful clothing that our customers love to wear.

Sugarhill’s journey began in 2002 in Barcelona with us opening a pop-up clothing store, and inspired by our love of travel, we designed and produced clothing for it in Bali, Indonesia. Our first collections were dresses using Batik produced in Bali. It’s a printing process we still use in our collections today – Batik is made by printing the wax design onto fabric using a copper stamp called a cap. The applied wax design resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired. Due to the artisan nature of this process every Batik printed item differs slightly, making each print unique.

These hand-finished styles were a big hit with customers and so in 2006, Sugarhill Boutique was created with Brighton as its new design base. In 2018 we rebranded to Sugarhill Brighton to reflect the brand’s creative identity and its heritage as a family run business. We now have a small team based at our local studio!

Sugarhill customers love playful elements to their wardrobe, so we start every new collection by sketching our print stories which includes key trend concepts, best-sellers, and inspiration ideas from the team. Once we have the concepts in place Olivia and the team begin work on their hand-drawn print artwork which are then digitalised. Our upcoming Autumn/Winter collection is an ode to the outdoors stemming from the concepts; Earth Animal, Nature Lover, Soft 70’s and Golden Nights.

Our pieces are designed to let the prints speak for themselves – we have key signature shapes like our Maggie T-Shirts, Noah Sweatshirts, Catrina Shirts and Polly Dresses and each season work in new designs, for Autumn/Winter we’ve reworked our bestselling ‘Zania’ to include full length sleeves, and the brand new ‘Elise Maxi Tiered Dress’ and ‘Amelie Tea Dress’ have button detailing and more feminine, functional touches.

I love that you have a whole category dedicated to dresses with pockets and breastfeeding friendly! Why is so much of women’s wear not functional and how are you working to make it more so?

Functionality seems to be an afterthought for lots of brands, but for us, the wearability of our pieces is the most important. We listen to our customers and design for them!

In what way does Brighton and Hove come through in the collections and prints?

Brighton and Hove carry through everything we design, we take inspiration from everywhere, it’s such a vibrant place to live and work. Our most popular is the 100% Organic Cotton Brighton Breton – every year we bring a refresh on this classic from statement rainbow stripes to quirky embroidered pocket motifs.

In what way is sustainability at What are some of the nonprofits and charities you donate the heart of your design? to and how do you decide?

Sugarhill Brighton is built around distinctive design, our quality and unique prints are what our customers love about us, and so we made the decision to keep the business small and focus on supporting causes close to our hearts including being as sustainable as we can. For us it was simple, we have the means to make changes that are more sustainable, so why not?

It’s been a gradual process and currently over 80% of our styles are produced using sustainable materials; 100% OCS approved organic cotton, and LENZING™ ECOVERO™ (an ecofriendly alternative to traditional viscose that generates 50% less emissions and water consumption than standard viscose and is fully biodegradable). We also made the move to sustainable packaging.

We also run our #WearAndCare initiative (where we donate 10% of profits to our charity partners); and we’ve partnered with Ecologi to plant a tree for every order, with over 50,000 trees planted so far. Through our work with Rainforest Trust we’ve also helped save over 26,000 acres of rainforest which we are delighted about.

Can you talk a little about your in-house designer Olivia and the creative process behind her designs?

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Sugarhill have always worked with charities as part of our CSR programme, but we wanted to come up with a way to do more, so in 2017 we began our #WearAndCare initiative, partnering with three UK charities. It has since grown and we now work with several charities across the UK and internationally including Rainforest Trust, Plan International UK, SEA LIFE Trust, Rainbow Trust and local Brighton charities; Whoopsadaisy who provide free conductive education for children with cerebral palsy and other motor disorders, helping them reach their full potential, and The Clock Tower Sanctuary who support homeless young people in Brighton & Hove.

We predominantly work with environmental, educational and enrichment focused charities all chosen by members of Sugarhill’s team for causes they are passionate about. Since launch we’ve donated over £135,000 to charity which we couldn’t be prouder of!

Have you got anything exciting planned for the future?

Our Autumn/ Winter is launching now and we’re very excited for everyone to see our new prints, it’s always fantastic debuting them and seeing how they’re styled. Our Curve range, up to size 22, is also available across 70% of the collection this season and we can’t wait to extend this further!

CATRINA CASCADING DAISIES SHIRT £54

BRIGHTON FLASH LIGHTNING BRETON £36

ZADIE JUNGLE TIGERS SHIRT DRESS £69

FELICITY ANIMAL FLORAL TIERED SKIRT £52

CLARISSA DARK FLORAL WAVES MAXI SHIRT DRESS £75

NOAH BLUE ANIMAL FLORAL SWEATSHIRT £55

JANIE JUNGLE SCENE JUMPER £69

ALICIA DITSY FLORAL FRILL EDGE BLOUSE £49

NOAH NAVY DINOSAUR EMBROIDERY SWEATSHIRT £55 bn1magazine.co.uk

51

ADD SCANDINAVIAN STYLE TO YOUR HOME

By Amy Stanborough

O

ne city I have always wanted to travel to is Copenhagen. Belief is that it is the happiest city on Earth, and I wonder if this is because of the splashes of colour across the city that brighten up people’s day. Scrolling through social media, I have been more and more drawn to Scandinavian style and culture, from interior design blessing my Pinterest, to @scandimuses quickly becoming my favourite fashion feed on Instagram.

Considering I am in the process of moving house, and I currently have no flights booked to Norway, Denmark or Sweden, I figured I would take this opportunity to bring a bit of the style to my new home. I have done my research, read the books and explored the blogs, and I thought I would share with you my process of bringing Scandinavian design to Brighton’s residential streets.

I am currently renting a four bedroom student home with three other females whom I have lived and studied with for the last two years. We first shared halls, then we lived in our first student house, but this building that we only moved into this week, is already feeling like a real home full of rustic character. As you open the front door, you are first greeted by the hallway with dark wooden floorboards and exposed brick steps leading down to the kitchen at the back of the house. A further set of steps are pathed beneath an archway and dingy exposed light, directing visitors to the first floor bedrooms, bathroom and lounge. But this is not an article about my creaking floorboards and the condensed windows of a student home, this is an article about making it feel like a Scandinavian paradise, full of charm and class.

I put dibs on the back downstairs bedroom, purely for my attraction to its own backdoor and private steps leading down to the concrete terrace area. Natural light is a huge priority for me. I love the feel of a breeze through an open window or door. I

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love the golden hour glow creeping through half-closed blinds, or the morning slithers of light through a partially-open curtain.

Naturally, the prioritization of natural light is a key feature in Scandinavian homes.

Whether it is ceiling windows in social spaces, large unavoidable windows, or a fully windowed back door leading out to the garden, letting the outdoors find its way into a home is key to Scandinavian design.

The dark wooden flooring trails into my downstairs bedroom, and works in contrast to the clean white walls. Dramatic contrasts are another feature of Scandinavian design and I took this one step further by adding a white rug to the floor for textual purposes.

The key definer of Scandi-style is remembering that though the design may appear simple and minimal, it is anything but. From making small areas functional, to contrasting your colours and textures in the room, every corner and touch of decor should have a function or motive.

The rug adds a sense of warmth against the splintering flooring. Meanwhile, the oak wood furniture juxtaposes the dark flooring.

Wood is a key element to add to your room for a natural feel which should complement the warm lighting of your room. For instance, the golden oak furniture matches the evening sunlight I get through my back door. For Finnish designer Aalto, wood represents a more humane, sympathetic material. Contrast your colours or style of wood; add texture as much as you desire, but embrace the wood as much as you can.

Other ways you can add textural contrasts to your space is by putting a throw on your bed, or even hanging it over the back of a desk chair. Adding pops of texture to your space creates that cosy homely feel, Another way to achieve this is by incorporating splashes of colour. I chose to go for a sage green and dusty pink colour palette, sticking to minimal Scandinavian pastels while also choosing colours that

I enjoy and scream comfort to me. Sitting on top of my wardrobe is a plant draped over the wood, adding greenery to the oak.

Fake plants epitomize Scandinavian style; they bring the outdoors inside, adding colour while also sticking to that humane, natural brief which Aalto loved. You can also add colour via candles, bedding, vases or delicate pieces of decor. The pink duvet cover on my bed is probably the focal point of the room, not just because it is the largest, but also the brightest. To compliment, I decided to match my wall art to this shade of pale pink and even added colour coordinating ceramics to my desk to represent functional decor. Minimalistic, but well thought through. Some more fun ideas may be to buy white bedding, but have a coloured fitted sheet. Why not have a striped duvet but polka dot cushions?

The picnic hamper on my floor is further evidence of functional decor in my bedroom. It conforms to the oak scheme, represents a part of my personality (I love a good picnic), but also stores all of my beauty products. Plus, my mirror stands on top of it to make the ideal height for a full body view. The only time this item might not be so functional is when I actually want a picnic…. Storage is undeniably functional, so choosing storage which is aesthetic is key to keeping the room feeling decluttered. For example, use clear, vinyl trays or organisers to let the real decor stand out. Exposed belongings also allow your personality and snippets of your life to shine. On top of my wardrobe, I chose to conform to my colour scheme via crates of white and green. They are alternating materials; both equally work to make the most of the space I have in this (smaller than what I am used to) bedroom by keeping my items tucked out of sight.

Regardless of the theme, style or design you are experimenting with, you always want to add personality. Whether this is more personal through framed

Summer warming, housing cooling?

By Russell Chilvers Property expert

photographs of your loved ones, or more abstract with a piece of art you enjoy hanging from the wall - the space you inhabit should be inspiring and reflective of your passions. Coffee table books are a great way to display your interests. Books in general are a fabulous form of “things” that can double up as decoration. Leave the spines looking out to let guests know what novels and authors you enjoy, or expose the pages to keep to the minimal, natural routine of Scandinavian design. If you put your personality in the decor, loving your new Scandinavian home will come easy.

Plenty of stores across Brighton sell decor that will allow you to bring a slice of Scandinavia to England’s coast.

Obviously, there is the flat-pack paradise which is IKEA, and mainstream bits and bobs store Flying Tiger Copenhagen, but make sure you check out DOWSE or Abode living (Gardner Street and Kensington Gardens). Or get yourself a lovely plant from Gunns Florist and round the day off with a hot drink and salad from Wolfox coffee’s newest speciality shop - BROR on Addison Road which is “based on the Scandinavian tradition of combining coffee and conversation”. Working as a barista myself, and a lover of a good old chin-wag, I decided the finishing touch to my room was the coffee machine on the end of my desk. I love the little space I have created for myself, and I believe I have injected a little piece of myself in the room, while its splintered flooring and beloved back door inspires me to write this very article.

I love summer. The joy of meeting friends on the beach for a cold beverage after work or attending the many different outdoor events our lovely city has to offer is truly energising. It’s when Brighton & Hove really comes alive with smiles, day trippers and holiday adventurers soaking up the city vibes.

So, what does this have to do with the property market I hear you ask? Well, as I am sure we’ve all heard, the market has been something of a rocket ship over the last couple of years. Demand has far been outstripping supply which has been pushing the price of housing up quite dramatically.

Generally, an estate agent has a lot of work to do once they’ve been instructed to sell your most prized asset, but with the market in its current trend over the last few years, the property will generally sell itself, often with multiple offers arriving at once.

Is there change on the horizon? Thankfully, in the last few months, there are signs that the market may well be cooling. I’ve noticed the car parks at Gatwick are full indicating that many of us are choosing to go on holiday (if the flights have not been cancelled ‘cough’), shifting attention away from the property game. Of course, with the UK interest rate currently at 1.25% and with the possibility of further hikes, along with the cost of living rising at an alarming rate, these too will have a bearing.

However, a calmer market can certainly be a good thing, it separates the men from the boys within the estate agency world where experience and hard work will really come into play whilst it also gives buyers more choice and less pressure in having to make such a huge decision within a matter of a day, sometimes even hours! It really has been that brutal.

If you are thinking of moving and if you want to be in your new home before the end of the year, now would be a good time to start getting your home prepared and make it look its absolute best.

If you’ve got any questions or need any advice, please drop me a message and I’ll help in any way I can.

Right, I’m off to the beach.

Follow @russellchilversexp bn1magazine.co.uk for more property advice 53

W I L L H I G H E R WAG E S R E A L LY A F F EC T T H E C O S T- O F- L I V I N G C R I S I S ?

B Y

B

ritain is being faced with a range of strikes, which will cause disruption to millions. Despite an overwhelming percentage of public sector workers not receiving a real-terms pay increase, the Treasury’s current policy involves taking a firm stance to limit any further risk of inflation.

While the intention may be honourable, as inflation is reaching record highs and causing almost the entire country to feel its effects, there’s a strong chance this Government’s position is deeply flawed.

There are many factors contributing to the UK’s mounting inflation. And they seem to have little to do with wage growth. Much of the issue has been triggered by a lackluster global response to the reopening after the pandemic. We’ve seen a sudden soar in need for energy, and supply chains which were lying dormant are seeing incredible demands. There are also new difficulties for anyone who imports or exports goods.

Most supply chains begin in China, especially with items like microchips.

Depleted stocks of these meant delayed production of many high-end consumer goods. Things like cars, televisions and computers. Shortages of these have seen their prices soar, and that has had a knock-on effect on the inflation index. While the situation is easing slowly, China is still taking Covid very seriously, and imposing lockdowns at short notice.

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W I L L I A M

C L A Y

The Ukrainian war has also had a big part to play in inflation. This has triggered more disruption in supply chains, particularly with fuel, energy and food. Sanctions against the Russian state haven’t helped either.

Against this backdrop, the public sector has received a tiny 1.5% increase to pay in the last 12 months. Over in the private sector, which is significantly larger, the average is 8%. Although much of that is paid in bonuses and includes those already receiving lucrative salaries.

For those getting by on average or belowaverage earnings, pay increases are failing to keep up with inflation. So, they’re much worse off than they were three years ago.

Wages are loitering far behind inflation, and so having little more than a minimal effect upon it.

People are still buying goods, even though they are more expensive. But the profits from these sales aren’t being returned to employees along the supply chain. Not in the stores, the distribution network, the sales teams, the factory workers or those gathering raw materials. The only people genuinely doing better due to inflation are business executives, financial organizations and anyone speculating on the price of raw materials like oil, gas, food and ores.

Now… I should make it clear that I’m not bemoaning the existence of big corporations. They bring innovation and choice. Without them I wouldn’t have the laptop this is being written on, my huge TV

screen or a fridge which is filled with food from every corner of the globe. But this surge in inflation seems to be massively shifting the rewards for dedication and hard work from those who work for a living to anyone who creates money by speculation.

This is why oil, energy companies, banks and big commodity trading companies are all reporting massive profits.

For whatever reason, this situation seems to be embraced by the current Government.

The Bank of England has repeatedly increased interest rates, and the Exchequer hasn’t exercised oversight powers to stop them. Such hikes are intended to dampen household incomes, working on the supposition they are too high and so triggering inflation. This sits at odds with the spiralling cost-of-living situation, as consumers are increasingly finding themselves struggling to pay climbing energy bills.

It seems The Bank of England hasn’t recognised the increased pressure on households. As interest rates increase, money is being transferred from those who borrow to those who speculate on turbulent markets. After the banking collapse in 2008, The Bank of England adopted a rigorous quantitative easing programme – which is still operating today. This works similarly to cuts in interest rates. It lowers the interest rates on savings and loans, with the intention of stimulating spending in the economy.

It’s the ‘magic money tree’ that we keep hearing about. While the system wasn’t anything new, it hadn’t been used on this scale before. But now it’s just become a universal remedy to fix any ill in the economy. There’s a growing complacency over the issues presented by its overuse.

The 2020 pandemic offered a different set of circumstances to the banking crisis, although the Bank Of England deployed the same solution. Rather than working to save the banking sector, it’s now being used to cover the Government’s surge in expenditure. Which raises questions about the Bank Of England’s independence.

Assets bought under quantitative easing are now worth over 40% of UK GDP. Its boosted asset prices benefited a small selection of investors and risk contributing to inflation.

It works by The Bank of England buying UK government or corporate bonds from other financial companies and pension funds. This artificial rise in demand helps the price of these bonds increase, so the bond yield, or ‘interest rate’ which holders of these bonds get, falls. The lower interest rate on UK government and corporate bonds in turn feeds through to lower interest rates on loans for households and businesses. This helps to boost spending in the economy and keep inflation at target.

For example, if The Bank of England buys £1 million of government bonds from a pension fund, the pension fund then has £1 million in cash. Instead of holding that money, it normally invests in other financial assets, such as shares, which give a higher return.

This action pushes up the value of shares, making households and businesses holding such shares wealthier – and in turn likelier to spend more and boost economic activity.

Pretty simple, right? In theory, yes. But the system has developed some flaws.

Because of quantitative easing, the UK’s commercial bank sector has around £900bn on deposit with the Bank of England which has effectively been gifted to them. The banks are paid handsome interest on these balances, at a rate which the Bank of England is now repeatedly raising. Just by allowing the money to sit in accounts, the banks could earn somewhere in the region of £50 billion. So, it’s more profitable to do this than buy those other shares which may trigger economic activity at a domestic level.

Why the Government is happy with a system which gives money to the banking sector, with little appreciation of the effect on taxpayers, is anybody’s guess. Arguably, the Treasury could lower both VAT and duty, which would do a lot to tackle increasing inflation. Instead, the intention seems to be to lower taxes for those who are already profiting from the rise in inflation, who are unlikely to return such a financial boost back into the economy in any meaningful way.

Of course, inflation isn’t all the fault of HM Government. But it is allowing inflation to push prices up and doing very little to address those who are fueling the problem or even profiting from it. The approach is

instead focused on stopping wage rises, believing this is what is partly driving the current crisis.

If we can embrace their logic, let’s imagine a 10% real-terms wage reduction on public sector employees. Will it have a direct impact on inflation? It’ll immediately mean around 6 million people will have significantly less disposable income. At least for those who aren’t already accessing food bank services. Every shop and business which might have welcomed those people suddenly lose a huge amount of custom. All our cafes, pubs, shopping centres, cinemas, theatres, restaurants and crazy golf courses are going to see a huge drop in trade.

Which wouldn’t be a problem if their own costs weren’t rising so quickly. What starts getting dangerous is when private employers see the Government’s efforts around wages and decide to also begin imposing low pay deals. Then enormous sections of our working population will have less cash to throw about on the high street.

So, these local businesses will start needing to make staff redundant, because they’ve less profit coming through the door. Which means there’s even less disposable income sloshing around the local economy. This is what experts gloomily call a ‘recessionary spiral’.

But what happens if people can’t cover the cost of essentials like food, clothing, shelter and energy? If a big chunk of the population starts defaulting on their rent or mortgages, then in some extremes it might trigger another banking crisis – just like the one which quantitative easing was brought in to tackle. It’ll certainly see a big spike in homelessness, and the myriad of serious issues which accompanies that.

Another outcome of worsening pay for public sector workers is the potential migration of expertise to the private sector.

Those with careers in teaching, healthcare or law will simply go elsewhere if they can’t make a reasonable living. Which could mean a decline in services, which can only be fulfilled by adopting more commercial options. Anyone relying on public services is likely to see a drastic decline in their support.

Ultimately, even the Government is going to suffer from its unwillingness to intervene.

Tax receipts are currently relatively healthy, because of rising inflation. It’s doubtful this bounty would survive a recessionary downturn when wages fall and spending declines. Although the hiking of interest rates is intended to dampen spending.

There are no easy answers to this situation.

The Government could help ease matters by stopping the regular interest rate raises, as all these are doing is making it difficult to deal with larger bills and giving huge profits to a very narrow field of investors.

Prices can be cut by reducing VAT and duties, especially on energy and fuels.

It’s also time to have a serious discussion about a windfall tax on banks, especially if

they’re gaming the system to make huge profits for themselves at the expense of the taxpayer. There also needs to be a grownup conversation about the value of public sector employees to our society. Offering a pay rise in line with the current rate of inflation is unrealistic, but anybody who contributes to our wellbeing shouldn’t be forced to access food banks to survive.

It’s not all doom and gloom. Soaring inflation isn’t, so far, a permanent situation.

Consumer confidence, an indication of developments in household consumption and saving, is already in decline. This will eventually lead to a slowing of production and a reduction in the price of raw materials.

Which does suggest inflation will start to fall. Eventually. As Covid eases and Europe starts to work out solutions for problems caused by the Ukrainian war, supply chains will start to get their act together. Energy companies have done all their panic buying now, so bulk costs are falling. But some prices on the domestic end are likely to stay high for a while. Green technologies still need to be paid for, so innovation will continue adding to energy bills. Food won’t be getting cheaper any time soon, especially if you eat a lot of meat.

So, if inflation is likely to settle down during the next two years, we probably don’t want to offer overzealous pay rises to those public sector workers. But there is a capacity for flexible awards which will not only help people meet a basic level of survival, but also feed back into local economies.

There are opportunities to deal with this very multifaceted situation in a responsible manner.

Parts of the private sector are offering an intriguing solution to such problems, especially in (ironically) finance. Roughly half of the pay increases here are manifesting as enhanced bonuses, keeping pay rates at a manageable level. Although the private sector must also share some of the blame in this crisis. Payments back to shareholders, partners and unitholders might be increasing because of inflation, but big businesses are also demanding wages are slashed to reduce costs.

If we’re being serious about improving public services, fending off a recession and rewarding hard work, then a 2% pay rise is not enough. It’s arguable that the Government and the unions both need to be more flexible about pay, even discussing one-off bonuses and temporary adjustments to get staff through. Because the current system just isn’t working. This will also have the benefit of encouraging policymakers to take genuine action over the cost of living and inflation, instead of simply demonising workers for causing it.

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Kali and family

THE RIGHT ROYAL RUMPUS! COMES TO EASTBOURNE THIS SUMMER. The critically acclaimed UnderWired Productions have created a brand new, multi-sensory, fully inclusive family musical.

Heading to Eastbourne’s Shackleton Hall on Weds 10 – Sat 20 Aug, The Right Royal Rumpus! brings communities together in a celebration of diversity.

This exciting new production has been written and produced by Kali Peacock, who lives in Eastbourne with her family. “We are a typical family, who enjoy lots of silliness, fun, music and laughter in our lives,” she tells us. “I am a mother to three rather wonderful children.

One of those is Finn who is a very talented, intelligent boy and it just so happens that Finn has multiple disabilities, too – but this certainly doesn’t stop him from thriving at all he puts his energy into!”

Peacock’s ground-breaking show is the product of years of hard work. As a family they have faced years of hardships simply trying to thrive in their community. A lack of support,

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access to vital services and simply having fun presents a constant battle for families like hers - and it’s about time this changed.

“Sometimes Finn cannot access activities around his community that other children can – this means that my husband and I spend a lot of our time fighting for Finn to access respite support, after school clubs, therapy, equipment, fun days out that are suitable for his needs – the list goes on. Fighting this hard, for this long is exhausting for us.”

An actor, writer and director, Peacock wrote and co-produced the warmly received The Lost Toys Big Christmas Adventure! in 2018 and 2019. She’s now excited to present the fully inclusive summer family musical, The Right Royal Rumpus! The Prince has been captured by two very nasty fairies who won’t let him go unless Princesses Rose and Lilly bring them the Secret of Happiness. There’s only one problem…the Secret is locked firmly inside the Tree of Knowledge and will only be revealed to the holders of three sacred

items: a gold wand from the Witches, a gold doubloon from the Pirates and a golden four-leaf clover from the Leprechauns. Easy enough to come by, you say? Well, they might be...if it wasn’t for the ghastly Grumblesnitch!

“Fighting continuously for my son’s rights to thrive whilst producing a family musical is no mean feat – but I have a lot of determination to bring joy to others and I think the product of all of this hard work should definitely not be missed.” So, this new musical will amaze and amuse both children and adults alike – so come join Rose and Lilly on their rip-roaring royal quest to free the Prince!

UnderWired Productions passionately believe that physical and financial barriers should not prevent children from accessing live theatre.

To ensure UnderWired bring their production to as many families as possible, the show is fully inclusive and really interactive, there are many concessions available and there are multiple British sign language interpreted performances.

The musicals have so much warmth, love, joy and hilarity in them – that everyone that sees the shows leave energized. “The fact that people with disabilities do not have the same chances to access fun, inclusive, beautiful moments in their lives – well, I got a bit fed up with that – so I created UnderWired Productions, a charity which aims to bring local communities just that.”

The Right Royal Rumpus! comes to Eastbourne’s Shackleton Hall on Weds 10 – Sat 20 Aug. For tickets and more information, head to: www. underwiredproductions.com

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Across 1 Store hoops haphazardly after losing one of them? (4)

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Endeavour to follow success of a

certain season (6) 1 Store hoops haphazardly after losing 7/15 Besiege a marsh then retreat (6) one of them? (4)8 Cool working with radioactive material

6 Angered by pub that stops people getting the shots in (8)

6 Angered by pub that stops peop getting the shots in (8) 13 See 4 Across

11 Indigenous deities often locally suppressed by leaders (5)

(5)

4/13 Endeavour to 9follow See 4 Down success of a 10 Cook agonises about Newton's flavours certain season (6) (9)

SUDOKU 7/15 Besiege a marsh then retreat (6) 12/16 Let down by outside bit player refusing kiss (6)

14 Very one-sided after 4-0 to the Whites?

8 Cool working with(5)radioactive material 15 See 7 (5) 9 See 4 Down

16 See 12

17 Not difficult to be relaxed (4)

Down 10 Cook agonises about Newton's flavours 2 Shy Dracula exposed as mythical creature (5) (9) 3 Move camera in direction of silent performer in festive show (9)

12/16 Let down by outside bit player 4/9 Exclamation made by Doctor Love as an refusing kiss (6) afterthought (6) 5 Reportedly recognises look of bouquets

(8) 14 Very one-sided after 4-0 to the Whites?

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15 See 7 16 See 12 EASY

17 Not difficult to be relaxed (4)

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HARD

11 Indigenous deities often locally suppressed by leaders (5) 13 See 4 Across

TV GUIDE LOCKE & KEY

NEVER HAVE I EVER

A coming-of-age mystery about love, loss and the unshakable bonds which define family, Netflix’s Locke And Key is a bold television adaptation of the best-selling comic book series by Joe Hill and Gabriel Rodriguez. A portal to another demon-filled dimension is discovered.

The plains of Len are filled by demons who can mesmerize anyone who sees them and possess them through touch. When they attempt to enter the real world, the demons are transformed into ‘whispering iron’ which young blacksmith Benjamin Locke forges into a variety of magical keys, each with different properties. The the Locke family uncover a new threat, as a sinister stranger has plans of his own for these powerful keys.

This fabulous coming-of-age show gets a second season, and Indian American teenager Devi (Maitreyi Ramakrishnan) continues to deal with the everyday pressures of high school and drama at home. There’s also the learning experience of navigating new romantic relationships. Devi’s heritage and domestic life play a huge part in the show, deftly sidestepping any of the tired stereotypes.

Being Indian impacts almost every aspect of her world, from her mother’s expectations and the over-elaborate traditional holiday celebrations to her interactions with the over-precious white kids in the neighbourhood. Created by executive producer Mindy Kaling, with Lang Fisher serving as executive producer, showrunner and writer, it conjures a delicious blend of delightful rom-com and off-best teenage angst.

THE GIRL IN THE MIRROR

HOUSE OF THE DRAGON

Created, written, and directed by Sergio G. Sánchez, this Spanish horror-mystery looks like a hit. Starring Mireia Oriol (The Pact, Amo) and Pol Monen (Who Would You Take To A Deserted Island, Unathourized Living), it follows the aftermath of a catastrophic bus crash. After it kill most of her classmates, Alma awakes with no memories of the incident or her past. Her parents seem like strangers and her home is a place filled with secrets and mystery. She gets the growing suspicion that everyone around her is lying, trying to turn her into someone else. Trapped in a world that doesn’t feel her own, she must unravel the events that led to the accident before her true identity vanishes forever.

It’s the swords and sandals prequal which everyone has been waiting for. Set 200 years before the events of Game of Thrones, the series finds the Targaryens ruling over the Seven Kingdoms. But they’re also on the brink of a civil war within their own house. Prior to the birth of a son, King Viserys sent shockwaves through the kingdom and declared his daughter, Rhaenyra, his heir. Once a healthy boy entered the picture, plans were afoot to make sure she would never sit on the Iron Throne. Now, with schemes hatched on both sides — and the kingdom in the balance — viewers will see the house that dragons built and learn how they tore it all down.

WEDS 10 AUG NETFLIX

FRI 19 AUG NETFLIX

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FRI 12 AUG NETFLIX

SUN 21 AUG SKY ATLANTIC

SHE-HULK: ATTORNEY AT LAW

BAD SISTERS

Jennifer Walters is a high-flying lawyer who specialises in superhuman litigation, and no desire to ever be a hero herself. That choice is taken away from her after a blood transfusion from her cousin, Bruce Banner.

Turning into a 6’7” green version of herself, life gets very complicated – with plenty of physical and emotional challenges. A fresh twist on origin story tropes, this bold new addition to the MCU reminds us that not everyone craves greatness, but some have it thrust upon them.

It features a stellar cast, including Tatiana Maslany (Orphan Black), Jameela Jamil (The Good Place), Ginger Gonzaga, Renée Elise Goldsberry (Hamilton), Tim Roth, Mark Ruffalo and Benedict Wong, and shows Disney still have some ideas up their sleeve.

An uncompromising mash-up of both dark comedy and thriller, Bad Sisters follows the lives of the Garvey siblings. Bound together by the premature death of their parents, they’ve made a promise to always protect one another. Created by the Emmy Award nominee and BAFTA Award-winning Sharon Horgan (Catastrophe, Shining Vale), she co-stars with Anne-Marie Duff (Suffragette, The Salisbury Poisonings), Eva Birthistle (Brooklyn, The Last Kingdom), Sarah Greene (Frank Of Ireland, Dublin Murders) and Eve Hewson (Behind her Eyes, The Luminaries), this highly anticipated 10-episode series is loosely based on the Flemish series Clan, which drew international plaudits. There’s a new member of the family, and almost all of them have a good reason/n to detest him.

LOST OLLIE

ANDOR

Inspired by the book Ollie’s Odyssey by renowned author and illustrator William Joyce, this epic adventure features a lost toy braving the many dangers of childhood. He’s scouring the countryside in an attempt to reunite with the boy who lost him. But it’s also the story of the youngster who lost more than a best friend. This live action/ computer-animation features an awesome cast, including Jonathan Groff, Mary J. Blige, Tim Blake Nelson, Gina Rodriguez, Jake Johnson, Kesler Talbot, and provides a heart-warming tale for the child in us all.

Directed by Peter A. Ramsey (Spider-Man: Into the Spider-Verse) this magical tale remembers those special souls we’ve all lost but who forever changed our lives.

As the Star Wars Universe keeps on expanding, it takes us back to look at one of the Rebel Alliance’s most important warriors. We travel back five years before the events of Rogue One to follows thiefturned- spy Cassian Andor as he fights to survive in a brutal galaxy.

Filmed at London’s Pinewood Studios, and on location around the UK, there’s introduction for a few well-loved characters as a rebellion starts to take shape against the tyranny of the Galactic Empire. Diego Luna, Genevieve O’Reilly, and Stellan Skarsgård star is this muchwelcomed prequel. From open cynicism to an undying devotion to creating a better system, Andor is the story of perhaps the most overlooked characters in this sprawling space-opera. May the Force be with you.

WEDS 17 AUG DISNEY+

WEDS 24 AUG NETFLIX

FRI 19 AUG APPLE TV+

WEDS 31 AUG DISNEY+

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FILM BULLET TRAIN FRI 3 AUG // CINEMA

There’s no time for strikes or travel chaos, as director David Leitch unleashes a ferocious action comedy based on Kōtarō Isaka‘s novel, Maria Beetle. The non-stop antics feature Brad Pitt, Joey King (Fargo, White House Down), Aaron Taylor-Johnson (Age of Ultron, Nowhere Boy), Michael Shannon, Bad Bunny, and Sandra Bullock. Trained killer Ladybug wants to give up a life of perpetual violence, but is pulled back in by his handler, Maria Beetle. He’s dispatched on a mission to collect a briefcase on a bullet train heading from Tokyo to Kyoto. Onboard the train, he and other competing assassins discover their objectives are all very much connected.

THIRTEEN LIVES FRI 5 AUG // CINEMA

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This Amazon Studios release recounts an incredible true story which gripped the world. The rescue of a Thai soccer team, who become trapped in the Tham Luang cave during an unexpected rainstorm, becomes a truly international collaboration. Faced with insurmountable odds, a team of the world’s most skilled and experienced divers are uniquely able to navigate the maze of flooded, narrow cave tunnels.

They join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of twelve young men and their coach. With impossibly high stakes and the entire planet watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process.

EMILY THE CRIMINAL FRI 12 AUG // CINEMA

Written and directed by John Patton Ford, this new drama mixes crime caper with powerful social commentary. Emily (Aubrey Plaza) is saddled with student debt and locked out of the job market due to a minor criminal record. Desperate for income, she takes a shady gig as a ‘dummy shopper,’ buying goods with stolen credit cards supplied by a handsome and charismatic middleman named Youcef (Theo Rossi). Faced with a series of dead-end job interviews, Emily soon finds herself seduced by the quick cash and illicit thrills of black-market capitalism, and increasingly interested in her mentor Youcef. Together, they hatch a plan to bring their business to the next level in Los Angeles.

BEAST FRI 19 AUG // CINEMA

This American survival thriller film, directed by Baltasar Kormákur (101 Reykjavík, The Sea, Contraband, Everest), stars Idris Elba (Avengers: Infinity War, Beasts of No Nation), Sharlto Copley (District 9, Elysium), Iyana Halley, Leah Sava Jeffries, and Riley Keough (The Girlfriend Experience). A recently widowed husband returns to South Africa, where he first met his wife, on a long-planned trip with his two teenage daughters. They visit a game reserve managed by an old family friend and fellow wildlife biologist. Soon, however, a ferocious, man-hunting lion begins attacking them and devouring anyone in its path. Their journey of healing turns into a harrowing fight where their resilience will be tested.

FILM TRIVIA DID YOU KNOW:

The movie Bullet Train was shot entirely on location. The movie was filmed on the actual bullet train route between Tokyo and Hiroshima. bn1magazine.co.uk

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NOPE FRI 19 AUG // CINEMA

Jordan Peele (Get Out, Us, The Last O.G.) has written, directed and co-produced this science fiction horror film. It follows residents of an isolated town who witness a mysterious and abnormal event. Starring Daniel Kaluuya (Skins, Judas and the Black Messiah), Keke Palmer (Scream Queens, Berlin Station), and Steven Yeun (The Walking Dead, Minari), it sees Peele with a larger set of ambitions for his unique brand of unsettling drama.

When random objects falling from the sky result in the death of their father, ranch-owning siblings OJ and Emerald Haywood attempt to capture video evidence of an unidentified flying object with the help of tech salesman Angel Torres and documentarian Antlers Holst.

UNTRAPPED: THE STORY OF LIL BABY FRI 26 AUG // CINEMA

Lil Baby has been one of the world’s most impactful artists since his first release in 2017. Now Amazon’s Untrapped: The Story of Lil Baby offers an intimate portrait of the activist and Grammy-winning rapper, and his meteoric rise to the top of the hip-hop world. While still a teenager he became one of the most notorious figures in the streets of West Atlanta before he was arrested and sent to prison. After his release in 2016, he faced a hard choice: return to the fast money of the streets or take a chance that his charisma and untested talent could bring him success as a rapper.

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FILM SAMARITAN SUN 28 AUG // CINEMA

Sylvester Stallone, Moises Arias, Bragi Schut offer a dark, fresh take on the superhero genre. Thirteen-year-old Sam Cleary (Javon Walton) suspects that his mysterious and reclusive neighbour Mr Smith (Sylvester Stallone) is actually a legend hiding in plain sight. Twenty years ago, Granite City’s superpowered vigilante, Samaritan, was reported dead after a fiery warehouse battle with his rival, Nemesis. Most believe Samaritan perished in the fire, but some in the city, like Sam, have hope that he is still alive. With crime on the rise and the city on the brink of chaos, Sam makes it his mission to coax the man next door out of hiding to save the city from ruin.

THREE THOUSAND YEARS OF LONGING WEDS 31 AUG // CINEMA

George Miller (Mad Max) directs this Leftfield dark fantasy. Dr Alithea Binnie (Tilda Swinton) is an academic - content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom.

This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past.

Eventually she is beguiled and makes a wish that surprises them both.

FILM TRIVIA DID YOU KNOW:

According to IMBd cinematographer John Seale came out of retirement for the second time to shoot this movie. He'd previously done so in 2012 to shoot Mad Max: Fury Road (2015), also directed

by George Miller. bn1magazine.co.uk

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Down 1 After death (10) 2 Inspire (6) 3 Alcoholic drink made from the fermentation of malted barley (4) 4 Sudden revelation (8) 5 Type of cheese (4)

13 Venerable (6)

6 Slight colouring (5)

15 Guitar accessory used to raise the pitch of the open strings (4)

8 Passed (7)

17 I do apologise (5) 18 Phenomenon controlled by the moon (4)

12 Approximately (5) 14 Be dismissed from one's job / executed (3,3,4) 16 Silly / like a donkey (7)

19 Chinese appetizers (3,3)

17 Spent the warm months (8)

20 Person devoted to achieving and expressing a certain ideal of beauty (8)

21 Something strummed (6)

23 Telepath (4-6) 26 Large, loose hood (4) 27 Come after (5) 28 Material for conspiracy theorist's hat (7) 66

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Crossword provided by @thompuntoncrosswords - answers at www.bn1magazine.co.uk

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QUICK CROSSWORD

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22 Something thrown in in surrender (5) 24 Flat round thing (4) 25 Show excessive love (4)

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