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Stratford: Theatre Royal Stratford East set to revive Conor McPherson’s Shining City

The play will be directed by Nadia Fall and stars Rory Keenan and Downton Abbey’s Brendan Coyle

Nadia Fall during rehearsals for Shining City
Nadia Fall during rehearsals for Shining City – image Marc Brenner

I keep joking about this, but going to the theatre really is the cheapest form of group therapy you will ever have,” said Nadia Fall. Theatre Royal Stratford East’s artistic director sounds as though she’s in a buoyant mood as I catch her on the phone while she’s striding towards a rehearsal room.

Within, the four-strong cast of the venue’s forthcoming production – Shining City – presumably await. It’s a week before the first night and, as director, Nadia is deeply immersed in the process of production.

Written by Irish playwright Conor McPherson and starring Curtis-Lee Ashqar, Brendan Coyle, Michelle Fox and Rory Keenan, the show will run from September 17 to October 23, 2021.

Nadia said: “It’s set in Dublin in the early 2000s and it’s about a recently bereaved middle-aged guy who’s not one to talk about feelings, not someone to go to a therapist, but he’s absolutely desperate.

“He walks into this therapy session and starts to tell his story, but there’s something more to his tale – he’s having visions of his wife. So it’s an ode to Dublin, but it’s also a story about how men hold their pain and how they don’t talk about it.

“Even now we talk a lot about mental health in men and how it’s not the thing to do to express pain. The play investigates that a bit as well.”

Brendan Coyle is known for playing Mr Bates in Downton Abbey
Brendan Coyle is known for playing Mr Bates in Downton Abbey – image Marc Brenner

Coyle, best known for his role as valet Mr Bates in Downton Abbey, takes on the lead role of John. He’s also no stranger to McPherson’s work, having won an Olivier Award for his supporting role in the playwright’s hit The Weir.

“Conor’s work is very celebrated in theatre,” said Nadia. “As a fan watching the original outing of this play back in 2004, I really remember it as one of those plays that gets under your skin, it’s really ripe for revival.

“I thought there might be a whole load of people in east London who might not have seen the original production, so for them it would be a new work.

“It’s a very well crafted play that really fits in our venue – a haunting story in our old Victorian theatre.

“I wrote a love letter to Conor to say how much the play meant to me, and we were very lucky to get the rights to do it, because it’s one of those plays that half the theatres in the land would want to revive. Everybody who saw it remembers it.

“It’s a great ensemble piece and we have a genuinely Irish cast, so I feel it’s really lived-in and authentic.

“While it’s a play about grief and loss, it’s got some gallows humour in it and some really uplifting moments.

“Audiences certainly won’t leave on a downer. I really hope people will want to talk about it in the bar afterwards. 

“Conor is a master craftsman. Shining City deals with a macabre subject matter but leaves people on a thrilling high.

“I feel that people, for very different reasons, have had a really tough year with the pandemic. While the last thing I want to do is to suggest people shouldn’t talk about it, sometimes they just don’t want to, they want to be uplifted and be distracted. 

“Theatres have an extraordinary way of processing life, which you can’t get by watching the television at home. We do need to get behind our gorgeous venues, or we will lose them – it’s as plain as that.”

Rory Keenan gets to grips with his role
Rory Keenan gets to grips with his role – image Marc Brenner

Nadia, who was just embarking on her second season at Stratford East when the pandemic hit, having previously spent three years at the National Theatre as an associate director, said she was quietly hopeful audiences would return to watch live performances. 

“I think people need it and there’s an appetite,” she said. 

“Being in the rehearsal room,  even when things are hard because it’s a difficult play, is just so joyful – you remember why you do the work, and there’s no substitute for that.

“As well as Shining City, this year finally, finally, because it had to be cancelled last year, we’ll have our panto, Red Riding Hood, from November 27.

“Yes, it doesn’t seem like high art, but for so many people it’s their first taste of a theatre, and it’s such an equaliser, bringing all generations, all creeds and colours together. 

“It was such a moment, having to cancel that, because it brings all our staff and families together and it’s such a buzz.

“There’s a noise in the building from morning till night when it’s panto season, with young people, and families in the evening – I’m really looking forward to it this Christmas.

“Then, after Christmas, we have the great Lyndsey Turner directing Dennis Kelly’s bitter comedy After the End, which was supposed to be this summer but was delayed due to Covid restrictions.

“It’s an incredibly dark and exciting work that’s both post-apocalyptic and chilling, set in a city that’s just been hit with a nuclear weapon.”

The opening night of Shining City, will be an occasion with a different sort of intensity, as the community of audience and staff once more gather together in a single location for a performance, just as humans have been doing for thousands of years.

“First nights never get any easier,” said Nadia. “In fact, I think I might get more nervous over time. I’m the worst person to sit next to and I’m very superstitious.

“I try to sit next to my brother – he’s the only person I usually invite, poor man.

“He doesn’t work in theatre, he’s nothing to do with it, and I’m digging my sharp nails into his thighs. I watch the productions I’ve directed like I’m watching a cup final – I feel I’m up there with them. 

“This time will be a bit different though. Even with staff in the building, we’ve tried to be as cautious as possible. 

“Opening up again will be very emotional. We haven’t all seen each other for a long time, whether that’s staff or regular audience members.”

Tickets for Shining City start at £10. Some performances will be socially distanced. Check with the box office when booking. 

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Canary Wharf: How Urban Greens salads are all about depth, flavour and taste

Recently opened in the West Wintergarden, the brand believes it’s found a gap in the market

Urban Greens co-founder Houman Ashrafzadeh
Urban Greens co-founder Houman Ashrafzadeh – image Matt Grayson

While alone in offering frisbees, Kaleido isn’t the only new salad game in town. It’s also not the only company to bill itself as delivering something fresh.

Following the success of its first branch in St James’ Park, Urban Greens has opened a second in Canary Wharf, filling space opposite Obica in the West Wintergarden with leafy plants and plenty of pickled and blanched ingredients.  

The brand is the brainchild of co-founders Houman Ashrafzadeh, Rushil Ramjee and Ioannis Divas. The three met while studying and remained friends as their separate careers flourished. 

“We weren’t business partners to begin with,” said Houman. “But we’d always explore food places together – we’ve always had a big interest in it.

“I grew up in Sweden, Rushil in South Africa, although he’d also lived in London for a long time, and Ioannis in Greece. We would travel to South Africa and other places together and spot these amazing places for food.

“We always had the entrepreneurial spirit in us and, although we had successful careers in the corporate world, we knew that we wanted to do something of our own. A couple of years ago, one thing that came to our minds – London has always been, for us, an amazing place with the best restaurants that you can find on the planet.

“But when it came to the healthy fast food side of things, we always thought it was lagging behind. 

“We discovered that in Scandinavia and the US a lot of food brands were doing things that we couldn’t even find here. 

“So we started looking into different brands to get some inspiration and we spotted that, when it came to salads, there was a huge gap – no-one was doing them properly.

“You could find salads that had been around a long time, but these were plain ingredients in a bowl with a bit of dressing chucked in.

“They were nothing special, just very traditional, boring salads, which didn’t excite us. People would have them because they were considered healthy, but there was something missing.”

Serving up salad at Urban Greens
Serving up salad at Urban Greens – image Matt Grayson

It took the trio about two years to formulate their business plan, working between Athens, London and Stockholm, slowly creating the concept, discussing the menu and eventually negotiating with a landlord to open their first site in 2019.

Rushil and Houman left their jobs to concentrate on running Urban Greens in the UK with Ioannis taking a more passive role.

“It felt scary at first, because we were leaving very steady jobs – very predictable and comfortable lifestyles – doing something that was in a new industry for us,” said Houman.

“Our approach was that, we may not have experience, but we know what good food is, what good service is – we know what we like when we go to a good place. We wanted to try to implement those things in our own business.

“We launched in July 2019 and it started picking up really quickly. People would come in and try it and be very pleasantly surprised from a taste point of view, but also by the whole concept.”

That reaction may very well be down to Urban Greens’ tireless approach to creating a core menu of balanced salads that all offer something out of the ordinary.

“Our salads are not side salads – our portions are quite big,” said Houman. “It’s also impossible to replicate our salads at home because every flavour is elevated – we don’t have any plain ingredients.

“Each salad has a few elements in common – they all have a base such as cabbage marinated in olive oil and salt. 

“They all come with one form of protein. That could be quinoa or red rice, for example. 

“Then you have something pickled but not just a plain pickle – we add flavours to it. Our carrots are pickled with ginger so that enters the salad.

“Not everything can be pickled, as that would be overpowering, so we add other ingredients but again, we don’t just put cauliflower or broccoli in a bowl – we blanch them to take away that harshness. 

“They still add crunch – we don’t boil them – it’s the elevation of taste and flavour that comes with it. There are always vegetarian and vegan options.”

Urban Greens' Canary Wharf branch
Urban Greens’ Canary Wharf branch – image Matt Grayson

Core dishes include the Jakarta with tempeh, seasame marinated glass noodles, pickled carrots, edamame, bean sprouts, coriander, toasted peanuts and seasame seeds and the Beef Saigon with Irish pulled brisket, glass noodles, blanched broccoli, pickled cabbage, edamame, bean sprouts, fresh mint and toasted peanuts.

“The funny thing is I never get tired of the Beef Saigon or the Seoul Chicken because they both come with a really nice spicy dressing,” said Houman. 

“But we always try to encourage our customers to get out of their comfort zones and to try something new.

“The prices vary – the vegan ones start from £7.85, the ones in the middle are £8.85, and the premium ones are £9.95.

“When you visit Urban Greens, everything you see is the result of decisions we have been taking consciously – we are in control of it, involved in every little part of the business.

“After we opened our first store we were approached by quite a few landlords and Canary Wharf approached us.

“We took a look into it and, although neither of us had worked in Canary Wharf – we had worked in the City – we definitely thought that it was one place we wanted to move to as an expansion, but it came much sooner than we had anticipated when we were starting up in the beginning.”

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Poplar: How Felix’s Kitchen is cooking thousands of meals for those in need

Food charity is looking for more volunteers and donations so it can help feed more people

Staff and volunteers portion up meals at Felix's Kitchen
Staff and volunteers portion up meals at Felix’s Kitchen – image Matt Grayson

Felix’s Kitchen does an incredible thing. Recently opened on an unassuming industrial estate in Poplar the 4,400sq ft facility is ramping up production with the aim of eventually producing 6,000 meals a day using surplus ingredients from supermarkets, wholesalers and restaurants – most of which would be thrown out as they near their sell-by date.

Those meals are then distributed to people who need it for free, via a network of organisations and charities across London. 

People are hungry in the capital and cannot afford to buy food. The hard work of staff and volunteers at the kitchen goes some way to addressing that, but The Felix Project – the largest food redistribution charity in London, which operates the kitchen – expects a spike in demand in the autumn as furlough comes to an end and potential benefit cuts bite.  

It’s 2021. The UK was the fifth largest economy in the world in January.

That such organisations exist at all is a damning indictment of those managing our society.

That more and more people are expected to need their services is a shameful failure of that governance.

But there are mouths to feed right now and those doing the hard practical work to achieve that end deserve our support and admiration for spending their time on this planet compassionately helping others. 

Head of Felix's Kitchen Leon Aarts
Head of Felix’s Kitchen Leon Aarts – image Matt Grayson

Take Leon Aarts, for example. Having “rolled into hospitality by accident” at age 19, the Dutchman became a chef, rising through the fine dining world to win Michelin stars before moving to London to start a high-end food wholesale business for top restaurants in the capital. 

A change of direction followed in 2008 when he decided to close that business and create a charity with an initiative that saw diners pay 15p extra in a restaurant to feed a child in a developing country. 

He went on to cook for thousands of migrants in the camps at Calais. 

Just before lockdown, he set up Compassion London to cook for those without food in the capital as the pandemic hit, eventually using Wembley Stadium to produce around 5,000 meals a day.

The team create meals out of donated food
The team create meals out of donated food – image Matt Grayson

Having joined up with The Felix Project, right now he’s in Poplar, cooking with 12 staff and a group of volunteers as head of Felix’s Kitchen – located next door to parent charity’s latest warehouse and distribution centre.

“It’s terrible that people live in food insecurity, but we can’t let anyone go hungry while those who have the resources are figuring it out – whether that’s the Government or companies,” said Leon. 

“I think we can solve this problem if we work together and it’s a disgrace that so much perfectly good food goes to waste.

“The Felix Project gets surplus food from more than 500 businesses, whether that’s small shops or Amazon, Hello Fresh and Ocado. 

“It’s really good produce, often close to its ‘use by’ or ‘best before’ date, which means you can’t sell it any more. But that doesn’t mean there’s anything wrong with it. It’s then distributed to almost 1,000 charities all around London who give it to people who live in food insecurity.

“For example, many workers just before Covid were made redundant – people who were living from pay cheque to pay cheque. 

“You can see, as you drive round east London, that so many people fall outside the system, and we allow it to happen – with ridiculous wages, not giving people any sense of security. 

“Many people in the capital get paid really, really, well, but a lot of people don’t – it’s almost impossible to live in London on a wage of £7 or £8 an hour.

“A few weeks ago I had a charity kitchen doing what we do here and, in talking with The Felix Project, we found funding to create this purpose-built kitchen in Poplar – we’re building up to do 6,000 meals a day, but it takes time.

“I have very experienced chefs, so they look at what comes in and they make meals out of it. We always try to do a variety – it’s crucial we do both nutritious and delicious meals.

“That’s very important to me because when people are not in a very good state, they tend not to eat so well – if you have mental health challenges, eating is not at the top of your list of priorities and they don’t even realise it, so we will be working with nutritionists to help us improve what we produce. We always make sure that there’s protein, whether meat, vegetarian or vegan.

The meals are then distributed to charities
The meals are then distributed to charities – image Matt Grayson

“We’re also guided by the surplus we have – one of our remits is that no food should go to waste, which is a very interesting challenge.

“Right now we are actively looking for volunteers, especially local people, because we serve the local community.

“Also, if local companies have surplus food, then they should get in touch with us because we don’t want any food to go to waste

“We can put it to good use, re-purpose it and give it to the people who need it. We have the resources for that – warehouses, where we can collect the food, sort it and turn it into meals.

“We get black crates from Amazon, for example, that have all different things, and we separate it out. If you’re a small business, then give it to us rather than put it to waste.

“Bigger companies that produce food for supermarkets often have a lot of waste – often it’s not their own fault. For example, if it’s going to be good weather, a firm might make a lot of barbecue packs and then it rains and suddenly they don’t sell anything. But if they don’t put it in the bins and bring it to us we can do something with it. 

“We talk to our suppliers, of course, to ask if they have any of a particular ingredient but we’re especially short of staples – rice, pasta, tins of tomatoes – that sort of thing.”

The Felix Project was created in 2016 by husband and wife Justin and Jane Byam Shaw, inspired by the compassion of their late son Felix, who died suddenly from meningitis in 2014. 

You can find out more about the charity and volunteering in east London online at thefelixproject.org.

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Greenwich: Why Sew On The Go is a celebration of making and travel

Made In Greenwich curator Mary Jane Baxter’s is the story of her journey through Europe in a van

Sew On The Go author Mary Jane Baxter
Sew On The Go author Mary Jane Baxter – image Matt Grayson

Sew On The Go is many things. Travelogue, inspiration, maker’s guide, cautionary tale, creative outlet. It’s Mary Jane Baxter’s third book and, while it’s packed with crafting projects just like The Modern Girl’s Guide To Hatmaking and Chic On A Shoestring, it embraces something else in its 250 pages – the adventure of a journey.

Six years ago, its author left her job at the BBC after 14 years working across Europe, bought and converted a small van, rented out her flat in London and set off on a trip with the aim of combining her love of travel and making things. The resulting book is the story of that expedition.

“I spent a lot of time building up to it – I did a trip for Newsnight in 2009, which involved travelling around Britain and doing make do and mend tasks in exchange for bed and breakfast with viewers,” said Mary Jane, who curates craft and art shop Made In Greenwich for the Greenwich Cooperative Development Agency.

“In order to have a comfortable night’s sleep, I would do a task, so I made trousers for a stilt-walker, created a hat for somebody to wear at Ascot and swapped a night in a hotel in Edinburgh for hats.

“It was about frugality in response to the last recession and it went down really well. At the time I had a second-hand Nissan Micra. It was quite clapped-out but I’d had the idea for this trip and thought it would be really interesting if I had this really crazy vehicle to do it in.”

Having inherited a few thousand pounds following the death of her uncle in 2014, she decided to take redundancy from the BBC and test-drove lots of “really gorgeous vans” that were all too expensive. Then, while walking through Greenwich Park she spotted a man with a curious-looking vehicle.

“He said it was a Bedford Bambi and told me I could test drive it, so I took it round the park and thought: ‘Yes, this could work’,” said Mary Jane. “I saw one for sale down in Southampton, took the train, bought it on the spot, drove it back to Deptford and started doing it up.

“At the time I was working pretty much full-time in the newsroom at the BBC and, at the time, I lived in a tiny flat, so the van gave me an extra crafting space. I felt like I was building an escape pod – I spent every day working on Bambi.”

The makeover included covering the van’s exterior with wallpaper samples (rescued from a Brighton skip) and varnishing them to protect them from the weather.

“Then Bambi was ready to go and so was Mary Jane, having put together a plan to visit and stay with various friends, mount pop-ups at markets, sell the things she’d made and, most importantly, experience the untold possibilities of the open road.

“It was: ‘Let’s throw it up in the air and see what freedom feels like after working for so long from eight in the morning until seven at night’,” she said. “Setting off on St Gerorge’s Day in April 2015 felt brilliant – it was amazing. 

“I packed everything I needed to craft on the road into Bambi – hats I’d made to sell, books I could offload to help fund the trip, haberdashery and my trusty hand-cranked sewing machine.

“I also had no electrics in Bambi – no interior lighting, no drainage, no water, no loo – it was basic camping. I did have the hob for a fry-up on the go, however. Bambi looked incredible and she got so much attention – people waved as we went off.

“I got to the ferry and it was just that feeling that there was no agenda, no commitment – nothing on the horizon that I had to do. What person in their mid-40s wouldn’t want that? To lock the front door and just go.”

Multiple adventures followed over the next four months as Mary Jane made her way through Belgium, France, Italy and up to northern Scotland. 

Readers can expect plenty of picturesque escapism as well as moments of drama including an encounter with an ageing campsite Lothario and dicing with the terrifying sheer drops while driving through the Gorge du Verdon. It’s also a tome stuffed with ideas for makers of all levels.

“The book contains 26 upcycled craft projects interwoven in the story,” said Mary Jane. 

“There’s always an element of my work that’s about re-using, recycling and creating beautiful things out of stuff people chuck away – everything from no-sew projects to more complicated ones.

“It’s also a rip-roaring travel read, which is an honest and exciting account of how it felt to be in that position of not being able to stand being at my desk anymore answering emails and deciding to bloody well go off and do something interesting instead. It’s light-hearted but it’s also about the creative process and about those life decisions that come your way – you don’t get married or have kids – things you might have expected, but don’t happen.

“What do you make of a life that’s balanced between being creative and being responsible for yourself and how do you make that work?

“The book is about trying to answer the question: ‘What are you looking for?’. I still don’t know the answer, but I’m glad I took this journey in an attempt to find out. 

“Often people have ideas but they don’t follow them through. A lot of people, especially women, don’t travel on their own – I talked to a lot of women in their 40s and 50s and they said they would never go off on their own like that.

“I have to say that, as the trip went on, it wasn’t all plain-sailing. There were real episodes of loneliness, and wondering what on earth I was doing. But I’d had the idea, bought the van and I did it.”

Published by Unbound on a crowdfunding model, the book came out in May.

Mary Jane said: “It took six years of hard work, fundraising, writing and journeying. Of all the books I’ve written, this one does hit the nail on the head. Bambi happened and I’m really pleased that I produced something out of my imagination and got it out there.” 

Sew On The Go: A Maker’s Journey is available to buy at Made In Greenwich in Creek Road or online for £16.99, published by Unbound.

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Canary Wharf: Why Kaleido is putting all kinds of salads in rice paper rolls

Co-founder Laura Mimoun explains how she and husband Denis Dahan came up with the brand

Kaleido co-founder Laura Mimoun
Kaleido co-founder Laura Mimoun – image by Matt Grayson

Kaleido sets itself a little bit apart. First of all, its Canary Wharf branch – the latest location to open and the third in a growing chain – is tucked away off the main stretch of mall that joins Canada Place to Cabot Place, round the corner and into the lower floor of One Canada Square. 

When Crossrail opens (although we’ve given up betting on when that will be), the shop will be on one of the main routes into the estate proper. But those days are in the future and Kaleido is slowly building by word of mouth and tempting visitors to nearby Santander.

It’s also an outlier in terms of design – arranged into an angular unit that used to house ATM machines, it doesn’t so much invite passers-by in as push out into the space in front of it with its wares proudly displayed on a bright island unit. 

Bright circular murals depicting some of the ingredients used in its products adorn the walls – bright, playful colours and graphics are the thing here. And that’s a choice too because it communicates something about the brand – that it’s approach to salad stands out from the crowd.

Salad rolls by Kaleido
Salad rolls by Kaleido – image by Matt Grayson

Kaleido was created by wife and husband team Laura Mimoun and Denis Dahan.

“I wasn’t working in hospitality at all,” said Laura. “I was working in marketing for chocolate brand Green & Black’s. One night, with my husband, we were making Vietnamese rice paper salad rolls – some people know then as summer rolls.

“We’re both French and these rolls are very well known in France. We don’t like to waste food and we had some rice paper.

“We just started putting other ingredients in the rolls and found that it worked very well as a salad sandwich.

“That was how we got the idea for Kaleido. We thought that this is something you can eat with your hands, much like you’d eat a burrito. You can dip it in sauces and have all sorts of different flavours inside. It’s mix and match and this is something we really like.”

From that initial spark of an idea sprung Kaleido, a shop that offers a range of 10 different salads wrapped in transparent rice paper.

Customers can order between one and 10 ranging in price from £2.75 to £19.95 respectively. The cost is the same regardless of the salads chosen The selection currently includes Falafel And Hummus, Tuna And Cucumber, Sweet Potato And Tahini and Chicken Caesar.

“The first part of starting the business was a lot of thinking – evaluating the risk and the opportunities, looking at market trends, and then making the jump,” said Laura. “We wanted to create a fun, healthy brand, so this is why you have the name Kaleido, from kaleidoscope, and it looks a bit different because it’s fun.

“We began by making the recipes at home, and created five flavours that we were happy with and liked cooking. The great thing about rice paper is it’s only 30 calories and what you see through it is what you get. First we did food markets and grew from there. 

“In 2018 we did what was supposed to be a pop-up at Selfridge’s but has since become permanent. Then we opened up in Kingly Street  and now Canary Wharf. 

“More and more people are eating our rolls at our existing units so we are growing, which is great because it’s been a tough year. 

“We were originally due to open in Canary Wharf in 2020, but then the pandemic hit – it may not have been the best idea to put ‘coming soon’ on the hoarding. But we launched on Freedom Day in July and we’re very happy with business growing week-on-week.”

Kaleido's Canary Wharf branch
Kaleido’s Canary Wharf branch – image by Matt Grayson

Part of that growth could well be down to the sheer numerical variety Kaleido’s model offers. Eating two rolls a day, it would take a working week to try everything available at lunchtime. The combinations multiply further when you factor in the optional dipping sauces available.

“When people come here they will find 10 flavours each day – some changing, some staying the same and all prepared at our Rainbow Kitchen in Bermondsey,” said Laura.

“The product is innovative in the way we execute the salads – we are the only people doing these rolls here and the idea is to reinvent the way people eat healthy food so it’s also convenient and fun. 

“The mix and match is very much about my personality – I’m a Libra and all my life I have wanted this and then that, so here you can have different flavours and sauces.

“My husband and I both come from corporate backgrounds – we’ve worked long hours at desks so we value the benefit of variety, of rotating flavours.

“No-one wants to eat the same sandwich everyday – if they do, then bring them to me and I’ll have a chat with them.”

In addition to the extra attractions of Little Moons Mochi ice cream for dessert, a range of drinks and pre-packed boxes of rice paper rolls – for those who just don’t have time to choose their lunch – Kaleido is responsible for another first.

As far as we know, the shop is the first in Canary Wharf to lend out frisbees to its customers, with six displayed on a wall below an invitation to borrow.

“So far, one person has played with a frisbee,” said Laura. “This idea comes from the fact that we want people to eat healthy and live healthy – coming here and having a few throws with your colleagues outside is what we want to promote – embracing health.

“Our Kaleido rolls are not a diet food product and we would never position ourselves like that. But we believe they are healthy – they’re made only with ingredients you would find in a normal kitchen.

“They’re fresh, they’re simple and this is our vision of healthy food – the frisbee is a bit of fun to go alongside that. The rolls are also very filling – when you see the box, you don’t realise.

“People often don’t know how packed they are with the salad, so we’re going to do more imagery of what is inside in the future.”

Laura, who is originally from Paris said she and her husband wanted to grow the brand in London and then continue to expand.

“First we want to have more of our cabinets so that people can experience this iconic Kaleido way of serving food,” she said.

“Then we would like to branch out to other cities in the UK and across Europe. I’d love to, one day, open a shop in Paris.” 

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Royal Docks: Hyrox debut at Excel will be UK first for the emerging fitness race

Co-created by German Olympian Moritz Fürste, the event will see thousands compete at the venue

Hyrox co-founder Moritz Fürste
Hyrox co-founder Moritz Fürste

It’s fair to say Moritz Fürste has a bit of a soft spot for east London.

The German won the second of his two Olympic Gold medals for hockey at the 2012 Games in Stratford, celebrating victory in Canary Wharf – although he can’t remember exactly where. The party was obviously a good one.  

 But what do you do after you’ve reached the pinnacle of success in your chosen sport? 

In Mo’s case, the answer is to team up with global sports event expert Christian Toetzke and advertising and marketing specialist Michael Trautmann to create something new. Then spread it all over the world.

Hyrox is that thing and it’s set to arrive for the first time in the UK at Excel in Royal Docks on September 25 with sister events in Birmingham on October 30 and in Manchester on January 29 as its fourth season progresses. But what exactly is it?

“Hyrox is a new sport that doesn’t fit into any existing category,” said Mo. “The idea was not just to create an event, it was about founding a complete new sport in the world. We’re pretty convinced that we’ve discovered a field where there is a niche not used before.

“Go back 10 years and people would go to the gym, but they were often basketball players, football players or whatever.

“Nowadays more that 50% of the people that go the gym say that fitness is their sport, so that was the founding idea of our company. We had this thought of a competition, a race for those people.

“People want to show their skills and what they’ve learned. Fitness people are often very competitive, but there’s no obvious way to showcase what you’ve got.

“Of course, there are very cool sports like Crossfit, which is like for the top 0.1% of the fitness world. Then there are obstacle races, which are cool, but they’re not meant to be competitive – they’re more about completion.

“Hyrox is a mass participation event for fitness, just like triathlon is a mass participation event for endurance. Essentially it’s a combination of fitness and running, so that’s why I call it a race.”

Participants complete eight, 1km runs during the race
Participants complete eight, 1km runs during the race

The format is comparatively simple – eight separate exercises separated by eight 1k runs. The aim is to complete the whole course in the fastest time possible.

“The exercises are always the same,” said Mo. “The eight workouts after each run are always in the same order and they are doing 1km on a SkiErg, which is like a vertical rowing machine, then a sled push, where you have to push it over 50 metres of carpet.

Next you have to pull the sled back, then there are some burpee broad jumps for 80 metres in total and 1km on a rowing machine followed by a farmers carry with kettlebells.

“Then there are the sandbag lunges, with the weight on your back for 100 metres. The whole thing finishes with 75 or 100 wall balls.

“It’s always the same workout, because we are convinced that successful sports all over the world don’t change their logic every year. I think that people want to get better at what they do.

“The first question people ask when you finish a Marathon is what time did you finish in? Everybody can compare it, and then the next time you start you can compare it to your own time.”

Burpees are also part of the challenge
Burpees are also part of the challenge

Mo himself completed the course in an hour and 20 minutes – about 15 minutes quicker than the average men’s open race time – and holds the current Hyrox office record. 

With events held across Europe and the USA, the current world record stands at 55 minutes while Mo said the slowest recorded time was “by a really nice guy in Chicago” who did it in three hours and 25 minutes. 

With around 3,000 competitors at each event, a battalion of judges keeps watch over each event to ensure nobody is cheating. Those flouting the rules get a warning, a second warning and are then disqualified. 

The UK represents a significant expansion for Hyrox, which will hold 35 events worldwide this season. Competitors compete for a place at the World Championships, where those with the very best times vie for the title.

“We’re excited to be in the UK, because the UK is a massive fitness market,” said Mo.

“The percentage of people signed up to gyms there is so much higher than the rest of Europe, except for Scandinavia for some reason.

“It’s very interesting to see the amount of money that’s spent in that area. People who do stuff like that buy the best shoes they can possibly get, because even the worst runner doesn’t want their shoes to be any worse than they already are.

“London is the biggest city in Europe, so we’re more than excited to get over to Excel. 

“The biggest difficulty for us, regarding the UK events and introducing Hyrox to a new market is that people think it’s not accessible from a strength and performance perspective – that’s so far from the truth.

“We have a 99% finish rate – 99 out of 100 who start, finish the course. It is tough, really tough, but it is accessible – everybody can do it.

“There’s not a workout where people keep telling me that they couldn’t move the sled – we haven’t seen that, ever. It’s on a carpet, it’s tough, but you will finish it. That’s really important for us to explain from the beginning.

“Also, if they don’t want to do it by themselves then they can do it in the doubles competition, because there’s the mixed option where you share the workload.”

The sled push is followed by the sled pull
The sled push is followed by the sled pull

Prospective individual participants can register for the standard men’s and women’s races or the pro men’s or pro women’s competitions for £74 per person.

Single sex or mixed doubles registration costs £129, with spectator tickets available for £10, including a £5 gift voucher for use at Hyroxworld.

“Training for Hyrox is very tough and you have to run, so endurance is very important but, at the same time, you have to be a complete athlete and training for that is healthy,” said Mo. “It’s not like doing a marathon which is very hard on your feet and calves.

“Not a single muscle gets bigger than it should be – you don’t have to run 42k – it’s eight times one and that’s a big difference.

“Running 8km is one thing, but running eight singles is a completely different ballgame.

“I really think Hyrox has the potential to be an Olympic sport one day. It’s the perfect competition missing from the fitness world.

“Many people have been waiting for this kind of race to show up. Will we be at the Olympics in five years? Probably not. In 10? I don’t know, but I think that’s the path we should aim for.

“If not in the Olympics, at least making it that big and, if that doesn’t work out, we’d like to grow it to something like the Triathlon World Series or the Marathon World Series and have it known as this huge world fitness event or race that people like to attend.

“In Germany we have about 450 gym partnerships – places that pay a small licence fee for a year to use the name and the workouts, which is a very cool offline marketing tool for us and allows people to train.

“I know that we have 18 partnerships in the UK so far and counting. That’s something we’d like to expand as Hyrox continues to grow.”

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Bermondsey: How craft beer brand Hiver is set to pay homage to Oktoberfest

Stanworth Street taproom will celebrate Hiverfest over three Fridays with live music and sausages

Hiver founder and managing director Hannah Rhodes
Hiver founder and managing director Hannah Rhodes – image Matt Grayson

There’s historical precedent for Hiverfest. Bermondsey-based honey beer brand Hiver is set to host its very own homage to Oktoberfest over three Fridays – September 17, 24 and October 1 – at its taproom. 

“We’re very, very excited about it,” said the brand’s founder and managing director Hannah Rhodes. “It’s something we’ve wanted to do for a couple of years now – there’s a lovely tie-in because honey beer was one of the original festival beers.

“Hops were only introduced to brewing in the 1400s in the UK so honey was a key ingredient before that. It helped the beer last a bit longer and gave greater depth of flavour.

“Also, because it’s a natural sugar, it gets fermented into alcohol, making honey beers a bit more spicy than other brews that would have been around at the time.

“That makes it ideal for a party or a festival. This summer has been all about getting back into a normal groove and we didn’t want to miss that opportunity to have some fun and party.”

Those going to Hiverfest will be able to sample plenty of beer
Those going to Hiverfest will be able to sample plenty of beer – image Matt Grayson

The events, which run from 6pm-11pm will see around 120 people join Hannah and her team under the arches in the taproom at Stanworth Street on each of the nights for food, beer and live music. 

Tickets cost £30 per person and include a pint of Hiver and a portion of food. Ceramic steins will also be available to purchase for £25, which includes another pint of Hiver and a £1 discount on pints at the venue, whenever the owner pops in for a beer on an ongoing basis.

“Hiverfest is going to be lots of beer swilling, feet stomping,” said Hannah. “We did a test run a few weeks ago in the guise of a staff party and it was very successful.

“Of course we’ll have our range of amazing, award-winning beers including our lager Fabal and our honey beer range from Hiver.

“We also have a fab street food partner called SmoKings – they’re normally based at Finsbury Square in Moorgate and they do everything from grilled meats to vegan and vegetarian alternatives.

“They will be making some festival sausages for us with both meat and vegan options and meat and vegetarian platters too. That may well be the start of a longer partnership between the two businesses as well.

“The live band are a brass trio called Hot City Horns and we’re really lucky to have them. 

“It’s actually through someone I was at school with years and years ago – Paul Burton. They’ve been really successful, working with the likes of Sir Paul McCartney, Jess Glynne, Emeli Sande and Olly Murs and they’ll be bringing a singer along with them for the three evenings.

“We’ll have everything from a bit of acoustic stuff to get people going, to standing on tables, wandering around and getting people engaged. While everyone will have a table and a seat, we don’t think it’ll be long before people are up on their feet.”

Hannah pours a Phoebee stein of beer
Hannah pours a Phoebee stein of beer – image Matt Grayson

Ticket holders can also expect some surprise goodies, a prize for the best Oktoberfest-themed fancy dress and the opportunity to purchase an extensive range of merchandise, much of it featuring brand logo Phoebee.

“We now have gorgeous new branding – a bit more playful with a few more bee puns that people seem to love,” said Hannah. “We’re bright and fresh.

“As a business beyond the taproom, we have some new products in the wings, which we hope will be coming out in the spring. 

For the moment we’re quite focused on festive Christmas gift packs, making sure we’ll be offering something a bit different.

“The last year has been very much about driving online sales – we’re now available in Waitrose and Sainsbury’s, which is great.

“It’s been about learning how we can get more savvy with online and driving digital sales.”

Hiverfest, however promises to be an offline experience, taking the best bits of similar events in Germany and giving them a Bermondsey twist.

“The arch is something tangible and there’s something really nice about seeing it come to life at the weekend,” said Hannah.

“I’m a big fan of Oktoberfest in Germany and can’t wait to go back. It’s that lovely reminder of the role of beer, where people have fun and socialise.

“We’ll have our own version of the Prosit song and, hopefully, everyone will sing.”

Those attending Hiverfest can choose between a pint of Hiver on arrival or Hannah’s relatively new release – Fabal – a dry crisp lager made with pressed barley and already the house pour at The Dorchester.

“While Hiver means beekeeper, Fabal means the human artisan or craftsperson, like the maltsters who supply us for the brand,” she said.

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Royal Docks: How puppet-maker Charlie Tymms creates magic through movement

The Royal Albert Wharf-based creative talks dinosaurs and intuitive working in the studio

Charlie Tymms with her T-Rex puppet
Charlie Tymms with her T-Rex puppet – image Matt Grayson

Royal Albert Wharf might look like a relatively ordinary residential area – brick clad oblongs arranged sensitively around both the waters of the dock and the older buildings in the area. But look behind the doors and windows of its lower floors and you’ll find a thriving community of artists and makers.

The presence of Bow Arts and Art In The Docks – which recently opened its artist-led project space at the development – ensures a rolling programme of public activities, helping the work spill out to a larger audience.

So when puppet maker Charlie Tymms, strapped and velcroed into her latest creation, steps out onto the quayside – tail whipping behind her – it only causes a minimal stir.

The beast is  one of a series of creatures she has made for The Dinosaur Show, a new production that enjoyed its maiden run at the Blue Orange Theatre in August. It’s also her first ever single-person puppet.

“He’s a really naughty character on stage and chases after the palaeontologist and nicks sweets out of her rucksack – he’s delightful,” said Charlie.

“While we were doing our research and development for this project – a really important part of the process – we had a puppeteer, the puppetry director, two producers and myself play around for three days with basic prototypes.

“It was really good fun because it quickly became The Dinosaur Show That Went Wrong

“We had the size of the theatre marked out on the floor and the sheer scale of the T-Rex – with its huge tail knocking things over – was where the part of the story about this one being really naughty came from.”

One of Charlie's sketches for the T-Rex
One of Charlie’s sketches for the T-Rex – image Matt Grayson

Collaboration has been a constant feature of Charlie’s career, which began when she was asked to do some scenic painting 25 years ago for her mum’s friend. She went on to work in set design and fell into her current area of expertise “by accident”.

“In terms of puppetry, which I now specialise in, I was asked to sculpt a full-size elephant – a massive polystyrene thing – with four people inside for the legs that could carry a small child on its back,” she said.

“It was for a Michael Morpurgo show called Running Wild and through that process I met this amazing puppet-maker called Nick Barnes, who is very well established. I’ve been making with him for years – almost as an apprentice – on loads and loads of projects. Then, through that, I’ve been gradually doing my own projects. 

“With Nick I’ve tended to be the sculptor and painter, while he designs all the armatures and mechanisms. 

“It’s a really nice process because everybody gets involved at some point – the puppeteers and the people producing the shows. I’ve gravitated towards collaborative projects because I like working with other people.”

Every project Charlie takes on is different but all her puppet creations involve translating an idea into a physical form that can be manipulated.

“For the T-Rex, I made the first model out of cheap plumbing pipes to try out the length of it and the harness,” she said.

“In the end the frame became more of a rigid structure as I decided on the best form of engineering for one puppeteer and the easiest way for them to control the dinosaur.

“I’m a very intuitive maker, so I don’t generally pre-design – I do it on the hoof but I do loads of anatomical research, so I’ve got hundreds of pictures of skeletons of T-Rexes – their skulls and anatomy – and loads of sketches.

“Then you start with the human and build it around them. In the end you want to ask the audience to believe that this thing has a life and a spirit.

“The puppeteers are amazing creatures in themselves, because they can bring things to life, but the maker can help the process enormously by where they position all the joints and where the strength needs to be to operate the puppet.

“So, with T-Rex the thighs are really important, because they’re just so massive – along with the head and the tail –  visually they are the anchor points.

“Then the audience can use their imagination to fill in the gaps. In this model, for example, there is no rib cage.”

Charlie demonstrates another puppet
Charlie demonstrates another puppet – image Matt Grayson

Those aged three and over watching The Dinosaur Show, will also have to use their imaginations when it comes to another of her puppets.

“We knew quite early on we wanted a large head of a brachiosaurus coming out and looking over the tree canopy, then craning into the audience,” said Charlie. 

“I wanted to make it really huge, but that would have been too terrifying so a head on a long neck is what we’ve ended up with. The children will be able to feed it leaves as it swings out.”

Charlie, who has produced owls for Harry Potter And The Cursed Child, been on puppet hospital duty for Wes Anderson’s Isle Of Dogs movie and created a Toto out of gingham scraps for Wizard Of Oz at the Chichester Festival, said watching her puppets in performance was always a mixture of anxiety and joy if the audience liked the show.

“With every job you learn a little bit more about how to do things in a better way, to solve problems,” she said. “It’s a very inventive life, which I love.

“Puppetry is definitely having a renaissance partly down to the success of His Dark Materials and especially War Horse, which put the puppet at the centre of the story.

“It was quite a radical statement for a theatre company to do that and it kind of lifted the genre.

“Then there’s Lyndie Wright of the Little Angel Theatre who’s a figurehead in our world and her daughter Sarah who set up the Curious School Of Puppetry a few years ago, that every year sees 12 puppeteers come out, which is having a real impact in terms of growth.

“Anyone interested in becoming a puppeteer should take a look at its website – curiouspuppetry.com.”

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Wapping: How Wapping Wicks scented candles grew from a passion into a business

Sara-Jane Cross turned a lockdown hobby into a brand by mixing oils with soy and coconut wax

Wapping Wicks founder Sara-Jane Cross - image Matt Grayson
Wapping Wicks founder Sara-Jane Cross – image Matt Grayson

It started off with making gifts for family. Trapped at home in lockdown, Wapping resident Sara-Jane Cross decided to try a new hobby. She sent away for a kilo of wax on the internet and all the ingredients necessary to make her own scented candles, got melting and posted the finished products off.

“I made seven different ones,” said Sara-Jane. “My mum said they were amazing and that I should sell them. 

“My boyfriend came up with the name – Wapping Wicks – and we started in November because I’d decided I needed to hit the festive market, which is huge for candles. I started making one called Christmas Frost in batches of six.

“There are all sorts of secret ingredients in it, lots of spices – a combination of orange, pine wood and cloves. It just smells like Christmas and it completely took off. At that stage I had no website and it was a bit out of control. I was making candles at 11pm to keep up with demand.

“I’d come home from work, do the deliveries in the pouring rain and spend the weekends making as many as I could.

“I’ve always wanted to start my own business – to be honest I didn’t know whether people would buy them, but the orders kept coming in through Instagram so I created a website when I couldn’t go north over Christmas and after that I was in a lot more control.”

Sara-Jane, who is originally from just outside Chester and moved to east London eight years ago, has spent the time since developing her range, which now includes many different scents, wedding favours and even candle-making kits for those who want to give the craft a go themselves.

“I really want to see where it goes, where I can take it,” she said. “I use soy and coconut waxes and was passionate from the start about making sure I wasn’t using paraffin.

“I feel like there’s a gap in the market for natural wax so I’m going to see what this Christmas looks like because September to

March is the sweet spot in terms of sales – generally people buy candles when it’s colder weather.”

Sara-Jane, who works in the insurance industry when she’s not making candles, uses recycled jars for her products and donates 10% of the profits she makes to charity.

“I’ve raised money for Action Medical Research and the Countess Of Chester NHS hospital where my nan passed away so I wanted to give something back to the nurses there,” she said.

“I’ve also supported local charities including East London Cares, which tackles loneliness among the elderly. People have sent their ideas in via Instagram about who we should support.”

Some of the products in the Wapping Wicks range
Some of the products in the Wapping Wicks range – image Matt Grayson

So far, Sara-Jane’s range of products includes Pomegranate Kuro, Winter Frost, Pomelo Breeze, Velvet Peony, Rosewood and Seashore. She also produces limited editions and is always looking to develop new scents.

“A lot of the ones I’ve come up with have been based on feedback I’ve had from people,” she said. 

“Seashore, which features vanilla, coconut and amber, reminds me of the seaside and being by the river in Wapping. 

“I’m working on one at the moment for friends, which has peppermint and eucalyptus, and my brother has decided he’s into candles so I think there’s a bit of a male market out there – I haven’t got a masculine scent at the moment.

“It’s all about experimenting, just finding something that smells amazing.

“The black and white branding is just me – I love it – and I do a bit of art, sketches of buildings, which are all monochrome too. I’ve done some of Wapping and I definitely want to combine the candles and those images in the future.”

That’s a move that’s likely to go down well with Sara-Jane’s core customer base which has seen strong sales locally. 

“Some people order 10 at a time and give them out to family, especially customers who are living in Wapping,” she said. 

“A lot of my customers come back and you see orders coming from the same housing development after one person has bought some.”

Sara-Jane delivers her candles in Wapping
Sara-Jane delivers her candles in Wapping – image Matt Grayson

With strong sales in her first year, Sara-Jane said she would ultimately love Wapping Wicks to turn into her full-time activity, but for now she’s content to keep making her candles from home.

“You have to be really precise,” she said. “You measure out the wax, the scent, which is a blend of different types of oils.

“Then you melt the wax using a bain-marie, as if you were melting chocolate, until it gets to about 65-70 degrees centigrade. You take it off the heat and wait for it to cool down to about 55 degrees and then you add the scent, stir it in and pour it into the containers you’ve prepared.

There’s a little sticker on the bottom of the wick that holds it in place and a centring piece for the top to keep it straight.

“I have to use sellotape when I’m making my bigger candles because they have three wicks.

“Then you have to let the wax set for a couple of days – I always have lots of candles standing around in my house at different stages of the process.”

Prices for Wapping Wicks candles vary, starting at £14 for Seashore or Winter Frost. A three-wick Pomelo Breeze candle costs £26.

Local customers can get 10% off their next order by returning jars to Sara-Jane for recycling. 

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Canary Wharf: Six By Nico opens Canary Wharf restaurant at Chancellor Passage

Brand owner Nico Simeone brings his six-course tasting menu concept to diners in east London

Six By Nico head chef Nico Simeone outside the Canary Wharf restaurant
Six By Nico head chef Nico Simeone outside the Canary Wharf restaurant

There’s something new in Canary Wharf. The estate has played host to many different kinds of cuisine served at everything from fine-dining establishments to street food kiosks. There was even a place that only served steak frites.

Six By Nico is different. Housed in a long, single-storey space in Chancellor Passage, opposite the Wharf’s Post Office, the venue is all dark finishes, dramatic lighting, plants in pots and banquettes decorated with antique maps of Docklands.

But it’s the food that’s the contrast. All guests are served a six-course tasting menu, the content of which changes every six weeks. There’s a vegetarian variant, a few extra dishes to bulk things out if wanted and an optional wine flight, but that’s the bare bones of it.

And it’s a model that works. Honed by Scottish head chef Nico Simeone in Glasgow, Canary Wharf is his eighth site in the UK as his brand expands.

“It was all kind of an evolution,” said the softly spoken cook. “I left school and then just stumbled into kitchens. I’ve been really fortunate that I found my passion.

“I just fell in love with it – that was bit of luck. From there I wanted to keep learning, work my way up in kitchens. I did that and then I was in the fortunate position where I was able to open a wee restaurant in Cleveden Road in Glasgow.

“It was called La Famiglia – an Italian family-run restaurant and then I re-branded it as Simply Fish.

“It probably spent about four years failing, to be honest – breaking even or losing money.

“I’ve made so many mistakes over the years. It’s cost us lots of money in some cases, but nobody should be scared to do that – you’re always going to take hits and bumps along the road and you just have to keep moving forward in the hardest times.

Filo canneloni with taramasalata – part of the extras bundle
Filo Canneloni With Taramasalata – part of the extras bundle

“I had one last roll of the dice and re-branded the restaurant as 111 By Nico. That was really the first time I’d put my personality in the food and we made tasting menus work. Then another site came up in Glasgow in the Finneston area of the city and I grabbed it with both hands – spending a wee bit of money from the year we’d been trading, which was the first time I’d made a profit. 

“Then I came up with the idea – I asked the question: ‘Why can’t we just change what we cook every six weeks?’. It started with Italian, then French and just evolved into Six By Nico.

“We serve a six-course tasting menu with the inspiration for it taken from a theme.

“For example, we may want our dishes to evoke memory or a destination. Right now, for the first six weeks in Canary Wharf – until September 20 – we’re doing a menu called The Chippie.

“My parents ran a fish and chip shop, so that’s a memory for me and all the flavours and courses through that menu are things I’d associate with that environment.

“What we say is it’s a new story every six weeks. That’s something to look forward to. The downside is you can get something that’s so successful and popular and then you throw it in the bin, so we’re always trying to create and improve on the last theme.

“We change the dishes eight times a year and, about four times a year, all the restaurants sync up, but London’s never done the New York menu, for example, which we know is good so it would be silly not to bring it here – we mix it up across the country.

“As far as working on new menus goes, I’ve been so fortunate – as the company’s grown we’ve been able to get talented people in, we have an amazing creative team.

“We all sit down and come up with ideas constantly, we do tastings to tweak and improve things and that’s how we do it.

Chips And Cheese - the first course at Six By Nico
Chips And Cheese – the first course at Six By Nico

“The Chippie starts off with chips and cheese – Parmesan, curry oil and a pressed potato terrine. It all finishes off with our take on a deep-fried Mars bar.

“The main course is smoked sausage with a trio of pork smoked under a cloche with the flavours of celeriac and apple.”

Nico said opening on the estate was simply down to visiting and getting a feel for the area.

“We work with agents to find sites and somebody said there was an opportunity in Canary Wharf,” he said. “I see a lot of places, but sometimes you go somewhere and you get that feeling – a gut instinct.

“I loved the spot and spent some time going around the area. I thought it was perfect for the restaurant. 

“I don’t even know what’s coming after The Chippie on the Wharf yet – we don’t necessarily plan that far ahead. 

“The big thing about Six By Nico is that we try to work seasonally – we’d never do the Amalfi Coast that’s in the other venues in winter, for example.

“I want people who come here to enjoy themselves, to have a good experience and be happy. 

“When I go to a restaurant I enjoy everything – the atmosphere, the staff, the team and the setting.

“The vibes of a place are a big thing for me. With the team here we’re really customer-focused – everything is about that.

“We don’t look at other businesses, we try to compete with ourselves to make us better.”

Trying The Chippie

So, what’s eating at Six By Nico actually like? The first thing to be aware of is the price. The six courses are priced at £37 per head. Add the wine flight – for £33 – and aperitif for £7.50 and a snack to go with it for £5 and you’re looking at £82.50 plus service. 

The dishes arrive as perfect little morsels – Six is the sort of place that errs on the side of quality rather than quantity, so the ravenous will need the add-ons, one of which comes in the form of delicious hunks of sourdough. 

As for the main attractions, they’re well presented, with artful dabs of sauce here and a sprig of greenery there. 

It’s very much dining as theatre – each arrival preceded by a discussion of what might appear and then the excitement of hunting around the plates for the promised flavours. 

The Chippie turns out to be a complex homage to the flavours of Nico’s youth, refined well away from their genesis but nevertheless amusing.

The scampi is crisp and rich, while the smoked sausage is more pork three ways than an improbably red saveloy and the chips and cheese, a gentle nod in the direction of the deep fat fryer rather than a full-on takeaway delight.

But the restaurant is beautifully kitted out, dressed in golds and rich coppers that lift the whole experience – an engaging venue to tempt back the audience for the next performance. 

And a special mention should go to the steak pie – a smart, meaty delight of a course.

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