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Play Up, Malory Towers!

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As the first ever stage production of Enid Blyton’s Malory Towers embarks on a national tour, Director Emma Rice tells Vicky Edwards why these classic stories are an enduring delight…

I’ve always thought optimism a lovely trait. Not only do the ‘glass half full’ brigade seem better equipped to withstand life’s slings and arrows, but their sanguinity is also marvellously contagious; even die-hard Eeyores struggle to maintain despondency when in the company of a fully-buoyant bright-sider. In literature, Malory Towers is the epitome of optimism. Nobody better, therefore, to adapt the original work and direct it than Wise Children’s super-sunny Emma Rice.

Co-produced with York Theatre Royal in association with Bristol Old Vic, and officially licensed by Enid Blyton Entertainment, a division of Hachette Children’s Group (HCG), Malory Towers is the original post war ‘Girl Power’ story. The high jinks of pupils at the Cornish boarding school have thrilled readers ever since the first story was published in 1946 – didn’t we all yearn to join in the midnight feasts and yell ‘Play Up, Malory Towers!’ at nail-biting lacrosse matches? The books remain hugely popular, with new generations devouring them and dreaming of being sent away to boarding school with an overflowing tuck box.

 

Emma Rice credit Steve Tanner

“But there is plenty for boys too,” urges Emma, in exuberant form after a productive week of rehearsals. “The only thing that would disappoint me would be if people didn’t bring their boys,” she added, promising a show that delivers plenty of thrills and spills.

“The animation is fantastic – we see the train arriving at the Cornish coast – and then there is a real cliff hanger just before the interval. We have just been rehearsing that bit today and it’s like Ben Hur!”

Described as ‘nostalgic, naughty and perfect for now,’ what initially appealed to Emma about the project?

“The Malory Towers books are great stories filled with great characters who don’t seem to age at all. It is very hopeful and I think that is right for now. I call it my happy Lord of the Flies: when left to their own devices, a group of girls decide to be the best version of themselves they possibly can be. They want to change the world and be women the world can lean on; they want to resolve conflict. They never talk about boys and they aren’t boring!”

Interestingly, Emma is a relatively new convert to Blyton’s best-loved school stories.

“I’ve worked with David [producer David Pugh] many times. He has great taste and he knows me so well, damn him!”
Laughing, she recalled how David piqued her interest by wooing her with a vintage set of the books, beautifully wrapped in brown paper.

“As soon as I read the first one I just knew they would make a great piece of theatre. They’re such page turners, the characters are so well observed and the powerful feminine voice comes through with such positivity.”

Anyone familiar with Emma’s work will know that music is an integral part of her productions.

“There is always lots of music with me,” she agreed cheerfully, “but I wanted the music in Malory Towers to be virtuosic; simple, but showing how rich the world is. There are some new compositions by Ian Ross and it’s a real musical feast,” she teased; “and it has got fantastic dancing, too. The choreography is incredible. I wanted my Malory Towers to be like Busby Berkeley, but in an earthy, feminist way!”

If the music is a feast then the actors Emma has assembled are a veritable banquet (‘simply top hole,’ as Darrell and her chums might say), and, refreshingly, it was achieved through a ‘character-over-looks’ approach to casting.

“For me, casting is always about getting the right personalities and the people who absolutely capture the spirit of the characters.” As proud as a Head Teacher with an intake of straight ‘A’ students, she adds: “My company comprises a range of actors with different backgrounds.

Gymslip clad, Emma’s performers will transport audiences to 1950s Cornwall where Darrell Rivers is embarking on her Malory Towers adventure. Bright, loyal and big-hearted, her fast and fiery temper is something she must learn to master. And, while she’s about it, can she save the school play and rescue terrified Mary Lou from the grip of a raging storm? Crikey!

But amid all the drama and japes runs Emma’s affection and regard for the generation of women who taught in schools in the wake of warfare.

“With lives shaped by the savagery of two wars, they devoted themselves to the education and nurture of other women. My Malory Towers is for them, and also for the two generations of men that died in those same wars, leaving us with the freedom to lead meaningful, safe and empowered lives. And it is for Clement Attlee and his Labour government of 1945 who looked into the face of evil and chose to do what was right. These people changed the political landscape in their focus on care, compassion and the common good. Malory Towers was written at the heart of this political revolution, and embodies a kindness, hope and love of life that knocks my socks off.”

Something else Emma is passionate about is the work of her company, Wise Children.

“We want to make fantastic world class ensemble theatre based on storytelling techniques that I have developed over my career, and at the same time teach the next generation of creative theatre makers. And we want to create access for people who might not be able to access theatre training,” she told me, explaining that there are free places given to those for whom such aspirations would otherwise be impossible.

Vowing to raid my daughter’s bookshelf and get reacquainted with Blyton’s finest work, on my way home I imagined what Miss Grayling’s comment on Emma’s end of term report might have been:

‘A splendid Head Girl who can surely be depended upon to lead Malory Towers to victory. Jolly good show, Emma!’

©Vicky Edwards

Spicy Pumpkin Soup – the perfect Halloween Recipe

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As Autumn is slowing creeping up upon us shops are displaying their Halloween goods and every supermarket is piled high with pumpkins. The tradition of pumpkin carving comes of course from America, but its origins go much further back. The Celts first carved faces into hollowed out turnips and put in a small candle to light the way home for friendly spirits. These carved vegetables were eventually known as Jack O’Lanterns by the Irish descendants of the Celts who had a legend about a farmer making a bargain with the devil himself that left his spirit unable to enter either heaven or hell and so he was forced to wander the earth for all eternity.

 

Pumpkins are versatile seasonal ingredients that can be used in a number of dishes such as soups, salads an as really tasty side dish as well as the classic spiced pumpkin pie at American Thanksgiving. The outside skins can be quite tough, so you will need a good sharp knife and to be careful. If you don’t feel that happy tackling a whole one you can buy prepared fresh or frozen squash in most supermarkets as well as many of the other ingredients. Pumpkin flesh tends to be a little sweeter and has a higher moisture content so makes excellent soups and purees, the flesh from squashes is a little firmer and great for roasting or adding to curries and stews.

Pumpkin, Chilli and Ginger Soup

This is a brilliant warming soup to serve right through Autumn and the Winter months. You can substitute the cream with Crème Fraiche and omit the butter and substitute creamed coconut for a Vegan alternative. Most supermarkets stock frozen garlic and ginger they taste great and save on wastage.

1 medium Pumpkin, about 1kg weight, peeled and deseeded

700 ml hot Vegetable stock

150 ml Thick Jersey Cream

2 Onions, peeled and sliced

2 large Carrots, peeled and sliced

2 cloves of Garlic, crushed

1 large Red Chilli, sliced

A 4 cm piece of Ginger, peeled and grated

Juice and zest of 1 fresh Lime

4 tablespoons quality Olive Oil

2 tablespoons Butter

2 tablespoons Plain Flour

Jersey Sea Salt and freshly ground Black Pepper

 

Heat your oven to 400 F / 200° C / Gas Mark 6. Mix the pumpkin, onion, and carrots in the olive oil and place in a large, deep roasting tin with half the olive oil. Bake in the oven for thirty to forty minutes, stirring a couple of times to help the vegetables cook evenly until they are caramelised and cooked through.

Melt the butter in a large heavy-bottomed saucepan, then add the garlic, ginger and chilli cook without burning for a couple of minutes then add the flour and stir. Add the roasted vegetables and the vegetable stock and bring to a gentle simmer. Cook for twenty minutes stirring occasionally. Remove from the heat and allow to cool. When cool puree with a stick blender or in a food processor until smooth and pour into a clean pan. Add the lime juice and zest and the cream and reheat with boiling, check the seasoning and serve. Can be made in advance and stored in the fridge for three days without the cream.

Review: Flowers For Mrs Harris at Chichester Festival Theatre

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Photo: Johan Persson

Until 29 September

Box Office: 01243 781312

cft.org.uk

You might not go home humming the tunes, but what Flowers for Mrs Harris lacks in catchy songs is more than made up for in warmth and charm.

An elegant retelling of one of Paul Gallico’s much-loved series of books, there’s not a great deal of colour to in Ada’s life. Set in the post-war 1940s, a gossip over a cuppa with her friend and fellow charlady Violet Butterfield and a bottle of milk stout once a week is about as bright as things get.

‘Doing’ for he clients by day, always giving them added value in kindness, wisdom and good old fashioned common sense, by night she conjures up the company of her late husband at the kitchen table of their rented Battersea home. Falling in love with a Christian Dior gown while cleaning for a well-to-do lady (“a dress to make you feel”), she vows to work for as long as it takes to save for such a frock of her own. Helped by Violet, the next two years are filled with purposeful drudgery. Sustained by the mental image of her fairy tale dress, she toils day and night, cleaning, mending and reassuring.

It is a story that could easily become saccharine-sweet and mawkish, but director Daniel Evans (who directed the production as his swansong at Sheffield’s Crucible Theatre – and where it won three UK Theatre Awards – before taking up the reigns at Chichester), gets the balance absolutely right.

The characters may be larger than life, but they are rooted firmly in truth, imbuing the narrative with credibility and humour. If the first half drags its feet somewhat then the second flies, which is apt given that post-interval is when we see Ada taking the second step toward her dream and reaching France.

 

Photo: Johan Persson

Clare Burt reprises her role as Mrs Harris. It is easy to see why she won ‘Best Performance in a Musical’ on her previous outing. With a perfect blend of dignity, empathy, wit and sweetness, she shines like a basking sunflower.

The cast cleverly doubles for the action on both sides of the channel. Accomplished performances throughout, Gary Wilmot is especially memorable and versatile in a number of guises and Claire Machin is a hoot as both Violet and her French counterpart.

An elegantly told and beautifully staged story of hope, aspiration and simple kindness, Flowers for Mrs Harris will lift your spirits and leave you feeling blooming marvellous.

 

Review: Me and My Girl, Chichester Festival Theatre

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Me and My Girl
Chichester Festival Theatre (until 25 August)
Tickets: 01243 781312; cft.org.uk

Credit: Johan Persson

Chichester Festival Theatre director Daniel Evans (also at the helm of the show) earned groans of disappointment in response to his on-stage announcement that Matt Lucas was under Doctor’s orders to rest his voice and would not be appearing. But all was not lost, he quickly reassured us. With just two hours’ rehearsal the understudy had gamely agreed to step into the role.
Ryan Pidgen can surely now step into any role he pleases. In a totally self-assured, flawless performance, had we not known that Lucas was the intended leading man then we would have been none the wiser. On note, in step and word perfect, not for a nanosecond were we even remotely short-changed.
Playing the South London cheeky chappie Bill Snibson who suddenly needs to ‘posh up’ in order to take up his birth right as the unlikely heir of Hareford, Pidgen was not merely competent. Giving Bill warmth, exuberance and sweetness, he bounced around the stage like an adorable scamp of a puppy and, as the kids say, performed like a boss.
The plot may be lightweight, but elsewhere performances are also rock-solid. Clive Rowe as Sir John twinkles in tweed, later revealing a shy and long-nurtured love for Caroline Quentin’s splendidly redoubtable Duchess. A feisty old matriarch with a good heart, by golly she can’t half hoof, too!
Alex Young as Bill’s ‘girl’ Sally is in sweetly soaring voice and balances cockney chirpiness with a touching vulnerability.
When it comes to musical numbers it is fair to say that the majority (give or take The Lambeth Walk and The Sun Has Got His Hat On) are not especially memorable, but the dazzling choreography (nice work, Alistair David) and superb singing (and you, Gareth Valentine, Doug Besterman and Mark Cumberland) make the very best of the raw material.
Lez Brotherston’s stunning set manages to be both traditional and fairy tale – Downton meets Hogwarts, interspersed with the London skyline and beautifully lit by Tim Mitchell.
The night, however, belonged to the heroic Mr Pidgen. As an understudy who endured several ‘thrust-into-the-limelight’ moments (albeit without anything like such professionalism and sheer talent) I absolutely salute you, sir.
The perfect shot-in-the-arm antidote to all things Brexit and Trump, Me and My Girl teems with Pearly kings and queens and exudes triple espresso energy. An unashamedly frothy and feel-good extravaganza, cor blimey you’ll miss out if you don’t nab a Wilson Pickett!

Spaghetti with Parma Ham and Roasted Garlic

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I love garlic, I adore garlic, I cook with absolutely loads of garlic. I could actually employ a full-time garlic peeler, knee deep in discarded garlic husks. A manager I worked with regularly joked I could not cook a dish without garlic, cream and alcohol, including the desserts. BUT I LOATH BURNT GARLIC. I jump up, gesticulate, shout and scream at the number of cookery programs where poor, innocent, sweet, comely garlic is tossed into woks and pans of smoking hot oil.* I am pretty certain every single person who utters the frankly unbelievable phrase ‘ it doesn’t have garlic in it does it, I really don’t like garlic ‘ is the result of a traumatic exposure to such cooking travesties. Burnt garlic is a cheek sucking, eye-watering experience of such awful culinary disgrace.

Hence roasted garlic, I swear all the disbelievers could be converted with this delicious way of cooking garlic. The slow roasting with just a little oil highlights the natural sweetness and tempers the harsher raw flavours. I first encountered roasted garlic when I worked as a manager at the Bel and the Dragon, Cookham served with rustic, crusty bread and olives and olive oil, the garlic squeezed out and spread on the bread as a kind of pungent pate. Wow!

I keep some roasted garlic cloves covered in oil in the refrigerator now handy for lots of cooking especially this simple full flavoured lunch or supper dish. Post the Christmas and Boxing Day excesses I think it is nice to have something really tasty and easy to cook. The Parma ham and roasted garlic can be cooked in the last few minutes of your pasta cooking. The chilli provides a little bite but is not there to overpower this wonderful dish, however, if you want to add a little extra go for it, one of the joys of cooking is experimenting.
* Just add the garlic later during the cooking process when the heat is lowered or with more ingredients that dissipate the heat. The garlic cream rum babas were perhaps a little ahead of their time.

 

Spaghetti with Parma Ham and Roasted Garlic serves 4

 

50 to 65 gr Spaghetti per person ( I grab a generous handful but I’m greedy )

2 large heads of roasted garlic ( see below )

16 slices Parma Ham

1 small medium Chilli, de-seeded and very thinly sliced

6 to 8 tablespoons quality Extra Virgin Olive Oil

A small handful of curly Parsley, thoroughly washed, dried and chopped

Sea Salt and freshly ground Black Pepper

½ a Lemon

for the roasted garlic

Garlic bulbs

Olive oil

A few sprigs of Rosemary and Thyme

Sea Salt and roughly ground Black Pepper

Preheat the oven to 400F/ 200C/ Gas mark 6. Remove the tops of the garlic bulbs, place on to a baking tray. Sprinkle liberally with olive oil, the herbs and plenty of salt and pepper. Roast for twenty-five to thirty minutes until the bulbs are soft. Cool and squeeze out as required.

Bring a large pan of salted water to the boil. Add the spaghetti and cook for eight to ten minutes until ‘ al dente ‘ or with just a little bite left in the pasta. The old student technique of seeing if sticks to the wall is not necessary, just remove a little of the spaghetti and bite between your front teeth. While the pasta is cooking gently heat the olive oil in a medium sized heavy bottomed frying pan. Add the chilli and garlic, sauté for two minutes. Add the ham and season, cook for a minute. Squeeze in the juice of half a lemon and stir in the parsley. Drain the spaghetti and stir thoroughly into the frying pan, ensuring all the spaghetti is coated with the oil, chilli and parsley mix. Plate and serve with a little extra chopped parsley.

 

Classic Fruit Cake

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It is time if you are so inclined to start preparing for Christmas and making your Christmas cake and Christmas pudding. There are a number of great Christmas bakes from around the world such as Weihnachtsstollen or Christstollen or simply Stollen in Germany, the familiar dome shape of Panettone from Italy or the French Bûche de Noël or Yule log, a rich iced chocolate cake. In the United Kingdom we traditionally celebrate with a decorated spiced, fruitcake.* The cake is normally covered with a layer or marzipan then fondant or royal icing and decorated with Father Christmases, red-breasted robins, bows, bells, holly, and other Christmas symbols.

This is my goto recipe for fruitcake, rich and flavoursome enough for a christening or wedding cake or a Christmas Cake, it is sturdy enough to carry the weight of marzipan and icing and be used in tiers. It is a real family favourite and we bake at least one a month, it is a great match for a nice crumbly cheese like Wensleydale or Caerphilly, which is a proper nod to my Yorkshire ancestry. I haven’t specified the dried fruit you can use a mix of raisins, sultanas, currants, cherries, apricots, cranberries, prunes or figs and you can omit the nuts if you prefer and add an extra eighty grams of flour. I use raisins, sultanas, lots of cherries and dried mixed peel.

The secret to a rich, delicious Christmas cake alongside a generous mix of seasonal spices is to feed the finished cake. In the run up to decorating your cake you can add a couple of spoonsful of whisky, sherry or brandy to the cake to really keep it moist.

*Dundee Cake is a lighter fruit cake made with currants, sultanas, mixed peel and almonds and flavoured with whisky. It was popularised by a Scottish marmalade company called Keiller’s, who first mass-produced the cake commercially in the mid-nineteenth century and claimed to have introduced the name ‘Dundee cake’. It is normally topped with rings of blanched, whole almonds.

 

Classic Fruit Cake

750 gr Mixed Dried Fruit

200 gr Self Raising Flour

250 gr soft Unsalted Butter

250 gr light Brown Sugar

100 gr Ground Almonds

75 gr Flaked Almonds

5 large free-range Eggs

1 tablespoon Black Treacle

1 teaspoon Ground Ginger

1 teaspoon Ground Cinnamon

½ teaspoon Ground Nutmeg

A generous pinch of Ground Cloves

½ teaspoon Baking Powder

1 teaspoon Almond extract

100 ml Brandy, Whisky or Bourbon

Zest and juice of 1 Orange

Zest and juice of 1 Lemon

 

Buttered, lined, deep twenty-centimetre cake tin

Put the dried fruit, zests and juice and alcohol into a large bowl and leave for twenty-four hours stirring occasionally. Heat oven to 150C / 300 F / Gas Mark 2. Put a damp cloth onto the work surface and place your largest mixing bowl on top. Add the softened butter, sugar, treacle and almond essence and cream together. Crack the eggs one by one into a small bowl to check they are fresh, then combine and whisk together. Sift the flour, spices and baking powder into another bowl.

Add the egg mix in batches and beat into the butter and sugar mix. Add a couple of tablespoons of flour with each batch to prevent the mix from splitting. When all of the egg is mixed in add the remaining flour and spice mix and fold together until thoroughly combined. Add the soaked fruits and flaked almonds and gently stir together. Tip the cake mix into your prepared cake tin, and tap on the work surface to knock out any pockets of air. Place in the centre of the oven bake for an hour, cover the top with two layers of baking paper and turn the oven down to 140C / 275 F / Gas Mark 1 and cook for around two and a half to three more hours or until a wooden skewer inserted in the cakes centre comes out clean.

Remove the cake from the oven and allow to cool. To feed your cake poke holes in it with a skewer and spoon over tablespoons of your chosen alcohol, wrap in fresh baking paper and tin foil and place in a biscuit tin or plastic tub. Feed the cake with two tablespoons of alcohol every fortnight, until you marzipan it before icing.

My Murgh Makhani – National Curry Week

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We are if you are unaware in a celebratory culinary alignment of epic proportions it is National Curry Week, Seafood Week, Chocolate Week and National Porridge Day. “Go on”, I hear you cry, “You’ve had all year have you come up with a recipe combining all of these?”

Well no. We had porridge for breakfast, big bowls made with creamy Jersey milk and I can hear all you spurtle welders screaming, yes made with milk.* Chocolate, I have two daughters so I could use Willy Wonka’s chocolate fountain, seafood I will save for the weekend so supper this rather chilly, wet evening was a suitable curry, one of my favourite curries in fact, Murgh Makhani or Butter Chicken. This week I have soaked lentils, pounded garlic, ginger and cinnamon sticks, roasted coriander, mustard and fennel seeds and even opened a jar of the now infamous, homemade chilli and lime pickle. I love cooking curries and balancing the complex flavours of the spices.

*The spurtle is used to stir proper porridge made with rolled oats, salt and water only. I worked for a two times winner of the Golden Spurtle but that as they say is another story.

In the meantime, if you don’t fancy cooking or you fancy celebrating the up and coming Diwali here is a list of some award-winning restaurants I can personally recommend if you want some amazing authentic Indian cooking.

Trishna – is the baby sister of a world-famous seafood restaurant in Mumbai and specialises in its own unique take on the coastal cuisine of south west India. It has a Michelin star and serves incredible food in a relaxed environment in London’s Marylebone village.

The Chilli Pickle – serves a menu with dishes from across the Indian sub-continent inspired by the travels of the two ex-pat owners. Having moved from the famous Lanes it is now housed in the Brighton MyHotel. A well lit modern designed restaurant is home to some astounding cooking.

The Cinnamon Club – is the original London restaurant of Chef Vivek Singh, he now has his own celebrity superstar mini-empire including The Cinnamon Kitchen and Cinnamon Soho. One of the first chefs to blend Indian recipes with classical western techniques the Cinnamon Club has won numerous awards and plaudits.

Also look at Veeraswamy, the UK’s oldest Indian restaurant, Tamarind, Benares, and Gymkhana, all Michelin starred brilliant restaurants, they do some wonderful, good value, set menus but best not call them curry houses.

 

And so to Butter Chicken does not have a pedigree stretching into the dawn of history, it is believed to have been created in Peshawar and after the British partition, the chef moved to a New Delhi restaurant. A customer wanted a meal late in the evening and marinated chicken, ready for the Tandoor oven, was tossed with tomatoes, butter and spices and the Murgh Makhani ( butter chicken ) was born. While the dish looks similar to a Chicken Tikka Masala, it is more flavoursome with more depth of spicing in the rich tomato-based sauce. The Tikka Masala is Britain’s most popular curry and is believed to have been made originally with Campbell’s Condensed Tomato Soup and to have originated in the hallowed curry houses of either Birmingham or Glasgow.

The chicken, either on or off the bone, is marinated in yogurt and spices but the secret of a true Murgh Makhani is Qasuri Methi or dried fenugreek leaves. The chicken is best cooked in an extremely hot oven, a Tandoor ( if you have one ) or over coals or on a char grill to add an authentic smoky flavour before finishing in the sauce and serving. So, you can fire up the BBQ.  Garnish with green chillies, sliced hard boiled eggs, coriander leaves, raisins and toasted almonds.

 

Murgh Makhani ( Spiced – Butter Chicken ) serves 4 – 6

for marinated chicken

1.5 kg of Chicken pieces, skin removed or 1 kg chunky diced Chicken

Juice of 2 Limes

150 gr fresh natural Yoghurt

1 medium sized red Chilli, very finely chopped

2 tablespoons Coriander Seeds

2 tablespoons Fennel Seeds

1 tablespoon Cumin Seeds

1 tablespoon Fenugreek Seeds

6 Cloves

8 White Peppercorns

¼ Stick of Cinnamon

2 Bay Leaves

8 Cardamom Pods, crushed and seeds removed

½ teaspoon Cayenne Pepper

Sea Salt

Vegetable Oil

 

for butter sauce

75 gr Butter in small pieces

3 tablespoons Clarified Butter or Ghee

2 medium Onions, peeled and finely chopped

8 Cloves of Garlic, peeled and crushed

3 centimeter piece of Ginger, peeled and crushed to paste

4 tablespoons Tomato Puree

8 fresh Tomatoes, de-seeded and roughly chopped

200 ml Pouring Cream

2 tablespoons Kasuri methi (dried fenugreek leaves)

¼ teaspoon Turmeric Powder

Juice of 1 fresh Lemon

Sea Salt and freshly ground Black Pepper

Coriander leaves to garnish

 

 

Toast the spices, excluding the chilli, cardamom and cayenne pepper by heating them in a medium sized, heavy bottomed frying pan, stirring occasionally, until they colour slightly. Place in a small food processor or coffee grinder with the cayenne and cardamom seeds and reduce to a powder. Mix half of your spice mix with the chilli, lime juice, and yogurt and in a large glass or ceramic bowl stir in the chicken. Cover, refrigerate and allow to marinate for at least two hours. Larger chicken pieces benefit from marinating an extra couple of hours.

 

Preheat your oven to 425 F / 220 C / Gas mark 7. Drain off any excess yogurt mix from the chicken and set aside. Place the marinated chicken pieces on an oiled baking tray and cook for fifteen minutes for diced chicken or twenty-five minutes for the large chicken pieces. The chicken can brown well, almost char in the oven as this improves the flavour of the finished dish. At the same time as the chicken is cooking heat the clarified butter and a little more oil in a large casserole, add the onions. Sauté the onions for 15 minutes until golden brown in and then add the ginger, garlic, remaining spice mix and the turmeric. Cook for two more minutes, stirring to prevent sticking and burning.

 

Add the tomato paste, tomatoes, kasuri methi, cream and any remaining yoghurt marinade to the pan and mix together. Place in the chicken and simmer for ten to fifteen more minutes till the chicken is tender and the sauce has reduced and thickened. Do not boil as the sauce will split. Finish the sauce by correcting the seasoning and immediately before serving stirring in the lemon juice and butter pieces. Garnish with coriander leaves and serve with Naan bread and rice.

Review: The House They Grew Up In

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The House They Grew Up In
Minerva Theatre, Chichester
Until 5 August
Box Office: 01243 781312 www.cft.org.uk

Photo Credit: Johan Persson

Deborah Bruce’s new play, a co-production with Headlong, manages to be both entertaining and deeply moving. It’s a tale of our time. Middle-aged brother and sister Peppy (Samantha Spiro) and Daniel (Daniel Ryan) live in the house they grew up in amid floor-to-ceiling clutter (Max Jones’s claustrophobic set design is marvelous). Isolating themselves, autistic Daniel spends his days recording a precise log of every passing moment in his diary. Highly strung and obsessed with art history and Cambridge University, Peppy leaves the safety of their nest only for food and, later, to visit Uncle Manny to try to find out why he didn’t make his regular Christmas visit. But the arrival of the little boy next door into their co-dependent lives (superbly played by Rudi Millard on press night) triggers a terrifying change in their reclusive existence, with the police, social workers, neighbours and journalists forcing the much-feared outside world upon them.

Remarkably, what seems certain to be the inevitable conclusion takes a happier turn. Jeremy Herrin’s thoughtful direction and Bruce’s accomplished writing allow Peppy and Daniel to be heard and understood, ultimately earning our compassion and making us feel uncomfortable at failing to feel and extend it sooner.

Beautiful and bitter sweet, the tragedy of the optimistic ending is that in the real world Peppy and Daniel would be the exception rather than the rule.

With superb performances, especially from Spiro and Ryan, this a thought-provoking and fascinating play that deserves a wider audience than its short run in Chichester will generate.