Pan Fried Sea bass and Jersey Royal Potatoes

The Jersey Royal season is reaching a peak and around the island honesty boxes are full of bags of delicious potatoes. Bizarrely you will probably be able to buy them cheaper on the mainland due to the buying power of the supermarkets but I guess I can console myself with some very low food miles. I wrote last year about the history of the Jersey Royal and here is a very light and tasty way of serving up this year’s harvest. To keep it really local I am going to use some fresh line-caught Sea Bass, Jersey Dairy Salted Butter and island grown Vine Tomatoes.

A good fishmonger should be able to source your Sea Bass for you, as a cheaper alternative, you could do worse than take a look at Sea Bream as an alternative. A good local fishmonger with an ice tray full of fish and seafood, caught from our coastal waters, should be treasured. Along with your local butcher and greengrocer, he should be on the family Christmas card list, invited to weddings and treated as a valued friend.  Not only will he have an array of fish to tempt you but can provide advice and help prepare your lunch or dinner. This is an ideal recipe to be served as a delicious, but quick and simple to cook supper.

Sea Bass

 

Pan-fried Sea Bass with Jersey Royals                                                    serves 4

 

4 Medium Sea Bass fillets, pin boned and de-scaled

( Your fishmonger should do this for you )

500 gr Jersey Royal Potatoes

50 ml Good quality Olive Oil

25 gr Salted Butter

100 gr Vine Cherry or Baby Plum Tomatoes

1 small Red Onion, peeled and very finely chopped

2 Cloves of Garlic, peeled and very finely chopped

1 small Chilli, de-seeded and very finely chopped

Zest and Juice of 1 fresh Lime

A small handful of fresh Coriander Leaves

½ teaspoon Coriander seeds

½ teaspoon Caster Sugar

Sea Salt and freshly cracked Black Pepper

 

Prepare the Jersey Royal potatoes by washing in cold water, rubbing any dirt off with a cloth. Place in a pan of cold  lightly salted water and bring to the boil. Simmer for about ten minutes, depending on size until just cooked and they fall off the point of a small sharp knife. Place the pan under a cold tap and run until the potatoes are cold and the cooking process is arrested.

Halve the cherry tomatoes and place in a bowl with the onion and the chilli. Sprinkle with the sugar. Toast the coriander seeds in a small sauté pan over a moderate heat to release the essential oils and develop the flavour add a splash of olive oil and one clove of the garlic. Sauté for two minutes without burning either the garlic or the coriander, gently crush in a pestle or food processor and add to the bowl of tomatoes. Add the lime juice and zest and one fluid ounce of the olive oil, mix well and season then set aside.

Prepare the sea bass fillets by carefully scoring parallel lines just through the skin with a very sharp knife point. This will help prevent the fish from curling up in the pan during cooking. Generously season the fish fillets on both sides. Heat two medium sauté pans and divide the remaining butter and oil, when the butter is melted and starting to foam, add the potatoes to the first and the fish to the second. Place the fillets in the pan, one by one, skin side down and gently press down with your fingers in the centre of the fish for thirty seconds to ensure the middle of the fillet remains in contact with the pan.

Warm the potatoes through until the skins begin to slightly crisp then add the remaining garlic and plenty of salt and pepper. After the fish starts to turn from opaque to white and the skins are crisp and golden brown, around three to four minutes, turn over and finish flesh side down for a further two minutes. This process will depend on the size and thickness of your sea bass fillets and they may need a little longer.

Chop the fresh coriander and add to the salsa. Place hot, garlicky potatoes in a circle on a warm plate and fill the centre with salsa, the top with the cooked fish. Using a spoon decorate the edge of the plate with a little extra salsa including some of the liquor. For an extra special finish top with a deep fried prawn.

 

Optional

4 large King Prawns, peeled and de-veined

50 gr Plain Flour plus extra for dredging

A small bottle of cold Sparkling Water

Sea Salt and freshly cracked Black Pepper

2 pints of Vegetable Oil for Frying

 

Sieve the flour into a bowl and add a generous amount of salt and pepper. With a whisk, mixing continuously, add some sparkling to the flour until you have a smooth batter about the consistency of double cream. Place the batter in the fridge to rest for fifteen minutes. In a large, heavy-bottomed, pan heat the oil to 160°C / 320 F using a thermometer to check. If you do not have a thermometer have a few cubes of stale white bread to hand. Place a bread cube in the oil if it rises to the surface and cooks to a golden brown in a couple of minutes the oil is hot enough.

Take two teaspoons of flour and place in a shallow tray, season well. Dredge each prawn in the seasoned flour until covered. Shake off the excess flour and dip in the batter mix before carefully lowering into the hot oil. Fry the prawns for around four minutes or until the batter is crisp and golden, turning the prawns from time to time with a large slotted spoon. When the prawns are cooked remove using the spoon and drain on kitchen paper.

6 ways to dress for Spring

Ted Baker London Fashion Week Spring is upon us and you might be having a meltdown when it comes to your wardrobe and what to throw on now that the weather has warmed up. Florals, right? That’s all you need. Just a good old fashioned floral print to really feel ready for spring.

Well, okay, you will be seeing lots of this – the high street can’t resist – but that doesn’t mean you need to buy them. Here are six ways to dress for spring without a floral print in sight!

1. A cute pinafore dress

Spring means you can finally (probably) get your legs out and what better way to do this than with a cute pinafore dress? Work yours for spring with a brightly-coloured blouse, some cute collar pins, ankle socks and flats. If it’s a little chilly a lightweight denim jacket is great for throwing on when you leave the house or you can fire up the look with a leather coat.

2. Double denim

Honestly, it’s okay, double denim is a thing now. Fashionistas such as Rosie Huntington Whitely and Gigi Hadid are rocking up to events in two toned, denim ensembles that look amazing. You could even get your boyfriend to match just in time for spring; we love these jeans from Superdry that would look great with a buttoned up lighter denim shirt.

3. A vintage tee and a midi skirt 

Clash super feminine with quirky retro this Spring by pairing a vintage tee with a flowing mid length skirt and your comfiest Vans or Converse. When it comes to quirky tees, a rock band from the 1970s, an old well known brand or one of the many tees Truffle Shuffle has on offer featuring retro prints will look great and is perfect for warmer spring days at the weekend. Choose a skirt in a vibrant colour to really bring home that happy springtime feeling.

4. Cropped trousers and a cardigan 

Slim fit, cropped trousers look great with everything, but for spring pair yours with a lacy, feminine top and a lightweight cardigan and you’re good to go. Strappy sandals should complete the look along with an oversized clutch or shopper bag.

5. A sleeveless trench and your Mom jeans 

Those comfy, oversized Mom jeans with the rips in the thigh will look awesome with a basic white tee and a sleeveless trench for spring. Wear this ensemble with some low flats and a casual backpack slung over your shoulder for a cute, casual springtime look.

6. A simple slip dress 

The slip dress is going to be popular this year and can be worn in practically every season. For winter they look great layered over a long sleeve tee and tights but in the spring they are perfect for wearing on their own with a lightweight cardigan and knee high socks or if we’re lucky enough just on its own with some open sandals. It’s a great nod to the 1990s and an easy look to adopt this spring.

 

By Patrick Vernon.

 

Top of the Potts: Jason Manford Talks to Vicky Edwards

Currently starring as Caractacus Potts in Chitty Chitty Bang Bang, Jason Manford talks to Vicky Edwards about musicals, being a dad and why ibuprofen is his new best friend…

Photo: Alastair Muir

Photo: Alastair Muir

There’s more to Jason Manford than being funny. Warm, articulate and astute, he also happens to have been born into a family of talented singers. Trilling for longer than he’s been cracking gags, the 8 Out of 10 Cats star has notched up some impressive credits, not least playing Pirelli in Sweeney Todd with Michael Ball and Imelda Staunton, and Leo Bloom in The Producers with Phill Jupitus, with whom he also stars in a brand new touring version of the classic musical story Chitty Chitty Bang Bang.

 

 

 

“My family are all folk singers and we have been singing together for a very long time,” Jason explained. “I was always interested in musicals; I was always in productions at school, then at university I directed shows like Bugsy Malone. I wrote a musical, too.”

Offered the role of Caractacus Potts, Jason says that while he didn’t want to over-think the characterisation, he nevertheless gave careful consideration to what he could bring to the role.

“I re-watched the film and what I saw was someone who was not dissimilar to me: a dad who would do anything for his kids. He keeps trying and failing and he’s reached a point in life where he thinks that something just has to go right for him. He really is that heartbroken, lonely, lovely man that Truly Scrumptious sings about.

“The setting is 1919 and my idea of him was that he was in the Navy but that he had to leave when his wife died to look after his kids. I like his journey. He’s optimistic, although he has his darker moments, and he’s a man who doesn’t like confrontation. But then suddenly the kids are taken by the Childcatcher, Grandpa is kidnapped and the car is stolen – everything that he knows and loves about his life is gone. He has to man up,” said Jason, who while mindful of driving himself bonkers by fleshing out a complex character history, knew that he needed to give Caractacus a back-story. (“You need that weight otherwise it’s just a musical about a flying car.”)

Although Jason is perhaps better known as a comedian than he is for his musical theatre talents, in terms of being the source of all things comedic, Chitty gives him a bit of a breather.

“What’s nice for me is that no one is counting on me to be funny. If I’m funny it’s a bonus, and Caractacus does have some funny moments, but you’ve got the spies and the Baron for laughs. I just have to play the heart and soul of the piece to keep it interesting and I love that.”

As for Chitty’s enduring qualities, Jason cites the film rather than the original book as being responsible for inspiring such huge affection across the generations.

“The biggest thing for me isn’t the Ian Fleming story, but the Roald Dahl film adaptation. The original book is actually quite linear; quite similar to his writing for James Bond, and there was no Childcatcher or Truly Scrumptious. But the film is much more magical and for many the Childcatcher was probably the first time you were scared by something on the telly. Nostalgia and magic is what I think does it for people.”

It is a highly physical show for Jason and he confessed that the number Me Ol’ Bamboo, in particular, is a bit of a killer. Part manic Morris dance and part frenzied tap routine, it is certainly breath-taking to watch and, one suspects, leaves even the fittest dancers out of breath.

“I’ve lost a stone and a half – it’s unbelievable!” he said, shaking his head in disbelief. Joking that he has thought about releasing an exercise DVD based on Me Ol’ Bamboo, he added: “It takes a lot of work but it’s so spectacular and to get it right is just brilliant. It’s the one moment of the show when I take the applause and let the audience clap until they stop.”

Does such a frenetic routine result in a few aches and pains? A heartfelt groan said it all.

“My poor knees and lower back! Ibuprofen is getting me through and I have to go for a swim between the matinée and evening shows because if I sit down I seize up,” he sighed.

And when he staggers off the stage and back to his digs he’s got fellow cast member Phill Jupitus [who plays Baron Bomburst and Lord Scrumptious] to look out for him and, it transpires, to rustle up some top-notch grub.

“We’ve been pals a while and we enjoy each other’s company. He’s also a great chef and cooks some brilliant meals. We look after each other. You need that when you’re away from home.”

Talking about being away from home, with a partner, and five children, Jason’s got plenty to miss.

“The thing about this show is that it’s all about family and the kids in the show [three pairs of Jeremy and Jemimas tour with Chitty] are roughly the same height as my two oldest girls. At the end when I’ve rescued them and they run over to me for a big hug there’s that moment every night when my kids flicker into my head.”

And it’s home and family that is part of the reason that Jason is taking a well-earned break from Chitty between 4 May and 18 September, when Lee Mead will be playing the part of Caractacus Potts.

“Having young children you can’t be away too much, but as well as the children I’ve also got to write my own tour for 2017 and then I’m writing a sit com and also a musical. It’s lovely to know that I can do all that and then come back to Chitty.

Touring the country, working on several writing projects and keeping his successful comedy career on the boil, not to mention family life – it is certainly an impressive juggling act. How does he find the energy and stamina to sing and dance his heart out at every performance of Chitty? Shrugging, he referred me back to his friend ibuprofen, although just being in such a stupendous show seems to be the real spur. Even if it does mean that his joints creak like an old banger in need of the oil can.

“A lot of effort goes in but it’s a great show so it’s really worth it,” he told me as we said goodbye.

And so it is. Prompting standing ovations wherever they go, the audience reaction is unified: “Chitty Chitty Bang Bang we love you!”

For more information, visit www.chittythemusical.co.uk

Facebook: Chitty Chitty Bang Bang The Musical       

Twitter: @ChittyMusical / #chittymusical

Vicky Edwards

Not just a pretty ‘chu-chi, woo-chi, ooo-chi, coo-chi’ face

Kicking up her heels in Vulgaria rather than kicking people out of The Rovers, Michelle Collins tells Vicky Edwards how she loves playing alongside the most famous flying car in history…

Photo: Alastair Muir

Michelle in Chitty Chitty Bang Pic: Alastair Muir

Michelle Collins should be in a musical about an express train, not a flying car. Currently on tour with a brand new production of the family favourite Chitty Chitty Bang Bang, in which she plays Baroness Bomburst, her passion for the show and life in general is so animated that it’s hard to keep up.

“The Baroness is such an iconic role, but initially I wasn’t sure,” admitted Michelle, as we chatted in her dressing room. “But it is a really great fun part and I see myself more of a character actress now, so it was a chance to reinvent myself a bit.”

Any concerns she had about the show “going down the panto route” were swept away when Michelle discovered who the production’s creative team and other cast members were. A co-production between Music & Lyrics Limited and West Yorkshire Playhouse, the show had already been a smash-hit in Yorkshire. With Phill Jupitus, Martin Kemp and Jason Manford (and Lee Mead in Jason’s place for a section of the tour) also signed up, Michelle was instantly reassured and set about throwing herself into the role. Or rather roles. Plural.

“In the first half I play Mrs Phillips, secretary to Lord Scrumptious,” explained Michelle. “She’s quite passive-aggressive and is secretly in love with him, I think. The Baroness, in the second half, is quite clever. I’m not going to tell you who I based her on, that would be unfair, but it’s someone in the public eye,” she teased, adding: “To me the Baroness and the Baron are George and Mildred [of 70s TV sit com fame], but she’s always got the upper hand. He’s just a child who abuses his power and wants to be mothered.”

Agreeing that Chitty bears all the hallmarks of a traditional musical, for Michelle there’s a particular ingredient that makes it extra special.

“It’s the wonderful songs,” she sighed. “Some musicals don’t have memorable songs, but in Chitty every single one is unforgettable.”

But song and dance is not something she has huge amounts of experience in.

“I am definitely not a West End Wendy type,” she laughed. “I did a few tap classes as a kid but I gave it up because I didn’t like it that the lessons took place above funeral directors in the Holloway Road.”

Even though her CV includes a couple of musical credits (Daddy Cool and The Take That Story), for Michelle, neither entailed the epic, high-octane production numbers that Chitty demands.

“I have had to work really hard and I’ve found joints in my body that I never knew I had,” she said, with a playful grin. “But I’m 53 years old and I’m prancing around the stage in my fishnets and heels, so life could be a lot worse.”

When it comes to having sufficient stamina for a show like Chitty, an experience earlier this year made her realise that she’s tougher than she thought: the TV show Bear Grylls: Mission Survive.

“It was seriously hard-core,” she said of her time in the South African Bush. “It was beautiful, but weather-wise it was extreme and we lived off soldier’s rations. For me to even be in it was a challenge, but I definitely found out that I am more courageous than I thought I was.”

Best known on TV as conniving Cindy Beale in EastEnders and feisty landlady Stella Price in Coronation Street, Michelle also has a clutch of impressive film and theatre roles to her name. Not bad for a girl who at 17 was turned down by every single drama school in London.

“I went to quite an academic grammar school. My mum was a single parent and we didn’t have much money, so stage school was out of the question. I started at the Cockpit Youth Theatre when I was 15. That’s when I realised that I really wanted to act.”

Joining the pop group Mari Wilson and the Wilsations at 18, Michelle hasn’t looked back. Of being rejected by drama schools she shrugged. Having achieved success under her own steam it’s not something that troubles her and, typically, she uses the experience as a silver lining to encourage others.

“I always tell young people that positives can come out of failure and not to let it put you off.”

That determination and focus is still much in evidence.

“With two shows a day I have to conserve my energy, but I’m trying to use the time when I’m not on stage constructively,” she said. “I’ve just produced a short film which I’ve written and I’m acting in, and I’ve written a kids’ book that I hope will come out later this year.”

There’s also her ‘Women in Media’ networking group that she created and runs with comedian Brenda Gilhooly. “We set it up as a forum where women can share ideas, inspiration and expertise. We meet monthly and have breakfast, listen to a guest speaker and chew the fat,” she told me.

A real no-nonsense grafter, given her schedule there’s not much time for relaxation, but when she does snatch some free time her needs are pretty low maintenance.

Michelle reflects that touring does bring home how much she misses her daughter, now away at university, her mum, her boyfriend and little pooch, Humphrey.

“Walking my dog in the park with my boyfriend, seeing my mum and catching up with my daughter – simple pleasures are what I love most,” she said.

“I thrive on being busy and being busy makes you appreciate the simple moments more.”

Putting the finishing touches to her make-up ahead of curtain up, we returned to chatting about the enduring success of Chitty Chitty Bang Bang.

“It is a show that has heart, honesty and truth,” she declared, giving a smile as wide as Chitty’s wingspan. “I’m so excited by how popular it is – we have packed houses at every performance!”

The success is well deserved. The entire cast and crew work their socks off.

As for the Baroness, she’s marvelously minxy. Michelle, on the other hand, with her infectious enthusiasm, husky laugh and determination to work hard but enjoy the ride, is a delightful tonic.

For more information, visit www.chittythemusical.co.uk
Facebook: Chitty Chitty Bang Bang The Musical
Twitter: @ChittyMusical / #chittymusical

Vicky Edwards

Spandau Baddie: Martin Kemp Meets Vicky Edwards

Martin Kemp tells Vicky Edwards why his musical theatre debut is going with a bang-bang…

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Photo credit: Alastair Muir

From gangster Reggie Kray to evil control freak Steve Owen in EastEnders, Martin Kemp is extremely good at being bad. Currently on tour in Chitty Chitty Bang Bang playing the Childcatcher, arguably one of the most iconic villains of all time, Martin is drawing on his previous roles for inspiration, but admits that there’s unchartered territory to explore when it comes to the character that regularly tops the polls of movie monsters.
“The Childcatcher is an exaggerated version of everything I have ever done before, but it comes from a completely different angle,” explained Martin. “He’s a step away from reality; all the characters are really, especially in the second half when we go to Vulgaria.
“In the first half I play a character called the Junk Man, but in the second half that kind of Alice in Wonderland thing happens and the Junk Man becomes the Childcatcher. Robert Helpmann did an amazing job [in the film], but my physicality is not the same as his; I don’t have his ballet background, so instead I try to bring a bit more horror to the role.”
Judging from the booing that fills the theatre before he has even set foot on the stage, he’s clearly doing that very effectively.
“Kids are scared of the name: Childcatcher. When the Baron says “Call for the Childcatcher!” I can feel the tension in the theatre and then I hear the boos,” he laughed, adding, “But that’s part of the whole experience. If you haven’t laughed, cried and been scared then you haven’t seen a good show. You need to be taken to all those places.”
And with cheers at the curtain call almost taking the roof off the theatre, it seems that it’s a journey that audiences of all ages are delighted to undertake. A co-production between Music & Lyrics Limited and West Yorkshire Playhouse, this brand spanking new reimagining of the much-loved Sherman Brothers musical is winning critical acclaim as well as standing ovations.
“Ten years ago I saw the show in London and the main thing I remembered about it afterwards was the car,” said Martin. “But now it’s very much about the story. It amazes me, but every night I walk out of stage door and people are there saying how much they loved the whole show. From old people who saw the movie on their first date to kids meeting Chitty for the very first time, the demographic is extraordinary. Yes, it’s changed from the book, and then again from the film and again from the original stage musical, but it really works. We’re sending people home with big smiles on their faces.”
As for his fellow cast members, mention them and it is Martin with a big smile on his face. “It’s a great cast,” he enthused. “I’ve worked with Michelle [Collins] before and it’s lovely to work with her again, but they are all brilliant performers.” And so they are. Funny men Jason Manford as Caractacus Potts and Phill Jupitus as Lord Scrumptious and Baron Bomburst are joined by Martin and Michelle, as well as Andy Hockley of Phantom of the Opera fame as Grandpa Potts, and West End leading lady Amy Griffiths as Truly Scrumptious. Add to that a world class company of singers and dancers and you have a show that is dazzling, star-studded and that absolutely lives up to the ‘fantasmagorical’ praise.
But while the story of Chitty might have been knocking around for a good while, musical theatre is a new challenge for Martin.
“One reason I am here is that I have never done a musical before and I thought this might be a nice way to dip my toe in. I love trying new things and I love working with new people.”
That happy-go-lucky, have-a-go attitude wasn’t always there, however. In fact, as a child he confesses that he struggled with crippling shyness.
“I’ve been doing this a while now but at the age of eight I was incredibly shy, so my mum sent me to Anna Scher’s drama workshops,” said Martin, who knows first-hand what an advantage drama classes can be to children.
“What drama clubs give you is a small amount of this magic dust called charisma. I always say that I owe everything to Anna Scher because she formed my personality as a kid.”
Pointing out that whether you become an actor or join a band or you just use that acquired confidence to get through interviews when you’re 16, Martin is certain that drama clubs are a fantastic way of developing both character and life skills.
As for children watching live theatre, absorbing stories close up rather than on a screen, Martin loves the way they get totally involved.
“Adults watch, but kids believe and become part of the world they see unfolding; they just dive in,” he nodded.
“For Chitty we recently did what is called a ‘Relaxed Performance’ for children with disabilities and conditions like Autism. The show was adapted around the audience’s needs and it was a wonderful thing to be part of.”
A member of one of the most popular bands of all time, star of movies, TV and now a musical, Martin certainly can’t complain of always doing the same old same old.
“I have always changed it up a bit and I like never knowing what’s around the corner,” he laughed, although actually this time he does know what is coming next.
“I have just finished a year on tour with Spandau which was wonderful, but it’s this great big machine that needs five artic trucks and a 100-strong crew. When you play huge arenas the size of Wembley you know that to people at the back you’re just a speck of dust in the distance and that you’ll never get to meet those people. So in May I am doing the sort of antidote to not meeting people with a show that’s going to tour called An Audience with Martin Kemp. I’ll be travelling around England chatting about my life and career and taking questions from the audience. Yeah, it’s going to be different and fun,” he grinned.
With such a busy professional life, relaxation, he says, comes in the form of painting.“That’s my down time. Sometimes it shuts me off from the world and I lose myself completely.” Asked what he paints and the smile that stole my sixteen-year-old heart lights up his face again. “I paint rock ‘n’ roll,” he says with a chuckle.
Super-talented, funny, warm and with rock ‘n’ roll artistic flair to boot, however brilliantly nasty he is as the Childcatcher, in real life Martin Kemp is a total sweetie.
Vicky Edwards

 

A gentleman and a scholar: Vicky Edwards Meets Stephen Boxer

About to play the great author C.S. Lewis, Stephen Boxer takes a break from rehearsals to talk to Vicky Edwards about touring, making an ass of himself and his own connection with Narnia’s creator
Having played everything from soap opera to Shakespeare, as well as appearing in movies such as The Iron Lady, Stephen Boxer is packing his suitcase and hitting the road with a new national tour of Shadowlands. Arguably one of the best plays ever written, Stephen plays Narnia creator C.S. Lewis and, he reckons, the story’s central themes of grief, belief and love will resonate with audiences.
“It’s a beautifully structured play and it’s very poignant, so we can Stephen Boxerall relate to it. But it is also very entertaining; very witty with some real belly laughs,” he said.
Having cleaned up on the awards circuit (the subsequent film version also collected gongs) William Nicholson’s play charts the developing relationship between Lewis, an Oxford don and author of The Chronicles of Narnia and The Screwtape Letters, and feisty American poet Joy Davidman. Finding his peaceful life with his brother Warnie disrupted by the outspoken Davidman, whose uninhibited behaviour is at complete odds with the atmosphere and rigid sensibilities of the male-dominated university, Lewis and Joy show each other new ways of viewing the world. But when Joy is diagnosed with cancer Lewis’s long-held Christian faith becomes perilously fragile.
But, Stephen pointed out, Lewis’s struggle with his faith resulted in the beautiful book A Grief Observed, an extraordinary collection of the author’s reflections about bereavement.
“It is a kind of bible for both religious and non-religious people,” said Stephen. “It rises above religion and belief and talks about how we deal with loss and how a theory of life is tested by reality.”
As for the relationship between Lewis and Davidman, Stephen explained that while there were some fundamental differences between their characters and life experiences, there was also a definite meeting of minds.
“Their intellectual acuity was an absolute meeting place for them both – they could both spar in the same intellectual boxing ring and they enjoyed that; they enjoyed the cut and thrust of intellectual debate. That’s how their relationship started,” said Stephen, adding:
“He was a classically repressed quite conservative thinking Englishman who lived a classic ivory tower life. Part of his emotional repression, I think, was that he was sort of cushioned by the Oxford life you could live as a don. She was an ex-communist Jewish American who told it how it was and shot from the hip. Yes, they were very different, but mentally they were perfectly matched.”
As for his own connection to C.S. Lewis, as a direct result of being an ex Oxford choir scholar and school boy (“I wasn’t an undergraduate but it was my academic home for eight years from 1960 – 1968”) he is in the position of knowing exactly where he was the night that the World lost two great men.
“I was at Magdalen college school, the school that was related to C.S. Lewis’s college. It was the evening of the twenty-second of November 1963 and I was walking back from chapel, in my gown and mortar board, having sung a service. An undergraduate stopped me, which in itself was quite unusual. He told me that President Kennedy had just been killed. It was the same night that less than a mile away C.S. Lewis died, so not only do I know where I was when President Kennedy was shot, but I also know where I was when C.S. Lewis died because I was right on his doorstep.”
Admitting that the insight into Oxford life has proved useful in preparing for the role, what appealed most to Stephen about the play?
“Firstly it’s a whacking great part – I’m never off the stage. In rehearsal I’m finding that a bit daunting,” he laughed.
“At the moment I’m at that stage of running before I can walk and falling over a lot, metaphorically, but that’s a necessary part of the process. Making an ass of yourself and feeling like a fool in rehearsals is a prerequisite.
“Another reason I wanted to do it was that I’ve just done a year of television. I’ve done some lovely stuff which I really enjoyed, but there’s no real rehearsal culture in television and I was dying to get back into the rehearsal room and that organic way of creating on the shop floor.”
Thoughtfully, he added: “And getting to know people, too. You develop very warm relationships in theatre and after a year I missed that.”
With the tour of Shadowlands he is certainly going to have plenty of time to bond with his fellow cast members. Not that life on the road bothers Stephen one jot.
“It’s a great way to catch up with friends, but touring is also a great way to see the country. I visit the galleries and museums and do the walks and whatever else there is to do or see. It’s part of the fun and I’ve seen the world that way. I love working and travelling at the same time.”
Playing opposite him is Amanda Ryan (The Forsyte Saga, Shameless) as Joy. “She was made to play the part,” said Stephen, who doesn’t look too far into the future when it comes to his own career.
“I don’t really plan and the things that come along always surprise me. I wasn’t expecting to play Titus Andronicus at the RSC for instance. It was a play I didn’t know but I loved doing it; it was intriguing, absorbing, and demanding. I think I’d like to play Lear when I’m about seventy,” he mused, before laughing and saying: “Not that long to go then!”
But for now this charming gentleman and scholar is delighting in Shadowlands. Go to see it and you will too.
Official website: www.shadowlandstour.com
Twitter: @shadowlandstour
Facebook: shadowlandsthetour

 

My Next Six Nations Supper – Italy

So last time I posted was my recipe for my French Six Nations Supper a classic Coq Au Vin. Today it is the turn of the valiant Italians and I wanted a full flavoured, heart-warming and filling dish to match the French recipe. I know the night before a big race or event athletes and sportsmen often eat pasta for a big hit of slow release energy from the carbohydrates so this being an Italian Supper it would seem suitable I create a pasta recipe.

Slow-cooked Beef Ragu II

Now in Italy, there are centuries of tradition and some very complex rules about pasta. Each shape is clearly defined and registered and suits a type of sauce or dish, your Bolognese sauce coats and lubricates Rigatoni or Penne pasta, Spaghetti is best suited to lighter coatings may be a recipe like Con Vongole with clams, a little garlic, oil and parsley. For my hearty rugby meal, I am going to use Fettuccini and make a delicious slow cooked ( ideal in fact for a slow cooker ) shin of beef ragout.

Fettuccini with Slow-cooked Shin of Beef Ragu                       serves 4 hungry rugby fans

1.2 kg Beef Shin brisket, cut into six to eight pieces,

( ask you butcher to cut up the Shin, it will be easier for him and to give you the bone )

2 large White Onions, peeled and very finely chopped

2 large Carrots, peeled and very finely diced

4 sticks of Celery, washed and very finely diced

4 Cloves of Garlic, peeled and crushed

1 bottle of good Italian Red Wine

500 ml good quality Beef Stock

100 ml quality Olive Oil

2 tablespoons of Tomato Puree

1 tablespoon of dried Oregano

3 Bay Leaves

½ teaspoon dried Thyme

½ teaspoon ground Nutmeg

Sea Salt and freshly ground Black pepper

 

500 gr Tagliatelli or other pasta of choice ( pappardelle is ideal)

Freshly grated Parmesan cheese

Fresh parsley, washed and finely chopped

 

In a large heavy-bottomed pan heat half of the olive oil over medium to high heat, season the beef and sear each piece on all sides until well browned, then set aside on a plate. Turn the heat down and add the remaining olive oil, add the onion, celery and carrots and sauté until soft. Add the garlic and cook for a couple more minutes*, then repeat with the tomato puree, stirring continuously to prevent burning. Return to beef to the pan and any juices and add all the remaining ingredients then bring up to a simmer, then turn it down to the lowest possible setting.

 

Cover the pan and let it cook for three to four hours until the beef is tender enough to pull apart with a fork. Remove the lid and let it cook for a further thirty minutes until the liquid has reduced to a thick sauce.

 

Remove the sauce from the heat and transfer the   beef from the sauce into a large bowl. Shred the beef with two forks and return it to the sauce. Adjust the seasoning with salt and pepper and keep warm.

 

*Celery and carrots sautéed with the onions and garlic is called “soffritto” in Italian cooking. It is a very traditional base for many Italian dishes.

 

To Serve

Cook the pasta as per the instructions on the packet. You can reserve a little cooking liquid and toss the strained pasta, ragu and pasta water together or simply spoon the ragu on top of the cooked pasta. Serve with lots of freshly grated Parmesan and garnish with chopped parsley.

A Perfect Six Nations Supper

With the storms forcing us to all batten down the hatches, I have temporarily swapped the gale force winds in the Channel Islands for the driving rain and bluster of Imogen blowing over Bristol just in time for the rugby. By now we will have had the first weekend’s Six Nations results but it is not too late for a perfect and suitable supper, coq au vin, the rich, satisfying, classic French peasant dish. It is generally accepted that it has a long history as a rustic, rural, recipe, however,  it only first appears in cookery literature in the late eighteen hundreds.

The two most popular stories about the creation of the dish involve Napoleon and Julius Caesar, of the two, as a long term Asterix fan, I like the Caesar story.After the conquest of Gaul, now part of modern-day France, the story goes that the natives presented the victor with an old gamey, rooster. The rooster is a tough proposition – excuse the pun and requires long, slow cooking. The rooster was cooked by Caesar’s chef simmered in wine ( a method of cooking extremely popular with the Romans, whatever else did they do for us ? ) and the end result was said to be very successful. Traditionally then the rooster or any tough old bird benefits from first marinating in wine* then gently braising, and the addition of the carcass adds a richness to the finished sauce.

A little Whine ! The Internet has failed to provide me the name of, at a cursory glance, the first person to say that if you would not drink a wine you should not cook with it. I certainly remember the late, great and sadly missed Keith Floyd elucidating, sometimes less than clearly, that this indeed is the case. He certainly was a fan of checking the quality of the vintage he was cooking with at the time. Your coq au vin does not need to be made with a first growth claret but will benefit from a full-bodied robust red. While it could be Australian or from Chile, I am at heart a traditionalist and believe that a Burgundy is best.

coq-au-vinMany regions of France have variants of coq au vin using the local wine, such as coq au vin jaune (Jura) and coq au pourpre (Beaujolais nouveau). In some variations of the dish, white wine is used, Riesling wine is popularly used in the Alsace region, with the addition of Morels and cream. In addition to the wine and chicken coq au vin is flavoured with the inclusion of fat bacon or salt pork, onion, garlic, mushrooms and a bouquet garni (thyme, bay leaf, parsley). The chicken is first marinated in wine, then seared in hot fat, this is essential to flavour and colour the finished dish. The meat, vegetables and aromatics are then simmered in the wine marinade until the meat is cooked and tender.

* No jokes, please

On a personal note, I find coq au vin an ideal dish for the slow cooker. A good coq au vin improves immensely if you marinade the chicken overnight and improves further if you leave it when cooked, overnight, in the refrigerator. If you cannot get a piece of bacon try to use the thickest rashers, you can find so the lardons will not break up during cooking. Celery is not a staple of many recipes for coq au vin but I agree with Nigel Slater as to the benefits it adds to the resulting dish and have included it below. If you want to peel baby onions you can but I find the result is in no way spoilt by using frozen baby onions. The dish is served in France with flat noodles or rice, it is equally appealing with steamed potatoes that you can crush in the gravy. I personally love a hefty chunk of crusty bread to soak up the juices and a lightly dressed green salad as an accompaniment.

 

Coq au vin                                                                                                                                                         Serves 4

A large chicken, jointed into 6 or 8 pieces, giblets and carcass saved

( ask your butcher if he can source a rooster and if he will cut it up for you )

for the stock

1 Onion, peeled and roughly sliced

1 Carrot, peeled and roughly chopped

1 stick of Celery, washed and roughly chopped

A small bunch of Thyme

A Bay Leaf, a Clove of Garlic and a few crushed Peppercorns

 

Butchers string

125 gr whole Pancetta or Unsmoked Bacon

2 medium Onions, peeled and finely chopped

2 Carrots, peeled, halved lengthwise and sliced

3 sticks of Celery, washed and finely diced plus one extra stick

3 Cloves of Garlic, peeled and finely chopped

200 gr Button Mushrooms, washed and halved or quartered if required

75g frozen Baby Onions

A bottle of drinkable Red Wine, preferably Burgundy

2 – 3 tablespoons Flour

75g Butter

4 tablespoons Cognac

A good handful of curly Parsley, washed and picked and finely chopped ( keep the parsley stems )

A small bunch of Thyme

3 Bay Leaves

Sea salt and freshly ground Black Pepper

 

For marinade ( you can omit this stage but it truly makes the dish magical ). Place the chicken pieces in a glass bowl and add the crushed garlic. Take one stick of celery and cut in half, into one-half place five or six stems of thyme, the bay leaves and the parsley stems. Sandwich the herbs with the remaining half of the celery stick and tie tightly together with string. Add to the chicken and cover with the wine. Seal bowl with cling film and place overnight in a refrigerator.

For the stock, place all of the ingredients in a large heavy bottomed pan, cover with water and bring to the boil. Set to simmer and cook for one hour. Remove the chicken pieces from the marinade and drain thoroughly. Reserve the marinade. Cut the pancetta into chunky lardons or short strips, they need to be thicker than a match but not quite as thick as your little finger. In a large thick-bottomed casserole melt one ounce of the butter over a moderate heat and gently sauté the lardons until crisp and light brown. Remove using a slotted spoon leaving the excess fat in the casserole dish.

Season the chicken pieces with salt and pepper and place them in the hot fat in the casserole, so that they fit snugly yet have room to colour. Sauté the chicken pieces and turn them when the colour is a nice light caramel brown. It is this colouring of the skin, rather than what wine or herbs you might add later, that is crucial to the flavour of the dish. Remove the chicken and set aside with the bacon lardons. Do not clean the casserole dish as the fat and juices in the dish are crucial to the flavour of the coq au vin.

Add the onions, celery and carrot to the pan and cook slowly, stirring from time to time, until the onion is soft and translucent. Add the remaining garlic, stir and then return the chicken and pancetta to the pan, stir in the flour and let everything cook for a minute or two more before pouring in the cognac and marinade including the bouquet garni. Strain the simmering stock and pour into the casserole until all the chicken is covered. Bring to the boil, then turn the heat down so that the sauce bubbles in a gentle simmer. Cover partially with a lid.

Melt the remaining butter in a small heavy-bottomed pan and sauté the mushrooms. Let them cook until they are golden, then add them to the chicken with the baby onions and a generous pinch of salt and pepper. Check the chicken after 40 minutes to see how tender it is. It should be soft but not falling from its bones. It will probably take about an hour, depending on the type of chicken you are using. Lift the chicken out onto a large plate and keep warm.

Turn up the heat, under the sauce and simmer vigorously until it has reduced by about a fifth and become shiny and glossy. Divide the chicken into serving dishes and cover with sauce, garnish with chopped parsley and serve.