The English National Opera’s The Turn of the Screw, is an atmospheric and chilling rendition of Benjamin Britten’s psychological thriller. This production, newly interpreted and staged by Isabella Bywater for the 2024/2025 season delivers a gripping exploration of innocence, repression, and the supernatural, while allowing the opera’s themes of ambiguity and fear to unfold with a slow-burning intensity.
Britten’s haunting score, conducted by Duncan Ward, is brought to life with precision and clarity. The orchestra masterfully balances the eerie, sparse instrumentation with lush, romantic undercurrents, reflecting the growing tension and unease in the narrative. Ward’s pacing is deliberate, allowing the unease to creep through every bar without losing the momentum of the story’s chilling trajectory.
The unnamed governess in a frumpy pink frock and fluffy slippers is incarcerated in a 1960’s mental asylum and is recalling her experiences of 30 years previously when she took charge of two very disturbed orphaned children at a gothic mansion. Were the children sexually abused, were they haunted by ghosts or has the governess herself “lost the plot”? You, the audience, are left to decide.
The set design plays a pivotal role in establishing the opera’s unsettling mood. It has all the magical Bywater elements of walls which stretch and contract emphasising the lack of certainty and make the audience feel that they too are descending into madness. The imposing, structure of Bly House with its extensive parkland is projected onto the stage, creating a claustrophobic, haunted atmosphere. Its towering, flickering and shadowy presence mirrors the psychological landscape of the characters, particularly the Governess, whose gradual unravelling is visually underscored by the play of light and shadow. Bywater’s minimalist yet evocative design, complemented by Paul Anderson’s haunting lighting, and Jon Driscoll’s video projections lend a Hitchcockian quality to the production.
If you are new to opera you may enjoy our blog post on opera tips.
At the heart of the opera is a stellar performance by Ailish Tynan as the Governess. Tynan’s portrayal is a masterclass in vocal control and emotional depth. She captures the character’s initial innocence and idealism, but as the events at Bly House spiral into the inexplicable, her performance becomes increasingly unhinged, reflecting the fragility of the Governess’ mental state. Tynan’s voice is clear and lyrical, yet it carries a distinctly strained edge as she sings in the upper range of her register which perfectly suits the opera’s dark undertones.
Countering her is the ghostly figure of Peter Quint, sung by tenor Robert Murray. Murray’s Quint is both seductive and menacing, embodying the ambiguity of evil that Britten so masterfully weaves into the score. His duets with the Governess, particularly in the second act, bristle with tension, their voices intertwining in a way that blurs the line between reality and the supernatural.
The two child singers, who perform as Miles and Flora, deserve special mention. Miles, portrayed by Nicolai Flutter, impresses with his clear, angelic voice and unsettling maturity. The innocence of his character is constantly questioned, and Flutter navigates this duality with a subtlety that belies his age. Holly Hyton’s Flora is equally commendable, her bright tone lending an ethereal quality to the child’s increasingly disturbing behaviour as the pair dress as a nun and priest, chant gobbledegook in their lessons and play with dolls.
However, the opera’s true strength lies in its psychological complexity and ambiguity. Bywater’s direction highlights the thin line between the supernatural and psychological breakdown, refusing to give easy answers about whether the ghosts are real or manifestations of the Governess’ disturbed mind. This ambiguity is heightened by the tension between the lush, melodic passages and the dissonant, jarring moments in Britten’s score.
In this production, the tension is palpable, the atmosphere oppressive, and the performances nuanced. It’s an opera that lingers long after the final notes have faded, as unsettling and unresolved as the narrative itself. The Turn of the Screw at the ENO is a compelling and thought-provoking experience, a masterful blending of music, drama, and atmosphere that will leave audiences questioning the nature of innocence, evil, and the fine line between the two.
The ENO’s Turn of the Screw opens on Friday 11 October for 7 performances Oct 11, 16, 23, 29,31 at 19.00. Oct 13 at 14.30. Oct 26 at 18.00.
Opera tickets for ENO Turn of the Screw can be purchased here.
Under 21s can get free opera tickets to all ENO performances at every level of the theatre, and 21-35 year olds can get discounted opera tickets. Tickets for everyone begin at £10.
The English National Opera’s latest production of Suor Angelica, staged at the London Coliseum, is an evocative and emotionally charged portrayal of Puccini’s short but powerful opera. Directed by the ever-innovative Annilese Miskimmon, this staging of the 1918 work delves deeply into themes of religious barbarism, repentance, maternal love, and redemption, with a striking simplicity that enhances the intensity of the narrative.
Yannis Thavoris’s minimalist approach to the set design works in the production’s favour, stripping away distractions and placing the emotional core of the story at the forefront. Set in one of the controversial Magdalene Laundries, bedecked with drying sheets and primitive washing implements, he portrays an austere realism in an abstract manner using clean lines and muted tones. This choice underscores the emotional prison of Suor Angelica, allowing her internal anguish to take centre stage, as the audience is forced to focus on her emotional journey rather than on external details.
Sinead Campbell-Wallace’s performance as Suor Angelica is simply spellbinding. Campbell-Wallace’s rich, emotive soprano voice captures the torment and longing of the character with heartrending clarity. Her rendition of “Senza Mamma” was the evening’s high point, delivered with such raw vulnerability that it left the audience transfixed. The pain of a mother mourning the child she was forced to abandon was palpable, and Campbell-Wallace’s portrayal was both deeply human and transcendent.
The supporting cast was equally impressive. Christine Rice as the Princess brought an icy severity to her role, providing the perfect contrast to Suor Angelica’s warmth and desperation. Rice’s voice, smooth and commanding, mirrored her character’s cold indifference, creating a chilling scene in which the emotional cruelty of her visit is laid bare.
The orchestra, under the expert baton of Corinna Niemeyer, gave a nuanced and sensitive performance of Puccini’s score. The music swelled and receded with the emotional tides of the story, supporting the singers without overwhelming them. Niemeyer masterfully navigated the transitions between the stark convent scenes and the operatic tragedy, bringing out the pathos in Puccini’s lush orchestration.
If you are new to opera you may enjoy our blog post on opera tips.
The chorus of nuns provided a sombre backdrop, their voices weaving together to create an almost ethereal soundscape. Miskimmon’s direction ensures that each member of the chorus remains an integral part of the drama, contributing to the oppressive atmosphere that surrounds Suor Angelica. Their androgynous, make-up-less and braless presence feels omnipresent yet distant, reinforcing the isolation that defines the protagonist’s life in the convent.
While the production thrives on its emotional depth, there were moments where the starkness of the staging felt almost too bare. The absence of traditional visual cues—such as the grandeur of the church or the convent garden—may not resonate with all audiences, particularly those more familiar with traditional interpretations of Puccini’s works. Nevertheless, this approach allows for a greater focus on the psychological aspects of the story, a trade-off that ultimately benefits the production. I also wondered how audience members would interpret the crawling child in the grand suicide finale – an apparition of a distraught, dying woman or a Romeo and Juliet moment when the child is found to be alive, as his mother dies?
In summary, ENO’s Suor Angelica is a moving exploration of grief, guilt, and spiritual salvation. Miskimmon’s vision, combined with Campbell-Wallace’s powerhouse performance and Niemeyer’ sensitive musical direction, make this production a compelling and unforgettable experience. While the stark staging may divide opinion, it undoubtedly draws attention to the emotional intensity of the opera, making it a triumph for the ENO.
Suor Angelica ran for 2 performances on Friday 27 September 2024.
Under 21s can get free opera tickets to all ENO performances at every level of the theatre, and 21-35 year olds can get discounted opera tickets. Tickets for everyone begin at £10.
The Royal Academy Summer Exhibition is illuminating, bizarre, moving and often laugh-out-loud funny. No wonder it has special bragging rights. It screams London in the summer.
This flag ship show is where amateur and professional artists compete to exhibit and sell their art. It is coordinated by a leading artist and equally celebrated committee.
As you go from room to room, you can detect the individual curator’s taste. Some rooms have a dark and gloomy vibe, while others are colour themed, industrial or cutesy. One gallery this year closely resembled a craft shop.
Prepare to be entertained by the significant proportion of odd exhibits. I have seen art school tutors laughing and debating the more “out there” creations…evidently too much even for them.
Here are my tips to get the most out of the Royal Academy Summer Exhibition
Gain Free entry to the Royal Academy Summer Exhibition
Consider becoming a Royal Academy member. Annual membership (£138 for 2 people and half price for the under 35s) will allow you to dip in and out of the Summer Exhibition on the day and visit multiple times free of charge. And if you have any spare energy on the day you can visit other exhibitions within the building without charge.
Membership allows you to dip in and out of the RA Summer Exhibition
You’ll need at least two hours to see the RA Summer Exhibition properly
Go With An Open Mind
Expect to love, hate and be indifferent to many exhibits and that is all ok. Seek out the one or two exhibits in each room which “speak to you”. That way you will enjoy it more instead of feeling the need to generalise about the show as a whole.
Spot Exhibits by Royal Academicians
Interspersed with works by amateur and unknown artists you will see a few by Royal Academicians like Tracey Emin.
Look Up and Down
Not every painting has a prime spot some great pieces will be placed above and below eye level.
Make Use of the Royal Academy Member’s Room
The Summer Exhibition is an assault on the senses and you can tire quickly. There’s a Member’s Only room beside the entrance called the Keeper’s House. You can get alcoholic refreshments, teas and coffees, cakes, bowl salads and sandwiches in much nicer surroundings than the general café.
Google the Room Curator
The name of the curator who has chosen the art for each room is displayed on the wall by the room entrance. You can find out more about them with a quick internet search. There’s a good internet signal in the exhibition.
Use the Viewing Benches
There are backless benches in every room and these are usually placed at a good angle for viewing the art so it makes good use of them if you need a rest from walking or standing.
Use the viewing benches
You can combine a trip to the Royal Academy with a DIY bus tour using the Number 9 bus which starts at Kensington Palace and terminates at Covent Garden.
Buy the Royal Academy Summer Exhibition Catalogue
The catalogue for the RA Summer Exhibition shows the name of the artist the name of the work of art and the price of the piece. It costs £3.50 (2024) and is essential if you want to buy anything. Bring a pen so you can mark the title that you are interested in on the catalogue.
Buy the RA Summer Exhibition Catalogue
Use the Large Print Programme
Alternatively, there are several large print catalogues for the partially sighted which show essential information on the artist, art name and price. This is available in each room and needs to be returned to he stand before progressing to the next room.
Use the large print guide for the partially sighted
Identify the Red Sold Stickers
You’ll see a red sticker on a piece when it is sold. If you see multiple stickers on a piece, it means that it is a limited edition work with more than one copy available.
A red dot sticker indicates the piece has been sold.
If Buying Art, Visit Early in the Season
Many works are priced under £250 which make them a great buy for budding art collectors. Bear in mind that the cheaper exhibits tend to sell first. If you want to buy, attend a ‘member’s only’ preview or go early on in the exhibition calendar. You can book your tickets on the Royal Academy website. Entrance is £22 – £24.50 per person.
Look for Art that May Work in Your Space
The purpose of art is never to merely adorn walls but when viewing look for a special piece that may fit in your home. Even if you don’t buy, it will give you purpose and you browse through hundreds of works.
Take Photos
There are no restrictions on photography at the RA Summer Exhibition. You can fill your social media feed with inspiring and colourful shots. Aim to provide a context for the day by photographing the exterior of the iconic Royal Academy building and take some general shots of the viewing galleries.
Gain Inspiration For Your Own Creations
The Royal Academy Summer Exhibition provides fantastic inspiration for your own arts and crafts. Sometimes a piece is so intricate and created by such talented artists it would be impossible to recreate but equally there are many ideas in the show that are genius concepts but with simple execution.
Skull made using vintage cast off jewellery which could be the inspiration for your own arts and crafts.
Pace Your Royal Academy Summer Exhibition Viewing
There are approximately 9 key rooms in the RA Summer Exhibition with the smaller more interesting art pieces densely exhibited in the final rooms.
The Royal Academy Summer Exhibition contains over 1700 works of art.
There is usually at least one fascinating large-scale installations in the final room. Most people have a tendency to take their time viewing the first three rooms and run out of energy when it comes to the later exhibits. You may even want to see the show in reverse order, by starting with the final rooms and work your way forwards.
A large scale installation in the final room with accompanying classical music.
Dress the Part
The Royal Academy Summer Exhibition is the place to see and be seen. Dress exotically and extravagantly…act as if you are a hip artist or muse, not a suburban spectator.
Richmond Park in Richmond, the famed hunting ground of Henry VIII, is now maintained as a Royal Park yet it still feels wild and wooded. This year I have explored deeper into this vast expanse of nature.
The Different Regions of Richmond Park
Richmond Park comprises different regions each with their own character and attractions. Driving around the circumference road and dodging deer and cyclists, these are the ones that I have recently explored:
Isabella Plantation
Pen Ponds
Pembroke Lodge
Robin Hood Gate
Pembroke Lodge the Information Centre and Cafe of Richmond Park
Pembroke Lodge is the centre of the universe of Richmond Park. There is an information centre, a refreshment stand and a cafe serving classic English fayre of sandwiches, cakes and scones. Behind the wrought iron gates there are elevated formal gardens with panoramic views of Richmond and the city beyond which rival nearby Kew with an abundance of seasonal colour.
Isabella Plantation a Fenced Garden in Richmond Park
This is a wooded fenced area known for its magnificent display of camellias, azaleas and daffodils with a central pond and the cutest ducks with little hats .
The Pond at the Isabella Plantation in Richmond Park
A Spring Camellia in bloom at the Isabella Plantation
Pen Ponds
These ponds are a short walk on a slight incline from the Pen Ponds car park. Geese, swans and ducks follow tourists looking for forbidden contraband and bread from soft hearted folk who have decided to ignore the advice of not feeding the ducks. You almost feel that you are on holiday at an exotic lakeside destination.
Ducks and Geese at Pen Ponds
Wild Life at Pen Ponds
Geese and Ducks at the Water’s Edge in one of the Richmond Park Lakes
Robin Hood Gate
There’s some interesting fallen trees here with exposed roots, gnarled bark and skeletal shapes in a boggy, marshy expanse of lush grass. Great for taking nature photographs and selfies. It’s a 10- 15 minute walk up to Pen Ponds from here. On my return trek, I was ecstatic to see the herd of red deer who had come out to graze. It was like being on safari in the Serengeti. Honestly, why go to Africa when you can go to Richmond Park!
A Gnarled Tree
Fallen Ancient Trees
Wild Deer
A grazing deer
Practical Advice for Visiting Richmond Park
Car Parking
Richmond Park is free to enter and free to park (we like free!) You are invited to make a donation at card reading machines at the various car parks but this is by no means obligatory.
You can only park in the car parks and if you park elsewhere you are liable for a fine. As a result, the car parks get busy, on sunny days and at weekends you are likely to have more luck parking at the furthest car parks from Pembroke Gate. Currently, you can’t drive the full circumference of the park as the road is closed just after Isabella Plantation on the anti-clockwise stretch.
Check the opening and closing times as you don’t want to get locked in overnight. These times change according to the season.
Driving and Cycling
As you would expect, Richmond Park is a popular cycling area…think lycra-clad, kamikaze lunatics riding in packs or on their phones. The road is narrow so overtaking is often not an option. Be patient. You don’t want to make the newspapers for all the wrong reasons.
If you are one of those cyclists Richmond Park is your oyster!
Toilets
There are toilets at most of the Richmond Park car parks but you’ll need to check a map to ensure that your chosen car park has those facilities.
Cafes
There are cafes with seating at Pembroke Lodge, Roehampton Gate and Pen Ponds. In the great British tradition, the smaller car parks usually have ice cream vans run by independent vendors. Think whipped ice creams with flakes, Magnums and Cornettos. And I spied bacon sandwiches. There’s tea, coffee and hot chocolate – perfect for a freezing day. You can find out more information about the cafe and see photos here.
Seating and Picnics
Dotted around Richmond Park are wooden park seats and fallen logs making it the ideal spot for a picnic. Fortunately, you can picnic near to your car so no need to lug your flasks and hampers for long distances. On New Year’s Day I see many people having tailgate picnics from the boot of their car.
My amazing and recent discovery is the wonder of the Stanley vacuum flask. I paid a fortune for this pricy British icon. I preheat it with boiling water for 5 minutes and then adding fresh boiling water and pack Yorkshire tea bags and fresh milk with an ice pack and I have perfect, scalding hot tea for the whole day.
For more information on Richmond Park including any seasonal updates see the official Royal Parks website.
We have some other great suggestions for free and nearly free days out. and we hope these practical tips will help you make the most of your day at Richmond Park.
If you have enjoyed this piece you may like our feature on the nearby botanical wonder Kew Gardens.
The Churchill War Rooms has a lot to recommend it. You’ll love it if you lack the bottle to visit the Imperial War Museum. There is no blood, guts or shocking sights for the squeamish.
How the Churchill War Rooms Came Into Being
The Churchill War Rooms were created after, Winston Churchill, our most esteemed second world war prime minister, had a close brush with death when the rear of Downing Street was bombed in an air raid. This rendered his kitchen to rubble and nearly killed his cook who a few minutes earlier was lovingly tending to a pudding.
Feelers were put out for a suitable bomb proof location for the cabinet to plan the war effort and the chosen bunker was the basement of the nearby Treasury Building.
Following VE Day (Victory in Europe Day) on 8 May 1945, the lights of the Churchill War Rooms were turned out and everything in this secret underground headquarters was left in situ; picked in aspic as it were:
maps
documents
equipment
furniture
kitchen appliances and condiments
chamber pots
even somebody’s war rationed sugar cubes
In the 1980’s another famous prime minister, the Iron Lady (“this lady is not for turning”), Margaret Thatcher championed the initiative to get the war rooms opened to the public.
And this is the treat that is in store for you…
Exterior of the Churchill War Rooms
Lap in the air, as you take a breezy walk through St James’s Park replete with its cheeky sandwich hunting squirrels, gliding ducks and towering trees. It’s a rude awakening to arrive at the steps on King Charles Street and go down the hatch to the cellar where you will spend the next few hours.
With its narrow corridors and low lighting you think that this is going to be an expensive, murky, boring, damp squib of a place. Then step by step you become thrilled by the immensity of it.
Inside this warren of narrow passages and rooms lies a whole underground community of what would have been 500 people who all needed to work, eat, sleep, pee and plot the war. I saw no bathrooms and as many of them smoked (and at least one smoked a cigar) you can only imagine how fetid and obnoxious the air would have been in this windowless space.
The cabinet meeting rooms, the map room and the radio telephony rooms will thrill war buffs especially when we contrast it to the sophisticated technology that is at play today in the Russian Ukrainian conflict. The success of the second world war was dependent on low tech, crackly radio systems, coded messages and a paper map room with pins denoting enemy positions.
The Map Room in Churchill War Rooms
Churchill as a Bon Viveur
Almost more enticing than the war planning effort is the museum’s homage to the life of Winston Churchill. We see a man with a high degree of confidence in his importance and abilities.
Churchill was a gourmand who liked the finer things in life.
“I am easily satisfied, I like the best”
Winston Churchill
The best comprised hats from the Royal Warrant holder’s Lock & Co, suits from Turnbull and Asser, Cuban cigars from Romeo y Julieta and copious amounts of Pol Roger champagne.
War Time Rationing
These were the days of war time rationing which spared no one from the lowliest, hungry and ragged urban dweller to the monarch and the prime minister. Churchill ensured he was spared the worst privations by obtaining dairy produce, vegetables and meat from his country estates. This allowed him to not only maintain his portly physique but to entertain lavishly.
Churchill’s Private Kitchen
The private kitchen in the Churchill War Rooms is nothing more than a bleak cupboard. The kitchen utensils, relics of a bygone era and fit for nothing but a junk shop were state of the art back then – enamelled double boilers and dangerous gas grills.
Churchill’s Personal Kitchen in the Churchill War Rooms
The Cabinet’s Private Quarters
In an age, when we reject houses and hotels that lack ensuites and duck down duvets we see row upon row of bedrooms which housed everyone from his detectives in bunk beds to senior politicians – the size of the room denoting the status of the incumbent. All were kitted out with similar beds, dowdy wool blankets and chamber pots. His wife, Clementine Churchill’s room had the sole touch of femininity, a comfy chair with a floral linen loose cover.
The Detective’s Room with Bunk Beds in the Sleeping quarters of the Churchill War Rooms.
Churchill’s Decoy Toilet
The volunteer guide was keen to show me “Churchill’s toilet”. A wooden door with its familiar Vacant/Engaged sign which was typical of any public toilet of the time…and when you turn the corner you see that it is a decoy front to a sound proofed room where Churchill could conduct conversations with America on the progress of the war.
Churchill’s “Private Lavatory”The lavatory door is a decoy to a private telephone
The Churchill Exhibition Space
It is important to pace yourself as you move through the museum as just when your energies start to wane and you think that you have seen it all – you find yourself in a massive museum exhibition space choc-full of fascinating ephemera, war posters, photographs and exhibits that include Churchills favourite lounging outfit which was a red velvet jump suit and film footage of his funeral cortege at St Paul’s.
The Churchill Exhibition is after the underground bunker part of the Churchill War Rooms
Churchill in the Popular Imagination
It is interesting to note that had Churchill died a few months prior to VE Day in 1945 he would have been regarded as a cantankerous man who had failed the country (we were at the time losing the war effort) and who made more enemies than friends. And here he is now in the popular imagination as our greatest stateman and the object of emulation by countless prime ministers from Margaret Thatcher to Boris Johnson.
The Churchill War Rooms Museum Shop
In days gone by, London museum shops used to contain a lot of plastic tat made in Hong Kong alongside a pitiful selection of faded, dog-eared postcards.
So the Churchill War Rooms Museum Shop must be commended on a delightful selection of upmarket mementos that include aged scotch whiskey, wrist watches, leather aviator jackets and homburg hats, alongside the to-be-expected war posters, fridge magnets and book marks.
My Personal Favourites From the Churchill War Rooms Museum Shop
If I had to pick a couple of things to buy it would be the leather ladies’ gloves with their blue, red and white circular air-force insignia at £50 and Churchill’s Cookbook by his personal cook Georgina Landemare at £12.99.
Ladies Gloves with Insignia
Churchill’s Cookbook
I was shocked when thumbing through the cookbook to find a recipe for Potage Argenteuil. What could this delectable soup (named after a Paris suburb) be? I was horrified that a soup destined to feed six people was made from nothing more than the water used to cook asparagus, a handful of rice, a few sorrel leaves (an largely unknown lemony herb) and a solitary egg yolk. You can see how Churchill’s cook, Georgina Landemare, with her skills in stretching food, was pivotal in ensuring that the cabinet won the war.
Best Time to Visit the Churchill War Room
If you are an early bird, try and get there as soon as it opens at 9.30 am (check the current opening times here). It gets busy at lunch time and then the crowds tail off by 3pm. Bear in mind that the weekends and the summer season are always going to be busier than the winter season and weekdays.
How Long to Visit
Most people spend at least a couple of hours in the museum. There is a very good audio guide that comes with the ticket (with a special audio guide for children). If you listen to the information on each of the numbered exhibits this could take 1.5-2 hours plus you will need time for a coffee break and examining the artefacts in the Churchill exhibition. A serious war and Churchill buff could be here for 4 hours and then want to return!
Churchill War Rooms Cafe
The café specialises in British food…think tarts, cakes and sandwiches. It’s more of a place for a pit stop than a gourmet meal. The coffee comes very highly recommended and this may be just what you need to keep going.
The café is located in a room that was used by the switchboard operators during the second world war and is open from 10am – 5pm. As it is inside the museum it is only accessible to paying visitors.
As an alternative, I would head to the Regency Café in Pimlico which is short walk to the museum. Have the old fashioned English fry up (English Breakfast) to get in the mood. Nothing like eggs, bacon, baked beans and rubbery white bread slathered with butter and marmalade to fortify yourself for this uniquely British experience of the Churchill War Rooms.
And at the end of your trip walk through the park to St James’ and experience the splendour of The Wolseley with its enormous windows and view of Piccadilly. This maybe a nice counterbalance to the museum and they serve and excellent afternoon tea.
Ticket Prices
Most of our museums are free but the Churchill War Rooms costs a whopping (to us) £27 per person so it could work out at just shy of £100 for a family of 2 adults and 2 children, if you include the voluntary donation.
It is possible to buy tickets in advance. Try a search for a promo code (Google Churchill War Rooms promo code/code/2for1.
Alternatively, the museum is included with the London Pass.
You could also reduce the cost by buying an IWM membership. This would give you free entry to other charging IWM sites including IWM Duxford and HMS Belfast. IWM Membership allows visitors to return free of charge throughout the year so this is ideal if you live in the city or holiday here frequently.
Closest Tube Station to the Churchill War Rooms
The closest tube station to Churchill War Rooms is Westminster station (Circle, Jubilee, District Line).
To Find Out More about Churchill and the Churchill War Rooms
To find out more about Churchill and the Churchill War Rooms watch The Darkest Hour .
If you enjoyed this piece about the Churchill War Rooms, be sure to check out our blog post on the Charles Dickens Museum.
The Queen Mary’s Rose Garden is living proof that anyone can have an experience of a lifetime in London free of charge. These historic gardens containing thousands of roses are an area of peace and tranquility that feed the soul. Come here on a warm Spring day in late May or early June to see the roses when they are at their best.
I often visit after a trip to the nearby Regents Park Open Air Theatre but there is nothing to stop you bringing a book and a picnic and lying in the sun surrounded by beauty. Copy the Victorians and make Queen Mary’s Rose Garden it a place to see and be seen.
What is Queen Mary’s Rose Garden Famous for?
In a single word, roses…to be precise, 12,000 of them, contained in 85 single variety beds. Each year 3 of these beds are replaced with a new variety.
Queen Mary’s Rose Garden contains 12,000 roses in 85 single variety beds.
What is the History of Queen Mary’s Rose Garden?
The garden is named after the wife of King George V and was first planted in 1832. In the same way that we might dress up to meet our friends in a pub, club or restaurant the affluent middle classes of the day would wear their best clothes and promenade in their top hats and tea gowns in the rose garden. Fetes and music would be organised in the summer months. It was a place to see and be seen,
Today the Queen Mary’s Rose Garden attracts all sorts of people…newly-weds looking for a back drop for their wedding photographs, professional photographers bearing tripods, local residents taking a stroll, families having picnics, young lovers (it’s the ideal backdrop for a proposal) and of course tourists who have heard about the legendary blooms.
It is a stroke of luck that we have this magnificent garden to enjoy today as there were historic proposals to use the land as a palace for the Prince Regent, the bloated and debauched son of an earlier monarch. Fortunately, he preferred the Buckingham Palace location.
The Four Areas of Queen Mary’s Rose Garden
There are several distinct areas that make up Queen Mary’s Gardens.
The Queen Mary’s Rose garden is made up of four distinct areas.
The Circular Rose Garden
The original garden was the circular rose garden with its rose-festooned border of white and pink roses that provide a colourful living wall.
The Triton Borders
The Victorian jungle beds known as the Triton Borders have flamboyant jewel like colours with contrasting begonias, huge palms and ferns. These are linked to the famous garden designer William Robinson who worked for the Royal Botanical Society. He was a big fan of subtropical bedding containing hardy plants placed in natural arrangements.
Don’t be mystified if you see plastic buckets in the borders. These are place holders for plants that are on order and waiting to be delivered.
The Sausage Border
There is also a herbaceous border called the Sausage Border because of its shape. This has a planting scheme of deep red peonies and ornamental rhubarb spikes
The Mediterranean Garden
The Mediterranean Garden has been made possible by improving the water-logged London clay soil with plenty of sand to allow acacias, palm trees and purple alliums to thrive.
When Should I Visit Queen Mary’s Rose Garden?
Very late May and early June is the best time for seeing the roses in full bloom. Most roses have a second showing in August and September but your photos maybe spoiled by the faded blooms of earlier flowerings. The delphinium border is at its best in June.
Can you find the plant sculpture of an elephant which is hidden in one of the borders?
How Do I Research Roses Before my Visit?
Before you visit, familiarise yourself with the different types of English roses. The varieties that you will see in the garden are:
Hybrid tea
Polyantha
Climbing
Rambling
Damask
Gallica
Alba
Centifolia
Floribunda
Patio
Ground Cover
As a general rule, the older varieties are less magnificent looking but have a stronger smell and the newer hybrids are amazing to look at but with less scent.
If you see a rose that you like you can almost certainly buy it online from one of our many rose firms, so don’t forget to photograph the plant label.
Tips for Photographing Roses Using a Smart phone
Any amateur can get very successful results using these tips;
Use natural light to photograph flowers as overcast days give a softer look
Mornings are the best time as the roses are fresh and often have dew drops
Crouch or kneel to get to the same level as the flowers
Use the close up/flower function on your phone’s photograph menu
Take a lot of photographs at different angles and closeness
Fill the frame and block out as much of the background as possible for rose close ups.
Check for unwanted things in your picture e.g. people, litter bins, insects
Use the crop facility on your camera to edit your photos and make the flowers bigger.
How Do I Get to Queen Mary’s Rose Garden?
There is an 8-10 minute walk which ever tube you take as the rose garden is in the centre of Regent’s Park. The nearest underground stations are Great Portland Street, Bakers Street and Regents Park.
How Much Does it Cost to Visit Queen Mary’s Rose Garden?
The entry to Queen Mary’s Gardens is free of charge.
Saint Paul’s Cathedral can be tricky to photograph due to its soaring height and sprawling mass. Here are my tips for using the rabbit warren of streets and buildings around the cathedral to obtain an interesting range of photographic angles and back drops.
Photographing Saint Paul’s Cathedral.
Saint Paul’s Cathedral Photographic Walking Tours
I went on a guided walk with Alistair Hilton, a professional photographer and used an iPhone 11 with the Snapseed App for filters and special effects.
Saint Paul’s is one of London’s most famous landmarks. It was built by Christopher Wren in 1666 after the Great Fire of London destroyed the previous church. At 366 feet high, it has one of the largest domes in the world. Winston Churchill had a State Funeral here in 1965 and it was the stage for the wedding of Lady Diana Spencer to Prince Charles in 1981.
Saint Paul’s Cathedral sandwiched between two high rise buildings makes an interesting photograph.
This image was taken using the panoramic setting on my phone. Start taking the photograph from the top and bring the camera slowly down.
Use the Adjacent Pillars in Paternoster Square to Add Depth to your Photograph of Saint Paul’s Dome
St Paul’s Cathedral framed by an historic arch.
Here, I made use of an arch in Paternoster Square to act as a frame for the dome of Saint Paul’sCcathedral.
Using depth and monochrome photographic features to add drama to Saint Paul’s Cathedral.
The pillars in the foreground of the photo add depth to the photograph and the black and white setting adds drama.
Photograph People on the West Facade Cathedral Steps
Using the panorama function on the iPhone camera to give scale to the West Facade.
This is the west facade of St Paul’s and I used the panaoramic function. By photographing people on the steps, I was able to give a sense of scale.
Foreground the Many Statues Around Saint Paul’s Cathedral
Statues in the foreground of Saint Paul’s Cathedral and trees make for a romantic setting.
There are plenty of statues around the building that can show the cathedral in a more romantic context. I think that this photograph looks a bit French like a view of Paris!
Dusk and Christmas lights from the adjacent shopping centre give this photograph of St Paul’s Cathedral a Christmassy feel.
Use the Plate Glass Shop Windows for Interesting Photographic Reflections of Saint Paul’s Cathedral
Opposite, the East Facade of the cathedral there is a new shopping centre with plate glass that provides interesting reflections aided by dusk and twinkling Christmas decorations.
A skyline shot of the cathedral at dusk.
If you are interested in photographing a stunning gold mosaic chapel at the opposite end of the size scale to St Paul’s cathedral check out our post on the Fitzrovia Chapel.
Photograph Saint Paul’s Cathedral at Dusk From the Shopping Centre Rooftop
As the light continued to fall, I took the elevator to the roof of the shopping centre to take some panoramic shots that encapsulated the sky and the church dome.
The spire employing the one third photographic rule.
A shot using interesting cloud formations.
St Paul’s at dusk.
Using the top of wall to ground the shot.
A panoramic shot of St Pauls and the London skyline at dusk.
If you are lucky enough to find a smart phone walking tour, take it!
These courses are nicely paced and a great way of improving your photographic skills while getting some gentle exercise in the company of interesting people.
ENO La traviata Review – 28 October 2023 by Maxine Morse
The ENO’s La traviata has the feel of a Parisian 1920’s nightclub, enveloped in blacks and reds, with a cast in tuxedos and bob haircuts. The pared down staging puts the focus firmly on stand-out vocals, intense dramatic sequences and beautifully controlled conducting.
We are invited on a two-hour rollercoaster, taking a stomach-churning lurch to the highs of Violetta’s parties, where her inebriated frenemies are willing her downfall. Then there is a slow dip into her life in the country while she pursues true love before our carriage goes through a dark tunnel when she rejects her lover before we reach a slithering halt in her failing health and death.
If you are accustomed to the many fin de siècle productions of La Traviata, with their stately homes and tulle ballgowns, you may find Johannes Leiacker’s set a challenge. Almost devoid of props and scenery, layers of red velvet curtains are tugged, drawn and pulled to create the various scene changes.
The delicious period feel is largely down to the chorus direction with its joyful goading and clenching of wine glasses at the party to the casino where the chorus purposefully stride across the stage and toss playing cards – minimalist but immensely effective.
The revival director, Ruth Knight gets to the heart of Verdi’s preoccupation with realism in her characterisation of the principal part. Violetta is not the archetypical fallen woman but an embodiment of mystique, power and angst brought down by her relationships with inferior, impotent men and seen through the narrow prism of societal constraints.
Nicole Chevalier brings strength to the role of Violetta with her glorious tsunami of raw emotions. By her final aria Addio del passato (‘It’s over, all those memories full of laughter’) she has lost her wig and her soulful lament is one that will haunt the audience long after the opera is over.
The antithesis of Violetta is her lover, Alfredo Germont (Jose Simerilla Romero). This beige-cardiganed, socially-awkward bookworm conveys all the personality of damp cardboard. Romero rises perfectly to this challenge by first seducing us with his febrile veneration of love and then blasting us with forceful vocals as he blames Violetta for shaming him.
Completing this dark triad is Alfredo Germont’s father. Giorgio Germont performed by Roland Wood is convincing in his display of oily, bourgeois respectability as he coaxes and cajoles Violetta to leave his son in order to protect the family’s reputation.
In the final scene, the supporting performers enter from the rear of the stalls and approach the stage to look on Violetta’s demise as if from the audience perspective – each one exuding a powerful and almost frozen presence.
Verdi’s score sparkles under the baton of Richard Farnes from the energy of brindisi with its insistent rhythms to the slower and perfectly controlled movements of the final death scene.
The director’s decision to forego an interval has the effect of asking the audience to drink a triple shot of absinthe…performing La traviata without a pause adds not only to the psychological intensity but also to the audience’s physiological discomfort. And when it ended no one leapt for the doors; instead, thundering applause and foot stamping brought the house down.
Maxine Morse
Maxine trained as an opera critic on ENO Response the opera critics training scheme sponsored by the English National Opera and mentored by Critics’ Circle. She is currently taking live performance reviewing courses at the City Lit and Harvard University.
Please get in touch if you would like her to review opera for your publication.
UNITED KINGDOM, LONDON
La traviata at the English National Opera.
Nicole Chevalier as Violetta, Jose Simerilla Romero as Alfredo and Roland Wood as Giorgio Germont in the Peter Konwitschny production of Verdi’s La traviata continuing the 2023 to 2024 season of the English National Opera at the London Colosseum. The opening night for ENO’s La traviata is on the 23 October with performances up until the 12th November.
ENO Iolanthe Review – 10 October 2023 by Maxine Morse
If ENO’s Iolanthe were a cake it would be a Unicorn cake with a deep buttercream icing and liberally covered with edible glitter and hundreds and thousands with a surprising layer of tongue tingling popping candy.
The director Cal McCrystal’s hallmarks are retro spectacle and masterly comic timing with splashes of whimsy and political satire. When combined with the unique talents of conductor Chris Hopkins, who takes a precision aim at delivering musical oomph, and Paul Brown, the Dior of costume and set design, the overall effect is nothing but a full-on sugar rush.
I am not a big fan of Gilbert and Sullivan’s prologues but Clive Mantle as Captain Shaw fluffed the audience with a good poking of fun at the opera going classes and a portent of fire-fighting silliness.
The late Paul Brown’s set resembles a 1950’s children’s book with its die cut wing and backdrops. The opera’s pièce de resistance is a life size steam locomotive which bursts through as if straight out of the comic golden age, unloading its cargo of crown and gown clad peers. Such was the stunning effect that I was sitting next to a world-weary television personality who broke the Coliseum’s strict ‘no photography’ rule and whipped his phone out to take a sneaky snap. Do not try this yourself!
Iolanthe has been banished from the fairy world for getting married to a mortal. Her son, a lowly Arcadian shepherd, falls in love with the equally vacuous, toile costumed Arcadian shepherdess, Phyllis. As ward of the chancery, she needs the permission of the Lord Chancellor to wed. Unfortunately, every dull, titled, money and status obsessed peer of the realm, including her guardian, is keen to wed her. Will she be allowed to marry her heart’s desire, or is she condemned to wed one of her less suited suitors? And what about those cute fairies who are besotted with those same dullards? Will they be allowed to live a life of wedded bliss or be condemned to death? We shall see…
Strephon (Marcus Farnsworth) the Arcadian shepherd has a touch of David Walliams about him, slightly obtuse and ditzy, a personality twin to the all-too-perfect Phyllis (Ellie Laugharne). Both carry the audience with their charming comical antics and deliberations.
John Savournin as the Lord Chancellor is a Gilbert and Sullivan stalwart. He excelled as Captain Corcoran in the ENO’s 2021/22 HMS Pinafore and is hot off the Opera Holland Park stage as Ruddigore’s Sir Despard Murgatroyd. Savournin, a confident performer with a conversational singing style, made a fast paced word salad of his tongue twisting Chancellor’s Nightmare.
The off libretto popping candy involved pooping horses, sheep ferried about by stage hands blinded by their camouflage and a shaggy-haired, partying Boris accompanied by a permanently surprised and gormless Michael Gove. A pot shot is taken at Nadine Dorries, who is responsible for the ENO’s current funding crisis, as she hilariously tries to break back in to the Houses of Parliament. And we loved the analogy of the Lord Chancellor having a terrifying nightmare that he had to move the Palace of Westminster to the frozen north as part of the government’s levelling up agenda. Perfect!
Did the Lord Chancellor’s page make it out of the performance physically unscathed? He is bounced from place to place – falling, being clobbered and then dropped from a great height. Give the marvellous Adam Bown his own one-man comedy show.
Please check out our other reviews and if you are new to opera you may find these tips useful for your first visit.
The ENO’s Iolanthe fairy world is a colourful pot pourri. Each fairy costume has been painstakingly designed to match the fairy’s unique personality – be that sexy and sultry, rotund and matronly or fun and impish. And the fairies stole our hearts. Petra Massey’s zip wire punching aerial antics have the charm of a Renaissance cherub. Bethan Langford as Leila exudes demure dimple-poking sweetness. The metal-clad, Wagneresque Queen of the Fairies, Catherine Wyn-Rogers, electrifies with a powerful performance embodying matriarchal warmth and strength. Samantha Price as Iolanthe brings her distinctive mezzo soprano and balletic moves to the titular role.
All in all, Iolanthe is a splendid frothy confection that will be voraciously devoured by both adults and children alike.
Maxine Morse
Maxine trained as an opera critic on ENO Response the opera critics training scheme sponsored by the English National Opera and mentored by Critics’ Circle. She is currently taking live performance reviewing courses at the City Lit and Harvard University.
Please get in touch if you would like her to review opera for your publication.
UNITED KINGDOM, LONDON
Iolanthe at the English National Opera.
Samantha Price as Iolanthe and John Savournin as the Lord Chancellor in Iolanthe in the Cal McCrystal production of Gilbert and Sullivan’s operetta Iolanthe continuing the 2023 to 2024 season of the English National Opera at the London Colosseum. The opening night for ENO Iolanthe is on the 5 of October and then 12 performances up until the 25th of October.
The ENO’s Peter Grimes is not going to be a cosy night at the opera. You can see that in the sparse cantilevered set – dark and gloomy. This will be harrowing viewing.
In a small gossipy fishing village on the English East Coast we find the brow-beaten Peter Grimes (Gwyn Hughes Jones) standing trial for the death of his apprentice. Grimes protests it was an unfortunate accident and Swallow (Clive Bayley), the prosecuting lawyer, forcefully disputes his account much to the delight of the baying crowd. Reluctantly acquitted, Grimes is clearly guilty in the court of public opinion.
Peter Grimes, the impoverished fisherman, is the Borough’s scapegoat. Neither likeable or dislikeable, he melds into his grimy and grey surroundings. But he has dreams. Conventional, keeping up with the Joneses dreams, of a wife, a house, a happy life and money. This will buy him status and an escape from exclusion.
Unable to work alone or pay for adult labour, he must fly in the face of Swallow’s advice by finding another apprentice to repair nets and help haul fish.
Ellen Orford (Elizabeth Llewellyn) longs to marry Grimes. He is not a catch but probably the best that a lonely widow can do. She convinces the Borough that she will nurture and safeguard any child procured for Grimes from the workhouse.
Grimes has spied a shoal of fish. But a deadly storm is brewing. Grimes sees his chance as no other fishermen will be brave enough to net it. The boy is tired and terrified.
We can see this is not going to end well…
Elizabeth Llewellyn starts out scratchy and screechy, singing in the upper range of her register, mirroring her inner desperation. Her voice mellows into a powerful angst-ridden performance that propels us into her inner world of hopes and dreams that are constantly dashed like waves crashing on the shoreline.
Peter Grimes’s apprentice, Rudy Williams, with his animalistic hiding behaviours and mute writhing, perfectly conveys the sheer fright of being apprenticed to a potential murderer.
Set against the theme of social alienation is a Dickensian exploration into small town bigoted bloody mindedness. The hypocrisy of the village is laid bare. The apothecary Ned Keene (Alex Otterburne) is not above supplying laudanum to the elderly Mrs Sedley (Anne-Marie Owens), a sleuthing Miss Marple who in turn, gleefully spreads unfounded gossip about Grimes in her drug fuelled haze.
Two pre-pubescent nieces (Cleo Lee-McGowan and Ava Dodd) who hopscotch dance and carry their dolls are sexual fodder for the sleazy fisherman and Methodist preacher Bob Boles (John Findon).
Their Auntie, a pub landlord (Christine Rice) prowls round the stage in her fur coat and walking stick. Rice’s forceful vocals make her the embodiment of female power in this male centric society. She is after all the purveyor of sex and alcohol.
The chorus scenes shine bright. Mob rule at its best. The movement director, Maxine Braham, does a fine job of creating spectacle after spectacle…the crowd clench fists, clasp hands and punch the air…or dance a surreal country jig reinforcing the notion that this tightly knit community will be seeking their next victim when they have dispensed with Grimes.
Director David Alden creates a thrilling psychological spectacle. On occasions, he takes things too far. Would even the most despicable drunk sexually intimidate an elderly woman?
Please check out our other reviews and if you are new to opera you may find these tips useful for your fist visit.
It is rare to find an opera where the lighting plays such a pivotal role in evoking a menacing atmosphere. Lighting revival designer, Gary James, takes us from bleak seashore to dim workhouse, to cosy pub, to evening street party and then to Grimes’s solo dramatic soliloquy with its strong, almost incandescent, light and black shadows.
Gwyn Hughes Jones role is challenging. It calls for a socially inept man who yearns to rise to life’s challenges but is held back by lack of self belief. Hughes Jones slips into this role with apparent ease, neither singing too forcefully or too timidly. His voice convincingly conveys the twists and turns of his enigmatic situation.
Martyn Brabbins is a master of orchestral control. He sweeps the audience up in the stormy, frothing sea, harbour bustle, misery and hopelessness. The orchestra came on stage for much-deserved applause during the curtain call. Their performance was the tour de force of the night.
We prayed hard and fervently for Grimes to reappear with his workhouse apprentice…simply a misunderstanding. Or for him to heed Ellen Orford’s plea to “Come home out of this dreadful night”. Engulfed by his feelings of unworthiness and hopelessness, he is swayed by the devilish suggestion from Captain Balstrode (Simon Bailey) to take his boat out far from shore and sink it.
Who will be the Borough’s next victim?
Maxine Morse
Maxine trained as an opera critic on ENO Response the opera critics training scheme sponsored by the English National Opera and mentored by Critics’ Circle. She is currently taking live performance reviewing courses at the City Lit and Harvard University.
Please get in touch if you would like her to review opera for your publication.
UNITED KINGDOM, LONDON, 18th September 2023
ENO Peter Grimes at the English National Opera.
Gwen Hughes Jones as Peter Grimes in the David Alden production of Benjamin Britten’s opera Peter Grimes opening the 2023 to 2024 season of the English National Opera at the Colosseum. The opening night is on the 21st of September and then 8 performances up until the 11th of October.
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