Signed in as:
filler@godaddy.com
NEW ZEALAND WINE TASTING
15 NOVEMBER
Adrian from the Good Wine Shop in Chiswick introduced us to 7 New Zealand wines : 1 sparkling, 3 white wines and 3 red wines, 5 from the Marlborough region and 2 red wines from Hawke’s Bay.
Marlborough and Hawkes Bay are two of New Zealand’s premier wine regions. Marlborough located at the northern tip of the South Island, is world renowned for its crisp, aromatic Sauvignon Blanc and elegant Pinot Noirs, benefiting from its sunny days, cool nights and free-draining soils. On the North Island, Hawkes’s Bay - New Zeland’s oldest wine region - iscelebrated for its full-bodied Merlot with its lush plum and chocolate flavours.
New Zealand’s wine industry has its roots in the early 19 th century with the first grapevines planted by missionaries in 1819. The modern era of New Zealand wine took off in the 1970’s with the rise of Marlborough Sauvignon Blanc, which gained global acclaim for its vibrant, aromatic style. Today, New Zealand is celebrated as a leading producer of premium, sustainably produced wines with its innovative techniques and unique terroirs earning international recognition.
EURYDICE AT THE JERMYN STREET THEATRE
6 NOVEMBER
After enjoying a pre-theatre drink and snack at the Waterstones 5th view bar and restaurant in Piccadilly, we made our way to the Theatre.
Eurydice at the Jermyn street theatre is an accessible and engaging take on a classic. It reimagines the ancient myth from an entirely different perspective. While the original tale of Orpheus is centred on his heroic descent into the underworld to reclaim his lost love, Sarah Ruhl’s adaptation shifts the focus to Eurydice herself. Here, the narrative becomes less about Orpheus ‘failed’ descent and more about Eurydice’s ‘failed’ ascent—a story of a woman caught between life and death, memory and forgetfulness, surrounded by men who pull her in different directions.
The Jermyn street theatre provides the opportunity to watch on an intimate scale. The set design, despite its simplicity, was atmospheric transporting us with ease to the two worlds of the living and the dead.
A highlight of the play was the relationship between Eurydice and her father in the Underworld. The theme of love was beautifully explored, bringing a new layer to the myth and a welcome note of joy and tenderness in the performance.
GLOBE THEATRE GUIDED TOUR
19 OCTOBER
Our excellent guide really brought the history of the Globe Theatre to life. With vivid storytelling, he transported us back to Shakespeare’s time, explaining the theatre’s origins, its destruction and rebuilding.
The reconstruction of the Globe Theatre, after its destruction in 1644, was a remarkable project driven by the vision and passion of American actor and director Sam Wanamaker. He was determined to rebuild the iconic theatre as close to its original form as possible.
The reconstruction process took decades, involving extensive research to ensure historical accuracy. Architects and historians worked together to use traditional materials and building methods from the 16th century, including oak timbers, thatch for the roof (one of
the few thatched roofs allowed in modern London), and lime plaster for the walls. Since no detailed blueprints of the original Globe existed, they relied on historical drawings, written descriptions, and archaeological findings to guide the design. Financing the project was a
challenge, but thanks to contributions from thousands of individuals, companies, and governments around the world, it finally became a reality. The stepping stones around the theatre, engraved with the names of donors, pay tribute to those who helped bring
Wanamaker’s vision to life.
The Globe was completed and opened to the public in 1997, standing just a few hundred yards from the site of the original theatre.
He also explained that the actors at the Globe Theatre face several unique challenges due to the historical design of the building, which significantly influences their performances.
Unlike modern theatres, the Globe is an open-air structure, meaning performances happen under the sky, often exposed to unpredictable weather conditions. Without a roof, the actors must contend with external noise, such as wind, rain, or even sounds from nearby boats on the Thames, which can easily disrupt the performance.
Furthermore, lighting plays a significant role. Since the Globe uses natural daylight instead of artificial lighting, performances must occur during the day, and actors rely on their physical presence, facial expressions, and body language to convey emotion, as there are no light cues to create dramatic effects. The intimacy between actor and audience is heightened as well, with no barriers separating the two, allowing for spontaneous interactions. This creates a dynamic environment where audience reactions can influence the pace and energy of the performance, adding another layer of complexity to the actors' work.
We concluded the tour with a self-guided visit to the exhibition space followed by a trip to the gift shop - requested by some of our members - and a meal at a nearby Greek restaurant, with a beautiful view of the Thames.
WALK WIMBLEDON TO RICHMOND
5 OCTOBER
We set off from Wimbledon Park station for our Capital Ring walk, heading towards Petersham Nurseries in Richmond, and couldn't believe our luck with the weather. After nearly a week of relentless rain, the skies cleared, offering us a bright, crisp day perfect for walking.
We crossed Wimbledon Common, its open expanses and wooded paths offering a peaceful escape from the city. As we entered Richmond Park, we spotted a herd of deer grazing in the distance, and a majestic solitary stag standing proudly away from the herd.
We ended our 3 hour walk at Petersham Nurseries, a charming oasis tucked away along the Thames. The nursery also features a delightful café and teahouse, where some of us enjoyed a well-deserved break and drink.
CONCERT @ LEIGHTON HOUSE
1 OCTOBER
The Kensington and Chelsea Music Society hosted the opening concert of the season with Beethoven violin sonatas in the beautiful surroundings of Leighton House. With its richly decorated interiors and intimate atmosphere, the venue provided the perfect backdrop for this classical recital, enhancing the experience with its unique blend of art and history.
We enjoyed Beethoven's powerful and expressive violin and piano sonatas, Fauré’s graceful and haunting Sicilienne, and Bartók’s vibrant and rhythmic Romanian Folk Dances, all exquisitely performed by Sara Trickey (violin) and Daniel Tong (piano).
AKRAM KHAN'S GISELLE @ SADLER'S WELLS
24 SEPTEMBER
Akram Khan’s Giselle reimagining of the classic 19 th -century ballet, blending traditional elements with contemporary dance and story was striking, timeless and hauntingly modern.
The dancers, who represented a marginalised, dispossessed class, moved with a blend of classical ballet precision and contemporary fluidity. Akram Khan’s intense, rhythmic and
expressive style created a sense of urgency and unease right from the start, echoing themes of social exclusion and betrayal.
Tim Yip’s set design reflected a bleak and otherworldly environment. The decaying factory wall served as a physical and symbolic barrier between the elite and the workers Composer Vincenzo Lamagna’s score alternated between lyrical beauty, raw industrial noise, but also silence, playing a crucial role in building tension throughout the ballet.
The choreography was compelling with the expressive but also eerie and synchronised movements of the English National Ballet. The use of shadow and light by Mark Henderson enhanced the eerie atmosphere.
This version of Giselle felt urgent and modern. The shift from pastoral fantasy to industrial
dystopia gave the story a new relevance in today’s world. Going beyond the romantic
tragedy of the original, highlighting issues of class, power and marginalisation, it was a
stunning and thought provoking production, highly to be recommended.
VISIT TO THE HOUSE OF PARLIAMENT
14 SEPTEMBER
Our knowledgeable guide gave us a very interesting tour, full of quirky anecdotes, of the Houses of Parliament. We started with the oldest part of the building, the Westminster Hall,dating back to 1097. The original Norman wall can still be seen behind a window. The Hall witnessed the trials of King Charles I and Guy Fawkes. Its vast oak roof is one of the largest medieval timber roofs in Europe using short horizontal beams, hammer beams, that project from the walls and support the roof without the need for vertical supports in the middle of the hall.
We went to the House of Lords and Commons. The Lords Chamber is more ornate, featuring red benches and a grand throne for the monarch during the State Opening of Parliament. The House of Commons is famous for its iconic green benches and lively debates particularly during Prime Minister’s Questions. It was almost completely ruined by fire during World War II and was rebuilt by Sir Giles Gilbert Scott whose goal was to retain the essence of the original chamber designed by Sir Charles Barry after the 1834 fire.
In the heart of the building lies the Central Lobby, an octagonal room under the Big Ben clock tower, symbolising the meeting place of the two houses of Parliament where MPs meet constituents and each other. It is beautifully decorated with mosaics representing the four nations of the UK, a vaulted roof as well as the bronze statues of Winston Churchill, David Lloyd George, Clement Atlee and Margaret Thatcher who complained that her statue should have been made of iron!
Some of us enjoyed a pub meal at the Westminster Arms, a stone’s throw away from the Houses of Parliament popular with politicians and featuring a division bell so that MPs can dash back to the House in time for the vote.