Category Archives: Reviews

Porto in five senses – sight

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Torre Clerigos views by James HainsworthThis travel article was originally published in April 2020.

In February 2020, my hub and I flew to Porto for a city-break. It’s difficult to imagine how easily we took that freedom for granted before the coronavirus spread into a global pandemic.

For a long time, I thought I’d wait until life goes ‘back to normal’ to publish my impressions of Porto, but I’ve realised how important it is to remember what an extraordinary world exists beyond the homes we’re now confined to.

Each Tuesday over the coming weeks I’ll post a new travel guide to Porto focusing on a different sense,

Two weeks ago I began our five-part journey with the sense of smell.

Last week we tucked into the sense of taste.

This week we’ll explore the sense of sight.

Sight – climbing high for panoramic views

You can’t beat a tower for views. Torre Clérigos’ lovely, spindly structure has been standing for more than 250 years, but only opened to the public in 2014 following a full renovation. The baroque tower is more than 75m high, with 225 steep winding steps that open up into narrow viewing platforms offering a 360° panorama of the city.

Torre Clerigos church by Judy Darley

Your entrance ticket includes a visit to the church, Igreja dos Clérigos, which is circled by walkways that take you up and up, with openings at all sides and levels to offer views of the church and all its treasures from every possible vantage point. There’s also a museum that includes the exhibition Passion, Journey of Shapes and Images of the Christ.

Reaching the top of the tower takes patience and persistence as there’s only room for one way traffic, which means everything comes to a halt whenever a tourist wants to go down. The steps are winding and uneven, so do be careful, and take your time.

Torre Clerigos by Judy Darley5

On the way up the winding stairs, narrow slits offer glimpses of Porto. Photo by Judy Darley

It’s well worth the spiralling pilgrimage, however. From the highest level you can view everything from the bridges and port houses to the nearby Livraria Lello bookshop (Livraria Lello, S.A. Rua das Carmelitas, 144 4050-161 Porto Portugal), credited with inspiring JK Rowling while she was writing Harry Potter. We decided to pop in (which required more patience and persistence than the tower!), after we’d drunk our fill of the sights from Torre Clérigos.

The serpentine queues waiting to enter Livraria Lello are nothing compared to the crush within, where people edge toe to heel with one another through the glorious space where books look on in wonder (I assume). Think the exact opposite of social distancing and you might be able to envision the intensity of the crowds.

Livraria Lello by Judy Darley

Livraria Lello – one of the world’s most beautiful bookshops, even without the Harry Potter fame. Photo by Judy Darley

Explore Porto’s sensory offerings

Porto in five senses – smell
Porto in five senses – taste
Porto in five senses – hearing
Porto in five senses – touch

Porto in five senses – taste

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Porto Calem tasting by James Hainsworth

Fortify yourself with a sip of the elixir named after this fair city. Photo by James Hainsworth

This travel article was originally published in April 2020.

Little over a month ago, my hub and I travelled to Porto for a long weekend away. We had no idea how extreme the global coronavirus pandemic was about to become, or that by this time we’d be growing accustomed to life in lockdown.

I considered waiting until this is over to publish my experiences of Porto, but believe a little armchair travel is more important now than ever.

Each Tuesday over the coming weeks I’ll post a new travel guide to Portugal’s second city, one of my favourite places in the world, focusing on a different sense. Last week I guided you through Porto via the sense of smell.

This week I’ll show you around via the sense of taste.

Taste – the port houses

Porto is famed for its port houses, and the rich, sweet fortified wine you might pull out on winter evenings is actually named after the city. To reach it, you can amble down the alleyways from Porto Cathedral to the Ribeira district. The river is crossed by six bridges, the most famous and photographed of which is Dom Luis I Bridge, built in 1886 and designed (you might have guessed this from its familiar structure) by a student of Gustave Eiffel.

The lower level of this one (the road-traffic and pedestrian level) is the one you want, Stroll across to Vila Nova de Gaia, pausing to admire views over the water and the cable cars swooping over Vila Nova de Gaia.

Founded António Alves Cálem in 1859, Porto Cálem (Avenida de Diogo Leite, 344, Vila Nova de Gaia) exported across the Atlantic to Brazil rather than the UK like everyone else. It clearly paid off – within a few years, the business had its own fleet of ships. Today Cálem,along with Kopke, Burmester and Barros, is part of the Sogevinus group, and boasts an interactive museum and atmospheric tours culminating at the tasting room.

The museum is a fun starting point, with information on the Douro region where wines are produced before being brought to Gaia to further deepen their flavours with time and patience. My favourite part of the exhibition was a table of smells, where you could take a sniff, try to identify the smell, and then reveal your accuracy by pulling out a drawer. Hazelnut, it appears, has a more recognisable and pleasing aroma than chocolate, which is unexpectedly bitter in scent.

There’s also a chance to watch a curiously relaxing film of skilled artisans crafting a gigantic oak and stainless steel port barrel.

Porto Calem tour by James Hainsworth

The informative tour includes in eerie insight into flooding in the Gaia district, with water heights on marked on a gigantic barrel.

But the highlight, of course, is the tasting, where you can sip the silken white, tawny, ruby and even rosé port, with flavours encompassing plums, sultanas and hints of honey.

Time your visit with care, and you might emerge into the riverside’s glimmering dusk with the sweetness of port still on your tongue.

Rio Douro after nightfall by Judy Darley

Explore Porto’s sensory offerings

Porto in five senses – smell
Porto in five senses – sight
Porto in five senses – hearing
Porto in five senses – touch

Porto in five senses – smell

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Claus Porto exterior by James Hainsworth

Claus Porto, Rua das Flores. By James Hainsworth

This travel article was originally published in April 2020.

On the last day of February 2020, my hub and I flitted off for a long weekend in Porto. It was in the week that separates our birthdays, and 29th February is a rare date that in itself made us want to make it memorable.

We had no idea how extreme the global coronavirus pandemic was about to become, or that just weeks later we’d be in lockdown, confined for the most part to our own homes for our safety and the safety of others.

For a long time, I thought I’d wait until this is over to publish my travel piece about Porto, and that there was no point in sharing it until people can roam again. Then I realised how important it is to remember what a beautiful, wide and varied world exists beyond the views we see from our windows. I originally published this piece on 31st March 2020. As we embrace travel with open arms once more I want to share it again, and dream of journeys to come.

Portugal’s second city is a vivid tangle of streets bisected by the River Douro, with the banks linked by gorgeous bridges and flanked by steep streets lined with colourful buildings housing residents, bars and museums aplenty. It’s the perfect place for a 48-hour escape, with uncommon attractions to feed each of your five senses.

Each Tuesday over the coming weeks I’ll post a new travel guide to Porto focusing on a different sense, beginning with the most evocative – the sense of smell.

Smell – Claus Porto’s fragrance emporium

Claus Porto (Rua das Flores, 22 Porto 4050-262) is a fantastic soap and perfume company founded by German businessmen Ferdinand Claus and Georges Schweder in 1887 in the Portuguese city they loved. Using ingredients sourced from the Portuguese countryside and eventually opening its own lithography company to produce the art gallery-quality packaging, Claus Porto has survived two World Wars, plus dictatorships and revolutions.

Claus Porto soaps by Judy Darley

Claus Porto soaps, not artisan bakery macaroons… By Judy Darley

The flagship store occupies a typical 19th-century Porto townhouse that used to be a marionette museum and now sports an eye-boggling tiled floor and an exhibition space on the first floor showing off their packaging and historical titbits, including a gold medal awarded at the 1904 World’s Fair in St Louis, USA.

Their packaging is so exquisite that you can now buy matching notebooks – ideal for those moments of bathroom inspiration!

Claus Porto soap wall by James Hainsworth

Claus Porto shows off its lithography from floor to ceiling. By James Hainsworth

Don’t miss the ‘soap wall’ exhibit mid-way up the staircase.

The ground floor includes an artful array of luxurious soaps, lotions and other products we could only afford to sniff, plus a barber’s station. Natural ingredients range from wild pansy to parma violets to figs to cedar to tobacco blossom. During our brief visit, we grew rather fond of the barber’s dog.

Claus Porto barber's dog by Judy Darley

Meet the barber’s dog. By Judy Darley

Next week, I’ll introduce you to Porto’s tastiest attraction – port!

Explore Porto’s sensory offerings

Porto in five senses – taste
Porto in five senses – sight
Porto in five senses – hearing 
Porto in five senses – touch

Theatre review – Waldo’s Circus of Magic and Terror

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Abbie Purvis as Krista. Photo by PAUL BLAKEMORE

With a cast of phenomenal actors and circus performers, Waldo’s Circus of Magic and Terror is a show that teems with energy, friendship, treachery and wonder. Written by Hattie Naylor and Jamie Beddard, and created by Extraordinary Bodies with Bristol Old Vic and Theatre Royal Plymouth, it tells the tale of a time when being different could cost you your life. Set in 1933, Germany, as the Third Reich are beginning to eradicate anyone they don’t like the look of, Waldo’s travelling circus offers a refuge to outcasts, while the whole ensemble face great dangers themselves.

Garry Robson as Waldo and company. Photo by Paul Blakemore

We open on a scene at the end of a performance, gaining a visual teaser of the talents on stage, from aerialists to jugglers. Hijinks with ladders, bowler hats and trapezes enthral, and audience member and would-be chemist Gerhard (Lawrence Swaddle) has his life changed forever when he braves the tightrope and is invited to join.

Garry Robson as Waldo the Ringmaster is a brilliantly complex character, hard on his performers and even harder on his own son Peter (Tilly Lee-Kronnick), with terrible consequences. Mirabelle Gremaud’s fortune teller/acrobat Queenie can see the darkness that’s coming, while in her other key role as Margot, she’s eager to embrace all that the Nazis stand for.

Despite the circus tricks, this is very much a show for ages 12 and up.

Like all good circus, and theatre, humour runs alongside pathos, Raphaella Julien and Brooklyn Melvin provide poignant and comic edge as signing clowns Mish and Mosh.

The signing is elegantly dance-like, and show interpreter Max Marchewicz is another delight – observing, signing and occasionally interacting with the rest of the cast when we least expect it.

As the star of the circus, Krista (Abbie Purvis) wins our hearts, and Gerhard’s, often delivering hard truths in the form of song. Love stories erupt and falter throughout, as the characters scrutinise their own and each other’s prejudices.

Full Company IMAGES PAUL BLAKEMORE

One of the most moving scenes shows an argument between Abbie and Gerhard in which he admits he believes his life may be worth more than that of Dora (JoAnne Haines), following which Dora clowns around gracefully trying to make the despondent, self-doubting Gerhard smile.

Circus skills add to the emotional heft. aerial work by Jonny Leitch (Renee) and Tilly Lee-Kronnick is a particular marvel, defying gravity while subtly demonstrating their characters’ deep affection for one another.

By the end, many of the characters have gained fresh understanding of each other’s perspectives, and we, as an audience have too.

Aside from all that, however, this is very much an homage to the joy and sparkle of performance, and the far-reaching strength of empathy and courage.

Photos by Paul Blakemore.

Waldo’s Circus is on at Bristol Old Vic until 1st April before going on tour.

All performances are Chilled*, Signed, Captioned and Audio Described.

Find details and buy tickets here.

  • 20 – 22 April  The Lowry Salford Quays
  • 26 – 29 April  Theatre Royal Plymouth
  • 4 – 6 May  MAST Mayflower Studios Southampton
  • 20 May  Lighthouse Poole
  • 7 June  Brighton Dome

Have you watched, seen or read anything interesting? I’d love to know. I’m always happy to receive reviews of books, art, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Book review – An Unfamiliar Landscape by Amanda Huggins

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An Unfamiliar Landscape cover. Shows small figure in a yellow and green cityscape.If you’ve read Amanda Huggins’ fiction before, you’ll be aware of the richness of her writing. Equally comfortable writing page-long tales, novels and poetry, Huggins appears to inhabit the worlds she conjures, adding details with the power to be both delicious and disconcerting.

In An Unfamiliar Landscape, Huggins’ third full-length collection, the opening short story Aleksandr offers vapour trails of backstory and future story, so that when it ended, it left me hungry and eager for more.

“I know he hates being on land, that he feels tied to the sea by an invisible thread, that it pulls him back with every ebbing tide.”

It’s easy to fall hard for Huggins’ characters, who spring from pages fully formed and eager to make your acquaintance. Their emotions are deftly, colourfully painted, with yearning a key trait. Even seen through others’ eyes, many seem wistful and searching, making me want to offer solace.

Huggins is able to weave more into a single paragraph than many achieve in pages of text, adding texture and significance to the worlds she creates for her characters to inhabit. Many of these worlds are salt-scented UK coastal settings, while others  lure us further away, inviting us to explore Tokyo, Paris, Berlin and other places.

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Theatre review – Hamlet

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Billy Howle as Hamlet holding skull1. Photo by Marc Brenner

Bristol Old Vic’s departing Artistic Director Tom Morris describes Hamlet as a play about memory. This is true for the characters, struggling to come to terms with the changes that caused by loss – in themselves, loved ones and circumstances. The world itself seems altered. In this filmic, visually rich production, the very set moves – graves appear almost underfoot (Firdous Bamji as the gravedigger is a particular delight) and doors, windows and staircases expose themselves as the character reveal their own complex facets. Set designer Alex Eales took inspiration not only from the Danish town Helsinger, which Shakespeare based Elsinore on, but from MC Escher drawings, and it shows.

The actors make full use of this space, portraying a full gamut of human emotion against the starkly lit, rotating, towering background.

Mirren Mack as Ophelia and Niamh Cusack as Gertrude.

Mirren Mack as Ophelia is initially warm and relatable, making her descent into grief and, in this production, drug addiction, all the more shocking. Niamh Cusack brings layers to the role of Gertrude, adeptly unveiling the character’s inner battles between her desire to protect, defend and chastise her son. In Cusack’s skilled hands, Gertrude is perhaps the most nuanced character – hiding her mourning for her dead husband behind the thrills of her new marriage even as she begins to distrust Claudius (Finbar Lynch in deeply sinister form).

As Hamlet, Billy Howle is impassioned, unhinged and utterly believable, as the actor, perhaps best known for his film and TV roles, gives his heart, body and soul to the role. His energy is mesmerising as he contorts himself in the throes of anger, mischief and anguish, while video designer Jack Phelan’s footage reminds us that this tortured creature was once a happy little boy.

Isabel Adomakoh Young at Horatio with Billy Howle as Hamlet_Photo by Marc Brenner

Isabel Adomakoh Young at Horatio with Billy Howle as Hamlet.

On the theme of memory, there’s pleasure to be had throughout from hearing classic lines expertly delivered by all nine actors, and of, as so happens with Shakespearean plays, discovering and re-discovering the root of familiar sayings, from “Get thee to a nunnery” (spoken by Hamlet to Ophelia and far more heartbreaking in context) to the ghost’s line regarding “murder most foul.”

The fight scenes directed by Bret Yount and many deaths are aptly dramatic with plenty of bloodshed, and at the other end of the scale we have parental and filial love, the latter demonstrated elegantly between Hamlet and Horatio (Isabel Adomakoh Young).

This is a production that gleefully toys with all of our senses, including smell, and enthrals throughout.

Photos by Marc Brenner.

Hamlet runs at Bristol Old Vic until 12 November 2022. Buy your tickets at www.bristololdvic.org.uk/whats-on/hamlet / Tel: 0117 987 7877.

Credits

Writer William Shakespeare                                Director John Haidar

Set Designer Alex Eales                                        Costume Designer Natalie Pryce

Lighting Designer Malcolm Rippeth                     Movement Director Lucy Cullingford

Composer & Sound Designer Max Pappenheim   Video Designer Jack Phelan

Casting Director Sam Stevenson                           Fight Director Bret Yount

Costume Supervisor Zoe Hammond                     Assistant Director Elinor Lower

Hamlet Billy Howle                                                Ophelia Mirren Mack

Gertrude Niamh Cusack                                       Claudius Finbar Lynch

Laertes/Rosencrantz Taheen Modak                    Polonius/Osric Jason Barnett

Horatio Isabel Adomakoh Young                         

Ghost/King/Gravedigger Firdous Bamji

Guildenstern/Reynaldo/Player queen Catrin Stewart

Have you watched, seen or read anything interesting? I’d love to know. I’m always happy to receive reviews of books, art, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Book review – The Shadows We Cast by Sarah Tinsley

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The Shadows We Cast book cover_Sarah TinsleyWith chapters headed by names and starting with two time-frames (Now, After), the moment you open The Shadows We Cast by Sarah Tinsley, it’s clear we’re in psychological thriller territory. The first chapter, from Nina’s point of view, crackles with alarm, while the second, from Eric’s viewpoint, is no less gripping.

Tinsley layers in sharp, pithy descriptions that match the tone: “His pulse is a train-click”, “The stretched darkness of winter has always grated on him.” We’re fed settings and circumstances line by atmospheric line, so we’re fumbling with the characters to understand what’s happened and who is in the wrong.

There’s humour too, as Nina navigates the perils of getting a coffee at work while avoiding chat, speeding past “the HR lot, wallowing around the kitchen like it’s a watering hole” and passing Brian in Sales, who, thankfully “seems safely amused by something on his phone, either that or he’s checking up his nostrils.”

Later, a group of ‘office drones are described through Eric’s eyes as having “gel swooping their hair, like a wind has caught each one in a different direction.”

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Novella review – Sybilla by Joanna Campbell

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SYBILLA COVER. Shows watercolour city scape.

The winning entry of National Flash Fiction Day’s inaugural novella-in-flash competition is a vivid splash of light striated with human emotions.

Joanna Campbell’s ‘Sybilla’ draws us into the seemingly peaceful world of a Berlin bookshop where shelves are stacked with books rescued from bombed homes. Campbell’s lyrical writing paints exquisite watercolours of each scene. In the first flash, aka chapter, ‘Stacking’, we get to know the routine of Lara and Felix, from the “blue cup and saucer” Lara keeps by the cash register, which Felix refills from “a steaming jug every hour”, to the rows they construct “of jacketless little books about trees and butterflies and canals” and the pile they build of books about “ships, viaducts and mountains.”

Adding to that the sounds of “coffee pouring and the hands of the grandfather clock juddering” and my first impression was that there’s nowhere else I’d rather spend time.

But outside in their city of ruined buildings, a wall is rising that divides West from East Berlin: “The Wall grows fast, casting the shop into shadow.”

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Anthology review – Monsieur, three Novelettes-in-Flash

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Monsieur_Front Cover. Shows a jetty reaching into water in sepia tones.The latest anthology of winning novelettes-in-flash from Retreat West offers up three intriguingly layered tales.

The first is the title novelette, Monsieur by David Rhymes. It opens with an impressively crafted line that succeeds in telling you reams about setting, time and character: “I tell Monsieur that if I were a man, I’d be a libertine, immune to the chains of propriety.”

That Jeannie, our heroine, is examining her master’s nipples “with the aid of an enlarging glass” within that page neatly informs us that this is a woman determined to explore life from every available viewpoint, unhindered both by class and gender.

A yearning for freedom and passion for the natural world hum throughout this densely and visually rich tale, as, encouraged by Monsieur, Jeannie disguises herself as the less fair sex and discovers a fresh side to her own nature: “with my chest pressed flat, my chin made sooty with a lick of dust, I felt more confident – I strode out in plain sight.”

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Book review – Unlocking the Novella-in-Flash by Michael Loveday

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Unlocking-the-Novella-in-Flash-webWith the sub-title “from blank page to finished manuscript”, this is very much the printed equivalent of taking a focused MA on the topic of the novella. It’s laid out beautifully clearly into modules, with delicious, restorative snacks in the form of exemplary flash fiction nuggets to nibble on along the way.

Author, editor and creative coach Michael Loveday explains that his book is an assortment of suggestions to help you find out what works for you in the area of novella-in-flash. In this way, it seems intended to be used less as a map than a tourist guide of hotspots you can choose to visit and enjoy.

Even if you would usually bypass the Prologue, you ought not to this once, as in Loveday’s hands it becomes almost like a ‘meet and greet’ at the start of a tour. “This craft guide isn’t seeking to set out fixed rules for how every novella-in-flash should be written,” he writes. “So much remarkable writing deliberately breaks the boundaries of common practice. Instead, (it) is intended as a springboard, a source of ideas and options.”

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