Step into the new season with a bounty of delights to discover on your doorstep. This issue, we take a trip to Mill Road to reveal its must-visit restaurants and shops, highlight some sensational staycation spots, serve up some tasty recipes and bring you all the latest from the local culture scene.
YOUR MONTHLY FIX OF
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JANUARY 2023
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Cambridge Edition Magazine Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ, 01223 499450, cambsedition.co.uk • All rights reserved. Material contained in this publication may not be reproduced, in whole or in part, without prior permission of the publishers. • Views expressed in this magazine are not necessarily those of Cambridge Edition or Bright Publishing Ltd, which do not accept any liability for loss or damage. • Every effort has been made to ensure all information is correct. • Cambridge Edition is a free publication that is distributed in Cambridge and the surrounding area. EDITORIAL Editor in chief Nicola Foley 01223 499459 nicolafoley@bright.uk.com Assistant editor Miriam Balanescu Editorial assistant Alex Fice Editorial director Roger Payne Deputy chief sub editor Matthew Winney Sub editors Harriet Williams & Ben Gawne ADVERTISING Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Ad manager Maria Francis 01223 492240 mariafrancis@bright.uk.com CONTRIBUTORS Lawrence Brown, Dr Gareth Lloyd, Anna Taylor & Elisha Young DESIGN & PRODUCTION Senior designer Lucy Woolcomb Designer Emma Di’luorio Junior designer Hedzlynn Kamaruzzaman Ad production Man-Wai Wong MANAGING DIRECTORS Andy Brogden & Matt Pluck
elcome to our first issue of 2023! This month, we’ll banish any January blues and help you step into the new year with your best foot forward, in an Edition packed with ideas for getting out and enjoying Cambridge. If you’ve started the year with ambitions to get fit, but the idea of joining a gym leaves you cold, we’ve scoured the city for the most fun and inclusive exercise groups around. From a beer and running group to a nightclub-based ‘movement and mindfulness’ class, see if we can inspire you to don your trainers on page 50. Perhaps you’re keen to learn a language? Find out what’s on offer here – and why Cambridge has been deemed the number one spot in the UK for language education – on page 58. Hospitality has taken a battering over the past few years, but Cambridge’s culinary landscape is thriving once more, with a flurry of recent openings and more to come in the months ahead. Discover a gourmet hot chocolate shop, crumble pop-up, new pasta restaurant, artisan doughnut bakery and plenty more besides, as we meet the entrepreneurs preparing to make a splash on the local scene from page 37. Plus, we catch up with comedy king Harry Hill ahead of his first tour since 2013, learning that while he may be getting older, he’s got no plans to slow down or play it safe (page 23). Adored actress Lucy Porter also reflects on advancing years in this issue, sharing news of her latest stand-up show Wake-Up Call – a laugh-a-minute ‘midlife crisis management seminar’. Check it out on page 17. We’ve also got all the headlines from the culture scene, interiors inspiration, gardening tips, plus a great giveaway in partnership with Cambridge Half Marathon – enjoy the issue and see you next month!
EDITOR IN CHIEF
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Contents
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04 Starters This month’s indie wish list, plus our favourite social media pics of Cambridge 07 Culture Club Exhibitions to inspire, theatre highlights, big-screen must-sees and more 29 Diary Dates From community fairs to music festivals, get planning for 2023 ’ s most anticipated events 30 Food News Gastronomic goings-on, including Burns Night festivities and Veganuary hotspots 37 Ones to Watch Meet the movers and shakers stepping up to the plate to shape Cambridge’s culinary landscape 47 Restaurant Review We sample the offering at an under-the-radar foodie gem, The Folio Bar & Kitchen
49 Elisha Eats Forget depriving yourself this January, Elisha has inspiration aplenty to make your month delicious 50 Wellness Fun fitness ideas, relaxing retreats and a VIP Cambridge Half Marathon prize giveaway! 58 For the Love of Languages Discover the joys of later-in-life learning at one of the city’s many linguistic hubs 63 Education Spotlight Stoke College’s principal considers the lasting impact of the pandemic on pupils 65 Multicultural City How Cambridge will be ringing in the Chinese New Year this January 66 Home Edition Property insights, stylish home storage solutions and Anna’s gardening tips for this midwinter
Illustration by Hedzlynn Kamaruzzaman, inspired by an Instagram photo taken by @bogdan.vasilesscu
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LOCAL LIFE
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January
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THIS MONTH’S MUST-HAVES FROM LOCAL INDIES
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1. Ribbed beanie in lilac, £20, Lilac Rose Snuggle up in style with this cashmere-blend beanie from Bridge Street favourite Lilac Rose 2. Monet’s Trees scarf, £65, Curating Cambridge Make your outfit a work of art with this impressionist silk scarf, available at Curating Cambridge 3. Naked clay vessels, £15 each, Kettle’s Yard Ideal for tiny posies of flowers or incense sticks, these delicate porcelain vases come in an array of colours 4. Birtha roll neck vest sandshell, £50, Iris & Violet A chic partner for a crisp white shirt, this chunky knit vest is right on trend 5. Hung studios shocking pink leather hanger, £24, Small & Green This neon pink leather plant hanger will work with most pot sizes; pick one up from Small & Green on Mill Road 6. The Shaftesbury, £225, Laird Hatters Add a little vintage glamour to your look with this gorgeous fedora from Green Street’s Laird Hatters 7. Dark hot chocolate flakes, £10.95, Knoops Make a decadent hot choc at home with these 65% cocoa flakes from new Cambridge shop Knoops 8. The Sophie, £468, Cambridge Satchel Company The latest arm candy from Cambridge’s famous bag maker
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JANUARY CALLING ring in the new year BLAST AWAY YOUR WINTER BLUES WITH HEARTWARMING COMEDY, MARVELLOUS MUSIC AND STAR-STUDDED SHOWS
CHRISTIE CLEAR Miss Marple gets called into action in The Mirror Crack’d, which opens at the Arts Theatre on 31 January – find out more on page 15
© ALI WRIGHT
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Arts & Culture THE MUST-SEE EVENTS AROUND CAMBRIDGE THIS MONTH
EXHIBITION ROUND-UP STRAIGHT FROM THE ART At the Society of Wildlife Artists’ 50th
INTELLIGENT DESIGN Find work from the Connor Brothers (right) this month, among many others
annual exhibition nine years ago, Sir David Attenborough said the following: “There is no child who is not interested in wildlife, and that curiosity in the natural world and life is within the heart of all of us. If you lose that, you have lost one of the most precious of humanity’s possessions. With that threat of loss comes awareness of the preciousness of the natural world – and we all know that the natural world is in greater danger than it has ever been.” Those words still ring true. The latest exhibition at Stapleford Granary, The Natural Eye , pays tribute to the SWLA’s open exhibition – now in its 59th year – highlighting works that communicate powerful stories about the environment through sculpture, painting and printmaking. The exhibition is open to the public until 29 January. From 21 January to 19 February, Cambridge Contemporary Art will be displaying paintings by Paul Evans and ceramics by Matt Horne and Tarragon Smith. Evans has evolved his unique
and original style over 50 years, working in a variety of media including watercolours, inks and acrylics. His passion for nature can be observed in his paintings inspired by East Anglia’s stunning landscape and coast. Horne enjoys pushing the boundaries of form with bold and colourful glazes, while the ceramics of Smith reflect his engagement with the pancultural history of art, literature and film. At Wolfson College, visit Simon Patterson’s solo show Out of Order , which is open until 22 January. “Simon Patterson is intellectually and aesthetically one of the most interesting to emerge from the ‘Young British Artists’
pieces, showing his development in exciting directions.” The exhibition will be held in the Combination Room at Wolfson College at weekends from 10am to 5pm.
grouping in the late 80s,” says curator Professor Phillip Lindley. “His disruptive rethinking of graphic diagrams and textual schemata are often humorous, but prompt wider reflections on the way we discipline and order our understanding of the world. His loans for this show supplement the college’s holdings of early works with more recent Finally, don’t miss your last chance to visit An Extraordinary Collection . Open until 15 January, this offering from Extraordinary Objects Gallery on Green Street showcases rare limited prints and originals from some of the world’s leading contemporary artists. Keep your eyes peeled for Jean-Michel Basquiat’s Superhero Portfolio and Banksy’s signed Axe sculpture, alongside intricate maps by Grayson Perry, a signed print by Roy Lichtenstein and bold limited editions by Bridget Riley. Rethinking of graphic diagrams that prompt reflections on discipline
© PAUL EVANS
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Out of the box Edition Reviews: Mapping Gender ALEX FICE TRACKS DOWN CAMBRIDGE’S QUIRKIEST SHOWS AND BRINGS YOU THE LOWDOWN
The stage is empty save for a large, rectangular wooden box with a square crate perched on top. We take our seats and sit in hushed chatter for a few minutes before a knocking sound coming from the box catches our attention. Intermittent banging continues, until the crate suddenly lifts a crack and a dainty, red-nailed hand tentatively emerges, before snatching back into the box. Nervous giggles ripple around the room as the hand slowly reappears around the other side of the box before it whips back inside. Slow and cautious is the gradual reveal of Anders Duckworth – a trans, non-binary dance artist and the creator and performer of Mapping Gender , a solo work created in collaboration with sound artist Kat Austen and olfactory artist John Foley. Part installation, part dance, this multi-sensory performance explores parallels between cartography and historical clothing through a non-binary lens. These ideas begin to come to the fore as the artist slowly deconstructs the box that contains them, using a crowbar to unwedge the front panel. They’re fully revealed at last, wearing an 18th-century style dress that is moulded to the rectangular form of the container, suggesting the imprint that boundaries leave behind even after they’re removed. Audio commentary loops against a multi-instrumental soundtrack,
remarking on how boundaries protect and oppress depending on how they are applied. As the show progresses, the artist dissolves some of the borders and boundaries on stage by unravelling and removing layers of clothing, item by item, and dismantling then rearranging the pieces of the wooden box that initially contained them. Sound and light are masterfully used to create effects that are not just visually arresting, but intelligent and witty; at one point, the performer aligns the rectangular skirt with a projection of a stage curtain, lifting the hem of their dress to reveal elegant, buckled shoes, which in turn dance and perform for the audience. In another moment of breathtaking beauty, the artist dances with the vertical boards of the wooden container, which reflect the light projections like spectral mirrors. Where I’m left wanting is in the promised use of scent; I’d hoped it would be possible to detect shifts in the aromas filling the air. Instead, I can only detect an ambiguous mixture of smells – notes of smoke and glue underpinned by an ethanol sweetness – that remains more or less constant for the duration of the show. Speaking to Anders afterwards, I learn it should be possible to identify two scents – render and cythera – which are meant to evoke the coast, a
space defined by the natural border of the sea. Due to technical issues on the night, however, these olfactory elements don’t come together – though the idea itself shows great ambition. Combining many elements and entertaining each sense (albeit to varying degrees), Mapping Gender is a mesmerising piece of art and intricately crafted choreography. The input of audio testimonies from non-binary contributors provides focus to what might otherwise feel like a meandering example of ‘art for art’s sake’. The words of one contributor, “everyone is pansexual and non-binary if you think about it honestly”, are particularly thought-provoking in the context of a piece that demonstrates the malleability of even the most rigid forms. Cambridge Junction hosts a wide range of performances by diverse and innovative performers throughout the year. Many tickets are offered on a ‘pay what you feel’ basis, ensuring these shows are accessible to all. To see what’s coming up, visit junction.co.uk
PUSHING BOUNDARIES Anders Duckworth’s multi-sensory experience is an exploration of societal pressures
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SO DRAMATIC! ONE OF CAMBRIDGE’S BEST KEPT SECRETS… For a little pick-me-up this month,
14 Jan
don’t miss the Town and Gown’s Secret Cabaret Club on 14 January. Featuring a killer lineup of top-quality entertainment, you’ll be steered through the evening by resident hostess Gloria Squeezers – a sexy, sassy compere who’s on a mission to steal your heart and raise your spirits! Get your tickets now from townandgown.co.uk
COMEDY GIGS
LAUREN PATTISON: IT IS WHAT IT IS 7 JANUARY 7.30pm, Cambridge Junction, £14.50 TONY LAW: A NOW BEGIN IN AGAIN 14 JANUARY 8pm, Cambridge Junction, £14.50 HARRY BAKER: UNASHAMED 20 JANUARY 8pm, Cambridge Junction, £14.50 LLOYD GRIFFITH: ONE TONNE OF FUN 2 FEBRUARY 7.30pm, Cambridge Junction, £22.50 BABATUNDE ALÉSHÉ: BABAHOOD 8 FEBRUARY 8pm, Cambridge Junction, £15
AN ECLECTIC MIX
NEXT UP AT STAPLEFORD GRANARY…
“We’re welcoming in the new year with an inspired selection of live music throughout January and February,” says Kate Romano, CEO of Stapleford Granary. “We’re covering 300 years of classical music – from masters of the baroque repertoire performed by virtuoso recorder player Tabea Debus and The Cedar Consort, to exquisite music by Grace Evangeline Mason played by the Eblana String Trio. “For jazz fans, Ant Law and Alex Hitchcock Quartet play music from their new album, and legendary vocalist Norma Winstone joins forces with Nikki Iles and Mark Lockheart for much-loved standards and new compositions. Canadian folk duo Madison Violet perform songs imbued with bluegrass, pop and country – and actor Henry Goodman appears with pianist Lucy Parham to present a portrait of composer Sergei Rachmaninov in words and music. Plus, we’re launching a new series! Storytelling Sundays are created for our youngest audiences to inspire, amaze and amuse. Join us in the Orchard Room on Sunday mornings for unforgettable tales, old and new, and discover our cafe, gift shop and ongoing art exhibitions, open seven days a week.” For more information and to book tickets, visit staplefordgranary.org.uk
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SOUND IT OUT JANUARY AT THE JUNCTION
Kicking off the Junction’s 2023 gig offering is Martyn Joseph, a revered folk artist with over 30 years in the industry. His music is driven by a keen sense of social awareness and tackling the complexity of the human condition. A natural raconteur, his songs weave stories full of emotion, passion and humour. See him on 25 January. Cambridge-based band Mr Griff returns to the Junction on 27 January for the launch of their second album The Architect . Front man Ian Griffith will be joined by an extra special ten-piece band, showcasing the talents of some of Cambridge’s very best instrumentalists. On 28 January, immerse yourself in the dazzling sonic world of award-winning DJ Niknak (pictured right), as she presents her latest project, Sankofa . Inspired by Afrofuturism and her comic book heroes, Niknak will channel her superpower of ‘turntablism’ to improvise rich soundscapes in response to the unfolding narrative of a young black woman on screen. Also on 28 January, catch the latest instalment of New Routes – featuring performances by Fern Maddie and Imlac. Fern Maddie is a multi- instrumentalist and singer-songwriter based in Central Vermont, who released her debut album Ghost Story in 2022 to great acclaim. Her sound blends dreamy instrumentals with crisp vocals and a bold folk style that draws on influences from dark country, experimental folk-rock and the modern trad renaissances. Imlac is a Scottish singer-songwriter raised on a diet of country music and bagpipes. He’s been songwriting since the age of 12 and is now making waves on the UK folk and blues scene. On 31 January, catch Radiohead drummer Philip Selway perform his latest solo show, coinciding with the release of his third album, Strange Dance . For more information and to book tickets, visit junction.co.uk
28 Jan
Don’t Miss! THERE’S SOMETHING FOR ALL TASTES THIS MONTH, FROM SAINT-SAËNS TO SEA SHANTIES
NEW YEAR’S CELEBRATION 2 January, 4pm, Saffron Hall, from £18 Ring in the new year with a sparkling concert by the BBC Concert Orchestra. A programme of classical exuberance awaits, featuring Dvořák’s Song to the Moon from Rusalka , a selection of dances by Strauss and much more.
EDITORS 26 January, 7.30pm,
FISHERMAN’S FRIENDS 3 February, 7.30pm, Cambridge Corn Exchange, from £28
Cambridge Corn Exchange, from £33 Known for reinventing themselves between albums, Editors are back with a new chapter. Now with a more visceral sound, expect riotous performances from these indie mavericks.
With nine albums plus two feature films, a stage musical, book and documentary to their name, you’re bound to be reeled in by these Cornish legends when they come to Cambridge this year.
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Exhibition spotlight Paint Like the Swallow Sings Calypso DELVE INTO THE HISTORY OF CARNIVAL AT KETTLE’S YARD THIS MONTH. WE CAUGHT UP WITH CURATOR HABDA RASHID TO FIND OUT MORE!
WORDS BY ALEX FICE
The latest exhibition at Kettle’s Yard, Paint Like the Swallow Sings Calypso , is an exciting exploration of Carnival – a tradition spanning cultures and continents, deep-rooted in a fascinating, complex history. Curated in dialogue with artists Paul Dash, Errol Lloyd and John Lyons – from Barbados, Jamaica and Trinidad respectively – the exhibition reflects the history and themes of Carnival. Significantly, it brings together the collections of Kettle’s Yard and the Fitzwilliam Museum for the first time, featuring works by 28 artists that cover more than five centuries. Challenged with curating an exhibition that would bring the two collections together was Habda Rashid, who joined Kettle’s Yard and Fitzwilliam Museum as curator a year ago. “I wanted to exploit being new – and in a sense a bit of an outsider to existing narratives and ideologies within the collections,” she explains. “I was keen to create a dialogue between the western canon – the traditional framing of art history – and other art stories.” Having visited the studios of both Paul Dash and John Lyons, Habda was struck by their engagement with continental art traditions, realising their work could speak to the collections of Kettle’s Yard and Fitzwilliam Museum. “It was noticeable that both worked in the context of Carnival, suggesting this was a way the artists made sense of how their lives transcended the Caribbean and the UK,” she says. “I invited Errol Lloyd to join us in creating an exhibition framed around Carnival, drawing lines of connection between the collections and artists that reflect the history and themes related to the festival.” Meeting every fortnight for three months, Habda, Paul, Errol, John and Guy Haywood (assistant curator at Kettle’s Yard) explored the works in both collections and identified pieces for display. The majority were chosen by the three artists, whose works are also featured. “I’ve brought works to Kettle’s Yard that wouldn’t ordinarily be shown at the gallery, giving that audience a chance to see them and the Fitzwilliam’s audience to see their pieces in another context,” Habda explains. “Another layer
was to connect the galleries by including artists like Graham Sutherland and David Bomberg (from the Fitzwilliam), who were working at the same time as artists Jim Ede collected for Kettle’s Yard – Ben Nicholson, Barbara Hepworth and William Congdon, who all feature in the show.” The exhibition is structured around three interwoven sections. It starts by examining western European traditions associated with Carnival, such as Bacchanalia, the Feast of Fools and French Masquerade balls – celebrations imposed upon Caribbean populations by colonisers. The second section turns the lens on the spiritual nature of Carnival, explored through abstraction and surrealism by artists John Lyons and David Bomberg. The final chapter presents work by Errol Lloyd, illustrating contemporary festivities adopted by former slaves such as the burning and harvesting of sugar cane, bamboula dancing and drumming. Lloyd’s series Notting Hill Carnival will be on display, and the exhibition will conclude with his Notting Hill Carnival IIC – a patchwork canvas celebrating Carnival’s melting pot of cultures, customs and histories. To delve deeper into the stories and artworks included in the exhibition, don’t miss curator Guy Haywood’s tour on 20 January at 12pm. He’ll be joined by Errol Lloyd, who will speak about his involvement with the Caribbean Artists Movement of 1966-1972. The talk is open to all and free to attend; to find out more and plan your visit, head to kettlesyard.co.uk
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AN EVENING WITH SIR RANULPH FIENNES 16 MARCH, 7.30PM, SAFFRON HALL, FROM £20 Join ‘the world’s greatest living explorer’ as he recounts incredible stories from a life spent in pursuit of extreme adventure.
THE STAGE IS SET DATES FOR THE DIARY This month at the ADC Theatre, a number of exciting shows await – including a performance of Hamlet from 17 to 21 January. The production comes from Cambridge University’s European Theatre Group, set up in 1957 by students including Sir Derek Jacobi and Sir Trevor Nunn. Since then, the troupe has gained a reputation at home and abroad for innovative performances, attracting some of the university’s brightest talent. Catch Parlour Song by Jez Butterworth from 24 to 28 January. Set in the suburbs of London, two couples living next-door to each other find their lives become intertwined as items go missing and new relationships begin to form. Also from 24 to 28 January at Corpus Playroom, The Last Five Years by Jason Robert Brown puts the spotlight on one couple’s relationship that has come to an end five years after they first met. We hear from both sides through alternating songs, as Jamie recounts the relationship chronologically, while Cathy retraces their romance backwards. At the Cambridge Arts Theatre, Miss Marple returns to the stage from 31 January to 4 February in The Mirror Crack’d , starring TV icons Susie Blake, Sophie Ward and Joe McFadden. Confined to her chair after an accident, Agatha Christie’s heroine is starting to worry that life has passed her by, until a brutal murder takes place, putting her mind to the test once more. Also at the Arts, from 7 to 11 February, look forward to masterful comedy in Alan Ayckbourn’s West End hit, Relatively Speaking . When the naive protagonist visits his girlfriend’s former lover, mistaking him for her father, hilarity and confusion ensue. A comedy of misunderstandings with a stellar showing by Liza Goddard, this romp is perfect for the midwinter months.
TIME TO CELEBRATE Explore both the past and present of Carnival at Kettle’s Yard
JAN LISIECKI 1 MARCH, 7.30PM, WEST ROAD CONCERT HALL, FROM £20 Canadian pianist Jan Lisiecki is a generational talent. Hear him perform a selection of Chopin’s Études and Nocturnes at West Road this March.
BOLD AS BRASS JAZZ THINGS UP! A celebration of the jazz clubs of post-war Paris, Our Music in Paris will explore the creative freedom that was enjoyed throughout the city during the 20th century. Join award-winning saxophonist Dan Forshaw and a world-class band of musicians for this unmissable evening of embryonic jazz at Cambridge Arts Theatre on 5 February. Make sure to book now to avoid disappointment!
SIX 14-25 FEBRUARY, CAMBRIDGE ARTS THEATRE, FROM £20 Divorced, beheaded, live! The award-winning musical is making a royal return to Cambridge for an empowering retelling of historical heartbreak.
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Wake-Up Call MIRIAM BALANESCU MEETS THE ADORED WIT, WRITER AND PRESENTER LUCY PORTER AHEAD OF HER SHOW ABOUT THE OVERLOOKED NITTY-GRITTY OF MIDDLE AGE Pyjama party
When you wear pyjamas, people just think: ‘They look comfy!’
Though the male midlife crisis has been much examined in film, television and lengthy tomes, from John Updike novels to moody movies like American Beauty , the female midlife crisis has long been woefully ignored. Lucy Porter, the cherished television and radio comedian, has now set out to change all that. “The men have got Paul Hollywood and every pop star ever who got a sports car and ran off with a younger woman,” asserts Lucy. “With women, it’s all up for grabs, I think. “I describe my show on stage as a midlife crisis management seminar. There’s a lot of me moaning about being middle-aged, but I hope there’s something in it that could appeal to younger or older people – if you’re having a midlife crisis, or any kind of crisis.” With her last tour show, Be Prepared , looking at life through the lens of scouting Brownies badges, her latest tussles with typical midlife territory. “I’m becoming a sort of irritable, curmudgeonly person, which I really thought I would never become. I get irrationally annoyed by milk cartons, people who don’t indicate and just the list of people that I can’t tolerate grows longer every single day. But there is also still room to change and grow. That’s what the show is about – me trying to explore new horizons, keep learning and keep being engaged with the world in order to cope with it.” Lucy addresses this stage of life in an all- singing, all-dancing fashion; even, perhaps, with a bed in tow. “I was going to leap out of it at the beginning of the show, but then I realised that I always need to have a wee just before,” says Lucy of her Edinburgh run. “It takes the audience half an hour to get in. So, I was just lying in bed, thinking: ‘God, I really wish I’d gone for a wee.’ I do still do the show in pyjamas. A lasting legacy of the pandemic is that I’m never going back to wearing normal clothes again. I’ve got some really nice ones – nicer than any of my actual clothes. People always make some judgement about you depending on what you’re wearing, whereas when you wear pyjamas, the only thing people can think is: ‘Oh, I wish I was
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around the country on the train or in my Ford Fusion we inherited from my mother-in-law – a very small car,” she laughs. “If you see a blue car flying up the road with a bed strapped to its roof, you’ll know that’s me.” Coincidentally, Lucy’s husband Justin Edwards will also be in town performing in The Lavender Hill Mob . “I’ll encourage people to see him on a different night, have a very cultural week in Cambridge,” urges Lucy. After that, expect lots more in the works. “I got diagnosed with ADHD last year and it made sense of a lot of my life – the 15 half-finished plays and novels sitting around,” explains Lucy. “I’m hoping to use my knowledge of how to help yourself if you find focusing hard, and get something written!”
her. They look really comfy.’ It’s a really good way to start.” Lucy’s show is subject to constant change. “It’s really never the same twice because I’m always rewriting it – and I’m menopausal and my memory’s completely gone!” Her tours over the years have sent her to see seals on the Norfolk coast, partying with Scouting for Girls, sharing a hot tub with James Gandolfini and sat facing Leonardo DiCaprio across a poker table – but it’s peace and quiet, listening to the radio, fuelled up on snacks and with the temperature at her ‘optimum level of comfort’ which Lucy now enjoys most. “I travel
JUMPING OFF THE PAGE Lucy Porter’s show Wake-Up Call is an exploration of the female midlife crisis
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BREATHING NEW LIFE INTO CLASSIC CINEMATIC ESCAPADE THE LAVENDER HILL MOB, JUSTIN EDWARDS SITS DOWN WITH MIRIAM BALANESCU BEFORE THE SHOW’S CAMBRIDGE ARTS THEATRE RUN BACKSTAGE Mob Mentality
16-21 Jan
or some actors, making audiences laugh is deep in their performing DNA. One such star, Justin Edwards, is likely to have brought
a chuckle to your lips, whether playing the bumbling MP Ben Swain in The Thick of It , PC Pugh in Father Brown , or through his uncanny Jeremy Clarkson impersonation or countless panel show appearances. It’s this brand of funny which Justin brings to The Lavender Hill Mob , back together with his comedic partner in crime, Miles Jupp. Taking its story from the 1951 film starring Alec Guinness and Stanley Holloway, the duo conspires to pull off a daring heist which will see them globetrot from London to Paris to Rio. “It’s nice to both be back on stage after the pandemic ruined theatre for such a long time,” says Justin, who stars as Alfred Pendlebury, a conniving artist. “It’s a nicely irrelevant production – there’s no political agenda to it. It’s an escapist bit of theatre, which is what’s wanted at the moment. People aren’t keen on a harrowing, three- hour, murder-based drama – and this is very much the opposite of that. It’s nostalgic in a way, post-war, but just a nice, silly romp.” Justin and Miles were scheduled to tour UK theatres together with the RSC when the pandemic sent their plans grinding to a halt. “We’ve done a lot of radio stuff together over the years, but we haven’t shared a stage doing a play like this before,” reflects Justin. “It’s easy to make him laugh. He’s very bad at getting the giggles. So, I try to do that as often as I can.
But it’s all friends around us – a nice cast to spend time with touring the country.” Told from a riotous bar in Rio, Henry Holland (aka Miles), now rich, recalls a grand scheme to pinch the gold bullion which he transported every day for his job. “The play takes place within the confines of this club in Rio de Janeiro, so we tell the whole story with whatever there is in the bar,” explains Justin – expect some impressively imaginative use of props. The translation from film to stage was fairly smooth, with the production remaining largely faithful to the plot. “A certain amount of dialogue doesn’t quite work on stage, so there are a few changes here and there,” says Justin, “though trying to recreate big car chases through London on a stage is always a challenge.” High-speed races re-enacted with the help of chairs and drinks trays is still low down on Justin’s list of strange theatrical experiences, however. For The Ferryman in 2019, live geese and rabbits joined actors on stage. “It had a long run in America as well and we had several different geese,” recalls Justin. “They’re quite strong animals, geese – you don’t want them to escape. Some of them enjoyed being on stage but some
clearly didn’t, so you had to make sure they weren’t getting too stressed. Aside from all the other pressures of being on stage and trying to remember what you’re doing and where you are, you also had a live goose under your arm. It was quite unpredictable what they might do or what noises they might make.” On whether Justin prefers theatre to film and television, he explains that the latter is usually tiring: “Out of 15 hours, you’ll be certainly hanging around for 12 of those. It’s a very, very slow process. The immediacy of theatre is great.” Originating in his days as a student, when he formed his own comedy troop, comedy has been integral to Justin’s career – and that’s largely down to the live audience. “It’s very rewarding,” he explains. “You can think of an idea that day and be on stage that night, trying it out.” During his stay, Justin intends to mooch around Cambridge by day, getting to grips with its heritage and history, and by night, (hopefully,) entertain audiences – despite being an “unpredictable career”, he says, it’s not a bad job. The Lavender Hill Mob will be at the Cambridge Arts Theatre from 16-21 January
18 JANUARY 2023 CAMBSEDITION.CO.UK
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CAMBSEDITION.CO.UK JANUARY 2023 21
CULTURE CLUB
HARRY HILL INTERVIEW Icing on the bake THE INIMITABLE HARRY HILL LANDS IN CAMBRIDGE THIS MONTH WITH A HAT FULL OF MADCAP COMEDY – MIRIAM BALANESCU CHATS WITH HIM AHEAD OF THE SHOW
he world can be divided into two camps of people, insists Harry Hill in his now touring show, Pedigree Fun! : traybakes and tear and shares. Though not revealing the meaning behind these categories – maintaining we’ll need to see the show to find out – this is just one of many characteristically wacky gags which has defined his style over three decades. “The whole element of surprise is really important in comedy,” declares Harry. “The punchline in many ways is just a surprise – not to be too esoteric about it.” Last touring in 2013, the comedian says his latest is long overdue. He’ll be joined on stage by a host of zany characters, such as a baby elephant, a big cat and a worm. “I’m interested in the form of jokes as much as the content,” Harry explains. “Growing up in the late 60s and 70s, there were the tropes of variety. A lot of that seeped onto TV. There were ventriloquists, eccentric dancers, pratfalls and slapstick. I just got interested in all that and seeing if there was a way you could do it that felt a bit different.
Byrne’s showstopping Broadway hit American Utopia . “Just because you’re a bit older, it doesn’t mean you shouldn’t challenge yourself and try to surprise people,” says Harry. “I try not to play it safe. The challenge is to see if I can come up with something that no one else would do.” Though television has long been his stomping ground, Harry now relishes the freedom of the open road. “With TV, there’s compromise, whether it’s about taste or cost,” asserts Harry – plus, the medium has changed since TV Burp , he says. “I think what happened was – and I don’t know if this is a result of TV Burp , but I think it had an influence – we’d watch programmes that were playing it straight. We’d find funny things in them no one else had seen. What happens now, to a large extent, is that they make those jokes in the show or they put the voiceover on after. Everything’s become a bit knowing, postmodern and self-referential.” The legacy of a decade of TV Burp is inescapable, even down to editing styles – shows now moving swiftly between shots rather than lingering. “I was
14 Jan
DOCTOR, DOCTOR! The ex-medic is bringing his surreal brand of comedy to Cambridge
I try to come up with things that no one else would do
Despite his satirical slant, long- established in shows like the epochal TV Burp , Harry claims his approach isn’t political. “What I do is start putting together bits that are funny,” says Harry. “I go around the clubs, I have an idea which I think might be funny. If it works, it stays in. Then, oddly, you find by the end it can have a subliminal theme. In a way it’s a political view – that the world is absurd.” Well into his career, Harry shows no sign of slowing down – a determination reaffirmed when he went to watch David
“We’re trying to work out where my mum’s going to sleep over Christmas,” Harry laughs. “I have a lock-up garage. But if I put anything in there for any length of time, it starts to smell mouldy.” Now that the former doctor’s kids have flown the nest, touring isn’t so onerous – and there’s less of “that thing where I’ve just finished a show and I’m feeling all excited and popular,” Harry says. “And my wife calls up saying ‘the cat’s been sick and the baby has diarrhoea’ – the reality of human life.”
going for the laugh rate you got from seeing a stand-up in a club,” recalls Harry. “Big laughs – not smiles, proper jokes. It’s just the way that the attention span has gone. Most shows these days are cut very fast.” So, what faction is Harry in – traybake or tear and share? “I don’t put myself up for judgement. I’m a bit of a coward. But someone last night put on a Harry Hill mask and the audience shouted traybake, which was very disappointing.” Harry Hill will perform at Cambridge Corn Exchange on 14 January at 7.30pm
CAMBSEDITION.CO.UK JANUARY 2023 23
SCREEN TIME
UNDER THE LENS
FROM SMALL TO BIG SCREEN, HERE ARE YOUR JANUARY ESSENTIALS
BACK TO BACK THEATRE HAS BEEN CAPTURING THE CITIZENS OF CAMBRIDGE ON FILM – MIRIAM BALANESCU MEETS THE GROUP TO FIND OUT MORE
created with the artist involved. “We worked with local artists and community groups. There are many students in Cambridge, but also football players, dancers, activists, roller derby skaters, asylum seekers, jugglers and people from Cambridge Junction. “Ingrid, the director of the piece, said she really loved working with Yvonne Hercules, a local composer,” continues Tim. “She found Yvonne to be this very thoughtful and generous artist. She was able to directly respond to one of the main themes
n 2008, the idea first dawned on Back to Back Theatre’s Bruce Gladwin to create a community-focused film, through the frame of a simple wooden box with a door on either side. “This box could become a framework for any community,” explains executive producer Tim Stitz. Joined by videographer Rhian Hinkley and set designer Matt Cuthbertson, the project started to roll out across
Australia. The concept: invite members of local
communities in to perform whatever they wish during 20-minute slots within the confines of this wooden box. Using a
the community wanted to share – and that was
TÁR Sensory overload hits home in Todd Field’s latest, starring Cate Blanchett as under-
freedom. Everyone having a basic right to enjoy freedom of expression.” Allowing
rolling dolly, this is then filmed. “It was designed so that it could be in perpetual motion,” says Tim. “You can film it in part, but then an act is really discrete. It allows a natural movement to occur in the frame of the work, but then allows us to move through a diverse range of participants.” Now, 33 locations later, The Democratic Set has landed in Cambridge. A total of 97 participants have entered the box through its little doors and been given free rein to voice their feelings. Though the framework is the same, every film is special. “What changes and what allows the dynamics to shift is the different community we’re working with,” comments Tim. “We’ve played with contrast and having people outside the box, and with form – in terms of sometimes having very little speaking or using text. Sometimes we have people playing with light, colour and projection. In Cambridge, we played a lot with this, and people projecting the typeface they
pressure composer Lydia Tár. Where to Watch: UK cinemas Release: 13 January
performers to get creative with how they display themselves, Tim urges, is the most important
aspect of the project. “You’re collaborating with participants on how they choose to represent themselves and how they want to be seen,” he says. “People’s creativity and the agency and risk taking was quite striking in Cambridge in particular. People went quite deep, quite quickly. I don’t think that’s a hallmark of every place we go, but maybe it’s the time we’ve just been through across the world. “Anyone who’s making theatre is seeking to hold up a mirror or a magnifying glass onto our society, into what it is to be a human being at this point in history,” Tim emphasises. “There is darkness and there is lightness. There is happiness and there is bitterness and sadness. More so than ever, we need to think back to – or just acknowledge – that we’re in this quite perilous time in history.” See The Democratic Set at the Junction
HOLY SPIDER Based on the chilling true story, Ali
Abbasi’s film follows the ‘spider killer’ who is bent on ‘cleansing’ the streets of Iran as he sees it. Where to Watch: UK cinemas When: 20 January
24 JANUARY 2023 CAMBSEDITION.CO.UK
SCREEN TIME
EMPIRE OF LIGHT
THE LYING LIFE OF ADULTS Bringing the bestselling author Elena Ferrante to the small screen, expect a fiery tale of two versions of Naples. Where to Watch: Netflix Release: 4 January
An all-star cast amass for Sam Mendes’ new meta feature about the glories of cinema, set in an eighties seaside town. Where to Watch: UK cinemas When: 13 January
BABYLON An extravagant Hollywood drama bursting with colour, from director of La La Land Damien Chazelle. Where to Watch: UK cinemas Release: 20 January
Picturehouse Picks FEAST YOUR EYES ON THE FANTASTIC CINEMA ON OFFER AT THE CAMBRIDGE ARTS PICTUREHOUSE THIS MONTH
CORSAGE After touring the global film festivals, from Cannes – where it was garlanded with Un Certain Regard – to Toronto, this brave biopic of the Empress Elisabeth of Austria arrives in cinemas this month.
BROKER Buckle up for an unsettling thriller that dives into black market adoptions. This Hirokazu Kore-eda film is inspired by so- called ‘baby boxes’ in Japan, where parents can anonymously drop off their children, starring Parasite ’s Song Kang-Ho. Preview 1 January
NATIONAL THEATRE LIVE: THE CRUCIBLE For this Miller classic, The Crown ’s Erin Doherty and Yerma ’s Brendan Cowell join forces in this grisly witch-hunt, with spectacular staging by Lyndsey Turner. Live 26 January Encore 7 February
Preview 18 December Opens 30 December
CAMBSEDITION.CO.UK JANUARY 2023 25
ON THE SCENE
Burns Baby Burns CHANNEL THE SPIRIT OF THE HIGHLANDS WITH A SPECIAL BURNS NIGHT PERFORMANCE FROM ENSEMBLE HESPERI. MIRIAM BALANESCU SPEAKS TO RECORDER PLAYER MARY-JANNET LEITH BEFORE THE SHOW BEGINS SLÀINTE MHATH
than anything by the winds of fortune,” insists Mary-Jannet. “So, while we love performing music by baroque ‘greats’ such as Handel and Telemann, we also strongly believe in restoring the fortunes of composers who were often incredibly successful in their own time, but today are undeservedly forgotten.” While the perception of baroque music has long been that it is stale and old-fashioned, the ensemble believe that its true spirit is spontaneity. “Now, we are taught at conservatoire how to be flexible and improvise. Really, baroque composers are just writing the bare bones of what they want. The continuo player is expected to harmonise and do all sorts of things according to their own fancy, then the solo lines are expected to ornament in different styles. You have fantastic contrast and lots of options to explore, both when preparing music and rehearsing. The spirit for us is very much one of freedom.” For Ensemble Hesperi, whose recent project used original research to explore the musical life of Queen Charlotte, it’s about striking a fine balance between history and modernity. “True authenticity is impossible,” points out Mary-Jannet. “Once you’ve done a lot of research, it’s about bringing that to life and making it accessible, interesting and fun.” Having built much
25 Jan
music was extremely popular in London at the same time that Robert Burns was thriving in Scotland,” asserts Mary-Jannet. “There was lots of cultural exchange between Edinburgh and London.” Stemming from Scotland’s oral and folk music roots, this cross-cultural mixing stretched even further. “At the same time, all of these interesting styles were coming from Italy, France and
arking the anniversary of the bard’s birth in 1759, Burns Night was first
kindled by close friends of Robert Burns in 1801 to honour his memory. Today, the Scottish tradition has travelled around the country with bagpipes aplenty and whisky a-flowing, plus obligatory readings of Burns’ poems. For the award-winning Ensemble Hesperi, whose first album Full of the Highland Humours takes its name from the first printed collection of Scots tunes, Burns Night finds the group right in their element – bringing their Scottish melodies to Cambridge. “It’s a programme that celebrates the popularity of Scottish music outside Scotland in the 18th century, particularly in London,” says the group’s Aberdeen- born recorder player Mary-Jannet Leith. The musicians met at the Royal College of Music, finding a shared interest in Gaelic ditties – which, for former history student Mary-Jannet, has turned into a PhD thesis. They have since crowded the airwaves of BBC Radio 3 and Classic FM. Among the Scottish composers who journeyed to London are James Oswald and Robert Bremner, whose music is the group’s source of inspiration. “Scottish
Germany, flooding into London and making their way to Edinburgh,” explains Mary-Jannet, citing William McGibbon, who composed both Scots tunes and sonatas with Scottish features – such as the pentatonic scale, as one example. “That was his musical
It’s a programme that celebrates Scottish music
of their career during the pandemic, with Mary-Jannet and partner harpsichordist Thomas Allery livestreaming concerts throughout lockdowns, the group are geared up and ready to reach new audiences – priding themselves on
performing in schools, communities and care homes to listeners who may otherwise not be exposed to early music. With their name growing on the classical circuit, it’s certain that their ears will be burning – in the best way. Ensemble Hesperi will be performing at St Catharine’s College Chapel on 25 January at 6pm
heritage. But, as a result, you have music written in an Italian 18th-century style, but with this distinctive Scottishness about it.” Ensemble Hesperi have a passion for bringing underheard early music to new audiences. “When you start to delve into music history, you quickly realise that the modern-day reputation of any composer is affected by all sorts of factors, and more
CAMBSEDITION.CO.UK JANUARY 2023 27
COMING ATTRACTIONS
2023 Calendar GET AHEAD OF THE CURVE AND PREPARE FOR SOME OF THE YEAR’S HIGHLIGHTS
Young cellist Sheku Kanneh-Mason performs with the Mozart Players. CAMBRIDGE MUSIC FESTIVAL: SPRING SEASON LAUNCH 3 FEBRUARY, WEST ROAD CONCERT HALL CAMBRIDGE HALF MARATHON 5 MARCH Whether you’re taking part or cheering from the sidelines, this is one not to miss! Cambridge and Oxford go head-to-head on the Thames! THE GEMINI BOAT RACE 26 MARCH, LONDON Thought-provoking talks, workshops and events from the University of Cambridge. CAMBRIDGE FESTIVAL 17 MARCH TO 2 APRIL One of Cambridge’s most iconic music and arts festivals. This year’s theme: Revolution! STRAWBERRY FAIR 3 JUNE, MIDSUMMER COMMON
Expect spectacular fireworks, impressive headliners and a magical Mela on the Sunday! THE BIG WEEKEND JULY (DATE TBC), PARKER’S PIECE
THE CAMBRIDGE CLUB FESTIVAL 9-11 JUNE, CHILDERLEY ORCHARD
OPEN CAMBRIDGE 8-17 SEPTEMBER (TBC)
A celebration of local history and culture, with free walks, talks, tours and events around the city.
A week dedicated to championing the incredible community of indie businesses all over Cambridge. INDEPENDENTS’ WEEK 3-9 JULY The July Course stage welcomes back Olly Murs, and Bastille make their Newmarket Nights debut. NEWMARKET NIGHTS FRIDAYS JUN-AUG, NEWMARKET RACECOURSES Dance the weekend away with headliners Lionel Richie, Grace Jones and Sophie Ellis-Bextor.
CAMBRIDGE FILM FESTIVAL 19-26 OCTOBER (TBC)
Hunker down for a preview of festival favourites, revisit golden oldies and discover silver screen hidden treasures.
5 NOVEMBER, MIDSUMMER COMMON
Start November off with a bang at this stunning free firework display. BONFIRE NIGHT
CAMBRIDGE JAZZ FESTIVAL 9-26 NOVEMBER (TBC)
CAMBRIDGE FOLK FESTIVAL 27-30 JULY, CHERRY HINTON HALL
Hear from a dazzling range of speakers: poets, politicians, musicians and more. CAMBRIDGE LITERARY FESTIVAL APRIL AND NOVEMBER (DATES TBC)
Over two weeks of performances by the brightest and best jazz musicians from Cambridge and further afield.
An unmissable weekend featuring performances by some fabled folk artists and the best rising talent. Historic Stourbridge Fair will be re-enacted at Cambridge’s oldest building between 12 noon and 4.30pm. STOURBRIDGE FAIR 2 SEPTEMBER, LEPER CHAPEL
24 DECEMBER, KING’S COLLEGE CHAPEL
Heralding the start of Christmas, this candlelit service is a local tradition well worth savouring. A FESTIVAL OF NINE LESSONS AND CAROLS
CAMBSEDITION.CO.UK JANUARY 2023 29
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