Cambridge Edition May 2019


MAY 2 019





D E C E M B E R 2 0 1 8

C A M B S E D I T I O N . C O . U K





EDITORIAL Editor in chief Nicola Foley 01223 499459 Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young ADVERTISING Senior sales executive Lee Fifield 01223 492240 CONTRIBUTORS Alex Rushmer, Angelina Villa-Clarke, Alex Ruczaj, Cathy Moore, Cyrus Pundole, Charlotte Griffiths, Siobhan Godwood, Charlotte Phillips, Daisy Dickinson, Jordan Worland, Ruthie Collins, Anna Taylor, Sam Owens DESIGN & PRODUCTION Senior designer & production manager Flo Thomas 01223 492242 Designer Lucy Woolcomb Ad production Man-Wai Wong 01223 499468 MANAGING DIRECTORS Andy Brogden & Matt Pluck 01223 499450 CAMBSEDITION.CO.UK CAMBRIDGE EDITIONMAGAZINE • Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ, 01223 499450, • 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. FIND US @CAMBSEDITION

s you may have noticed from our cover, we’re celebrating a very special anniversary this month: welcome to our 100th issue! Cambridge is a city filled with clever and creative people doing interesting things, and, consequently, a dream of a subject for somebody in my position. There’s always something new and inspiring to write about, and a case in point is the local music festival scene, which only grows more impressive each year. From the relaxed, rootsy Red Rooster to the hands-in-the-air hedonism

of Wild Wood Disco, not forgetting old favourites like Cambridge Folk Festival, there’s truly something for all tastes going on in the fields of Cambridgeshire this summer – we round up some of the best over on page 34. I’m especially looking forward to checking out newcomer We Out Here, the Gilles Peterson-helmed festival at the beautiful site in Abbots Ripton that used to be home to the sorely missed Secret Garden Party (RIP). If they manage to throw a party that’s even half as good as SGP, we’re all in for a treat. If theatre’s more your bag, check out Watch Out, Cambridge Junction’s trailblazing festival of new writing for the stage, or you can immerse yourself in scintillating stories from the past at Wimpole History Festival (page 26). Also endlessly exciting, as is well documented in this magazine, is the local food scene, which continues to grow and diversify with some tasty new openings on the horizon. BrewDog, a titan of the craft beer world, is preparing to open the doors of a Cambridge branch, while BBQ aficionados SmokeWorks recently unveiled a third outpost. A huge new food festival is coming to the city too, and a much-loved city centre restaurant has got a new look and newmanagement – get the lowdown in our food news section from page 63. We also meet Tristan Welch, the culinary powerhouse behind Parker’s Tavern, one of the city’s most celebrated restaurant openings of recent years, plus Dr Sue Bailey continues her epicurean explorations with a look at Ely’s Eel Festival, a brilliantly mad local tradition which dates back to medieval times. One of Cambridge’s most fascinating homes is under the spotlight in this issue too: join local arts guru Ruthie Collins for a peek at David Parr House, a Gwydir Street terraced house which brims with Arts and Crafts-era treasures. There’s an extra-local flavour to our Book Club this month, as we speak to Ely-based crime writer Jim Kelly about his latest novel: a gripping murder mystery with Cambridge as the backdrop. As ever, we’ve also got all the city’s top

gigs, art exhibitions and theatre shows, plus we explore Cambridge’s fantastic market in honour of Love Your Local Market, a worldwide campaign which runs 17 to 31 May. Enjoy the issue and see you next month! Nicola Foley EDITOR IN CHIEF

This month’s cover illustration was created by Flo Thomas, senior designer & production manager at Cambridge Edition

Author illustrations by Louisa Taylor


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9


2 6


l STARTERS Top things to do and see in the city, plus our favourite social media pics 11 l ARTS & CULTURE Exhibitions, concerts and theatre highlights to enjoy in May 19 l ART INSIDER Ruthie Collins, founder of Cambridge Art Salon, shares her arty picks of the month 20 l DAVID PARR HOUSE A Gwydir Street terraced house filled with Victorian treasures opens to the public 23 l WATCH OUT FESTIVAL We find out what’s in store at Cambridge Junction’s festival of dangerous theatre 24 l INDIE Edition learns about the history of Cambridge Arts Theatre and finds out what’s coming up 26 l HISTORY FESTIVAL A feast of history and heritage awaits at Wimpole Hall next month 29 l BOOK CLUB Book recommendations, special offers and author interviews 34 l MUSIC FESTIVALS From chilled-out folk fests to glittery woodland raves: get ready for a summer of fun

43 l CAMBRIDGE FRINGE A micro Edinburgh Fringe festival featuring 46 performers, right here in Cambridge 44 l AFTER HOURS Comedy, festivals, gigs and more nightlife fun to seek out this month 51 l RUMPUS FESTIVAL My Little Festival’s magical family festival returns to the Wild Wood l DRAGON BOAT FEST Gather a team together and get in on the fun, the Dragon Boat Festival is coming 55 l OFF TO THE RACES Fancy a flutter? We find out what’s coming up at Newmarket Racecourse 56 l COMMUNITY HUB Community events, charity news and more, from your local hub 59 l LISTINGS Our at-a-glance guide to the top events and goings-on this month 65 l FOOD NEWS All the latest news and gossip from the Cambridge food and drink scene 52



We meet the man behind Parker’s Tavern, one of the city’s most raved-about eateries 78 l RECIPES Tristan Welch shares some of his favourite recipes from Parker’s Tavern 83 l CHEF’S TABLE Chef Alex Rushmer on what’s cooking in his kitchen this month 86 l CAMBS ON A PLATE New columnist Dr Sue Bailey on the weird and wonderful history of Ely Eel festival 90 l LOVE YOUR MARKET We explore the city’s market, finding new gems and revisiting old favourites 97 l BEAUTY Daisy Dickinson rounds up the beauty products on her radar this month 99 l EDUCATION Early stage learning essentials, plus Gresham’s School considers the planned exam overhaul 113 l HOME & GARDEN The latest interiors trends, and this month’s garden to-do list



C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9

S tarter s



MAY ESSENTIAL CAMBRIDGE BEER FESTIVAL Heralding the start of summer in the city, the Cambridge Beer Festival returns to its usual spot on Jesus Green from 20 to 25 May. Founded back in 1974, the event is organised by CAMRA and is one of the largest regional beer festivals held in the country. Pop by to sample hundreds of top beers and ales of all styles, as well as ciders, meads, perry and wine. Then grab some sustenance from the famed CAMRA cheese counter, which stocks pork pies, hams and locally made bread, as well as plenty of fantastic fromage.


M A Y 2 0 1 9

C A M B S E D I T I O N . C O . U K



also taking to the stage to perform classics like Chelsea Dagger . Rounding things off in style on 14 July is an unbeatable line-up of disco icons headed up by The Jacksons. Celebrating their 50th anniversary, marked by the release of their debut single, I Want You Back , The Jacksons (consisting of founding members Jermaine, Tito, Jackie and Marlon) continue to wow audiences across the world with their live performances of a back catalogue that includes songs like ABC , I’ll Be There and Blame It on the Boogie . They’re joined by the Grammy Award-winning Kool & the Gang, plus Boney M., featuring original singer and founding member, Maizie Williams.

Grab a picnic and a glass of something cold and sparkling: the glorious Heritage Live Concert Series is back! Organised by Giles Cooper Entertainment, the events run 12 to 14 July and bring A-list acts to the stunning setting of Audley End House. While you relax and soak up the splendour of this Jacobean mansion and its beautiful gardens, you’ll be treated to live music from legendary acts, including The Human League. Makers of immortal hits like Don’t You Want Me and Love Action (I Believe in Love) , they’re topping the bill on Friday the 12th, supported by fellow synth-pop heroes ABC, plus Belinda Carlisle. The next night is headlined by The Hives, known for their sharp suits and indie anthems, with The Fratellis


May Week, which actually takes place in June, is one of the great University of Cambridge traditions. The end of the academic year, it’s a time for extravagant balls, lavish garden parties and a chance for students to say their goodbyes. Even if your uni days are long gone, you can enjoy the festivities by heading down to the river and getting a front row seat to the huge, spectacular fireworks displays. A punt offers the best vantage point, and for the most impressive displays, we recommend booking in on 17 June, when the legendary Trinity College May Ball takes place, or the 18th, when it’s the turn of St John’s College to light up the skies. The atmosphere is always incredible: pack some nibbles and a bottle of fizz and you’ve got yourself an unforgettable evening out. Rutherford’s and Scudamore’s both offer chauffeured punts, with prices from £285 for a punt which seats 12.


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9

Culture Club


BALLET BLACK perform a trio of works at Cambridge Arts Theatre on 7-8 May


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9



Venezuelan bites and Mexican modern street treats from Chihuahuas. May’s screenings are: Ray on 16 May (with live music from the Robin Phillips Trio); A Star is Born on 18 May; Bohemian Rhapsody on19 May and Dirty Dancing on 30 May. As an add-on to your ticket, popcorn and prosecco, or popcorn and gin, can be pre-booked for £9.50. Start times vary a little, as do ticket prices, depending on whether there is pre-film live music or not.

New (but surely already guaranteed to be back in the future) films such as Bohemian Rhapsody , The Favourite and A Star is Born also feature, plus Best Picture Oscar winner Green Book , which rounds off the programme on 15 September. A new bar this year features BrewBoard, serving its sumptuous craft beer, and there will be street food on offer from a range of vendors on different nights. They include Pull Me Cheri’s pulled meats with a French twist, Arepa’s Station’s tantalising

Back for its fifth year of Cambridge outdoor moviegoing, Enchanted Cinema returns this month to one of its favourite venues, the gardens at The Gonville Hotel. Combining deckchairs, street food, live music, a popcorn kiosk, a bar and fab films that are either hits or cult classics, alfresco flick watching has become a fixture for many in Cambridge. This year’s line-up of films includes favourites Dirty Dancing , The Great Gatsby , Grease , The Grand Budapest Hotel , Romeo & Juliet , Pulp Fiction and Top Gun .


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9


BALLET BLACK Ballet Black returns to Cambridge with dramatic, inventive storytelling in a trio of modern works that put excitement at the fore on 7 and 8 May at the Arts Theatre. Ingoma (Song) , created by dancer and choreographer Mthuthuzeli November, is a fusion of African dance, singing and ballet. It imagines the struggles of black miners and their families in 1946 in South Africa, when 60,000 of them went on strike. Pendulum is an intimate duet by Martin Lawrance, and a light- hearted work by Sophie Laplane completes the programme. Tickets from £20.


M A Y 2 0 1 9

C A M B S E D I T I O N . C O . U K


PAINT OUT Dozens of artists used to painting outdoors are to take part in Paint Out Cambridge, from 13 to 17 May, capturing colleges, chapels, bridges, the river, Market Square and more. It’s a painting competition open to amateur and professional artists, with up to £3,000 of prizes at the awards evening on 16 May. Paint Out has already held events in Norfolk and Suffolk and has partnered with Cheffins Fine Art for the first in Cambridge. Sarah Flynn, head of paintings at Cheffins, said: “Cambridge has long been an inspiration for artists such as Gwen Raverat, Edwin La Dell and Elisabeth Vellacott, and with its iconic and world-recognised architecture and views, we are sure it will provide endless inspiration for the artists taking part.” Painting sessions are either two or three hours and anyone can catch the creations taking shape on 13, 14 and 15 May during the day and evening. Three judges will decide the best works, and artists can enter at .

EVERYTHING I EVER LEARNT An innovative photography exhibition is under way at Cambridge University’s Alison Richard Building until 3 May. Curated by Shutter Hub in collaboration with Art at the ARB, Everything I Ever Learnt showcases the work of almost 100 international photographers. Presenting pieces printed on tabloid-sized newspaper, Shutter Hub has teamed up with Newspaper Club for the exhibition, which features around 150 images. Limited edition newspaper prints will be available for £28 at the free exhibition, held at the Alison Richard Building on the university’s Sidgwick Site on West Road, weekdays, 9am to 5pm.


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9


ADMISSIONS Two stars of the small screen star in Admissions – a ‘bold new comedy’ about what we want from the education system – at the Arts Theatre from 3 to 8 June. Alex Kingston ( ER , Doctor Who ) and Miranda ’s Sarah Hadland star in the tale of Sherri, head of admissions at a private school. She’s a liberal who wants to diversify the student intake, and a mum who wants the best for her son. Then her personal ambition collides with her progressive values and she’s forced to make a choice. Tickets from £25.

THE SKY’S THE LIMIT AT ELY SCIENCE FEST A visit to Ely will be out of this world from 18 May to 9 June, when science festival The Sky’s The Limit arrives to celebrate space and space travel, and commemorate the 50 year anniversary of the first moon landing. This family-friendly event takes place inside Ely’s magnificent medieval Cathedral, with highlights sure to include a seven-metre diameter lunar replica of The Museum of the Moon, by Luke Jerram, suspended from the nave ceiling. It’s an installation that reflects the imagery of the moon’s surface from NASA data. Guest speakers include astronomer royal Lord Rees, Sky at Night presenters Maggie Aderin-Pocock and Chris Lintott, and space enthusiast Dallas Campbell. Exhibits on display will include meteorites, astronaut suits, a space toilet and space food on loan from The Science Museum, The Institute of Astronomy and The Sedgwick Museum.

OPEN STUDIO WEEKEND Snap up the chance to explore the Curwen Print Study Centre at a special open weekend taking place on 18 and 19 May. With a goal of preserving and developing printmaking as an art form, the centre offers a range of printmaking courses and classes for all levels and ages and is located in the rather lovely setting of Chilford Hall, Linton. As well as hearing about available courses, you can see print demonstrations by Curwen artist tutors, view a professional working print studio, and browse and buy fine art prints donated by The Curwen Gallery in London. There will also be printmaking materials for sale if you feel inspired to have a go! It runs 11am to 5pm both days, and entry is free.


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9

ARTS & CULTURE The Art Insider RUTHIE COLLINS, FOUNDER OF CAMBRIDGE ART SALON, GIVES HER ARTY PICKS OF THE MONTH M ay brings that first flush of summer; the perfect time to stroll the city, taking in the season’s cultural blooms. is. You could throw millions at building new space for artists: much needed, yes. Or hold transient, experimental interventions, sure. But the ownership of infrastructure predominantly by as a team of three women graduate students at the University of Cambridge. We love museums, but became

frustrated by what we feel is a huge gap in the stories museums are telling. We wanted to talk about the people from whom museum objects were collected, and be honest about how these objects were collected. So many of them were acquired during conflict or under colonialism, and erasing these stories amounts to whitewashing history. “What we offer is a nuanced perspective on this history, supported by extensive research, that aims to tell the kinds of stories you rarely hear in museums. We were inspired by the work of other alternative museum tour trailblazers, like Alice Procter’s Uncomfortable Art tours in London, and Dan Vo’s LGBTQ+ tours at the V&A. We think they are something completely new on the Cambridge arts scene. We call it a tour of questions instead of a tour of answers!” Finally, the Eastern Bloco Arts Area at free festival Strawberry Fair, which is on 1 June, has an exciting open call for volunteers to get involved and help make the area extra fabulous this year. Whether you can help set up or take down, help with signage or with décor, do get involved and lend a hand with making it amazing. This is a fantastic space, full of experimentation – with music, poetry, activism and all sorts of colour and Strawberry Fair magic. One of my happiest Strawberry Fair moments last year was watching a tiny little girl while away her afternoon in an Eco Glitter Bath art installation in this area. Glitter, glitter, glitter. Contact for info.

Head to Espresso Library for new show, Classical Remix Volume 1 , from Brendan Young, Vanessa Battaglia and Vincenzo Sgaramella. Young and Battaglia are the fabulous, creative minds behind contemporary design studio Mineheart. Known for their savvy blend of aristo- chic, flamboyant excess cut with elegance and whimsical glamour, think Marie Antoinette popping up in your living room, blowing pink bubblegum at your cushions and you might be halfway there. This is an impressive collection of shimmering abstracts and mixed media, giving new meaning to old, with fresh energy and refined textures throughout. It runs until 7 June. Espresso Library’s neighbourhood used to be known as the Kite, back in the 1970s. It’s now heavily gentrified, but in the era of Syd Barrett – who went to Cambridge School of Art across the road – this was full of bohemia, radical bookshops and squats. Run-down, yes, but a hotbed for experimentation. Fast forward 40 years, and Cambridge art is frequently lambasted as ‘too safe’. Skyrocketing rents, house prices and the mass commercialisation of the city are ongoing assailants on the kind of risky sense of experimentation that many (perpetually) yearn for. Short of starting a revolution encouraging landlords to offer up normally-very-expensive space or homes to artists, I’m not sure what the answer to the issue of Cambridge being ‘too safe’

older, privileged demographics, plus the ongoing need for affordable housing in Cambridge, will perpetually stifle the vitality of any art scene, unless these issues are called out for what they are. As Grayson Perry pointed out, ‘rich people on the whole don’t make culture’. There’s the rub, in one of the most affluent cities in the country. Revolution, anyone? The truth is, anyone can go out there and shake things up. At any age. All you need is a maverick sense of wanting to take risks and upset the ‘safe’, which may ruffle a few feathers, and the drive to do it. The Untold History Museum Tours, as mentioned in the New York Times , are a new(ish) venture from three female Cambridge University graduates, first launched as part of the Festival of Ideas programme, with a goal of disrupting the dominant narratives of collections. The tours are now on offer all the year round, discussing the at times awkward histories of museum objects, of how they came to be in Cambridge, exposing colonialism and conflict as well as the impact of racism and sexism. It’s excellent to see these tours making leaps and bounds, igniting discussion and critique. “As the title suggests, we talk about the untold histories that museum labels won’t tell you, and believe we are contributing to an important – if sometimes uncomfortable – conversation,” says Danika Parikh. “We research and run the tours independently

As Brazilian writer Clarice Lispector once said, “don’t forget, that in the meantime, this is the season for strawberries.” Have a gorgeous May, all. l

“It’s excellent to see these tours igniting discussion”


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9


e wanted to keep it as it was,” Tamsin Wimhurst, local historian and the driving force behind the inspirational restoration of David Parr House, tells me, as we step through the front door. I’d remarked how strange it felt turning up and rapping the door knocker of one of Cambridge’s most famous buildings, a terraced house just opposite Hot Numbers on Gwydir Street. But while this may be an extraordinary house, it’s also famous for being someone’s home. David Parr was a ‘decorative artist’ who lived in the terraced house until 1927. He worked for Leach & Sons, a firm that worked with stately homes, churches, houses and palaces, delivering several key commissions across East Anglia and in Cambridge, including the Jesus College chapel. Frederick Leach ran a company of ‘art-workers’, placing applied arts on the same level as the finer arts. David Parr’s home is an extraordinary, poignant reminder of Mill Road’s proud working-class heritage. “It gives us an opportunity to celebrate those people who built so much of the city. Here we have the stories of the people who did the work, their lives,” says Tamsin. “I love the people’s history, the everyday. ” It was the William Morris-inspired patterns, hand- painted throughout the house, that caught Tamsin’s eye when she first visited to interview Parr’s granddaughter Elsie for a project at the Museum of Cambridge. “I just knew it had to be saved,” she said. “We know from letters that William Morris greatly admired Leach. He gave him commissions when he had too much work. It’s highly likely that David Parr met him.” William Morris was a major pioneer of the British Arts and Crafts Movement, which started with a group of students at Oxford University in the 1850s. A staunch socialist, he believed that without dignified, creative human occupation people became disconnected ‘‘W

from life. He aimed to bring artforms together with the decoration of the home. “Your home was your canvas,” says Tamsin. Standing in parallel to Jim Ede’s House at Kettle’s Yard, David Parr House represents a side to Cambridge ‘town’ heritage that is fast disappearing. Upstairs, you can see the railway uniform that Alfred, Elsie’s husband, wore to work. Throughout the house, quotes are written on the walls, including a line from Shakespeare’s As You Like It in the living room. ‘Tongues in trees, books in the running brooks, Sermons in stones and good in everything.’ The house is exactly as it was when Parr and his family lived in it, from exceptionally rare Edwardian lino on the floor, to paint-by-numbers pictures in Victorian frames. The same dolls ’ house Parr’s granddaughter Elsie played with is in the bathroom. “When people come, they come for Parr; they are then seduced by Elsie. So many people who lived in terraced houses come and reminisce. I love hearing about their memories,” Tamsin smiles. With an indoor toilet and self-closing doors, Parr’s home was both aesthetically joyous and functional, with nature-inspired patterns throughout; an ethos that permeated the British Arts and Crafts Movement that William Morris pioneered. “He would have said the beauty in an object is in the joy of how it’s made; there was no beauty in a manufactured object,” Tamsin says. Thanks to £625K of funding from Heritage Lottery the house has been lovingly restored, with the full blessing of the family, by Cowper Griffith Architects, and the painted interiors restored by Tobit Curteis Associates. At the heart of the restoration has been the support of more than 60 passionate volunteers. There’s an open call for volunteers in Cambridge to get involved, across all areas – from cataloguing and archiving, research and even being trained to show visitors round the house. “Our volunteers have gained so much knowledge. 20 volunteers have been trained as tour guides for the house, and there’s room to help in events, marketing, grant bid writing and helping in the garden. Something for everyone.” Probably one of the most significant older works of artistry from working class culture that has survived in modern day Cambridge today, David Parr House continues to fascinate. With a mix of visitors booking the hour-and- a-half long intimate tours, which are sold out for 2019, only 2000 visitors are able to see the house each year. And what would David Parr think of all the fuss his house is now causing? “I hope he would be smiling down on us,” laughs Tamsin. l


M A Y 2 0 1 9

C A M B S E D I T I O N . C O . U K


Above Each room in the David Parr House features hand-painted wall decorations, many including quotations from literature and poetry. Even the exterior of the house has been restored with materials used in the period Below Artefacts in the house are those belonging to David Parr and his famiy, or to Elsie his granddaughter, and have all been researched and catalogued


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9


D o you like your theatre challenging, stimulating, humorous and thought- provoking? All of the above will feature in the offerings served up at Cambridge Junction’s annual one-day festival of new theatre and dance, the aptly named WATCH OUT. The experimental and unusual will feature throughout the venue from 12pm on Saturday 25 May, abounding with risk- taking and new ideas. Part of the venue’s ongoing commitment to the development of contemporary performance from regional, national and international artists, this year’s festival is hosted by London-based performance artist Vijay Patel, who is noted for his boundary- crossing cabaret performances. Finnish-Egyptian artist Samira Elagoz brings Cock Cock... Who’s There? to the festival following a successful Edinburgh run last year, where it scooped a Total Theatre Award. Based on her personal experience of rape, Elagoz showcases gender relations and takes the audience on her journey of regaining power and attempting to relate to men. She explores desire, the power of femininity and the female gaze in a world in which the virtual and the real are intertwined. CYRUS PUNDOLE GIVES THE LOW-DOWN ON WATCH OUT: A FESTIVAL OF BOUNDARY-PUSHING THEATRE AT CAMBRIDGE JUNCTION

Award-winning French choreographer Lola Maury returns to Cambridge following her recent performance at the Buddhist Centre with BROUHAHA, a new piece that mixes voice, multi- channel composition and movement. Back at the festival are the “achingly hip and terrifyingly savage” ( The Guardian ) theatre company Made In China, with a work in progress of new piece Smithereens , while Belgian dance artist Hannah De Meyer presents Levitations , a piece where hope and despair, being and not being, sexuality, love and death rub shoulders. Following her hugely popular Triple Threat a couple of years ago, Lucy McCormick is back with Life: Live! , a subversive, immersive narrative concept album about a woman who gets overwhelmed in a supermarket.

With stadium-chic live visuals from Morven Mulgrew and original music written and performed by Lucy and her electrotrash Girl Squad, Life: Live! is a survival anthem for those of us who can’t decide which shampoo to buy. Lucy is performing a 20-minute work-in-progress extract, with the full performance premiering in the autumn. Ira Brand’s Ways To Submit focuses on dominance and submission, the ways in which we give in and the ways in which we take control – physically, psychologically, sexually and socially. Through the body, through language, and through structures of power. The piece invites you into a fantasy, a game, a dialogue: a series of duets in which power is at work. Annoyed with politics? Luca Rutherford will be taking over the foyer with her Political Party Disco . Her attitude is that if you’re fed up of talking about politics, dance it out instead. Tickets for the whole of the festival are £25, and while you’re milling around, grab a bite at MeatLess, Guerilla Kitchen’s sister van, which will be outside serving food, with cocktails and craft ale available inside the venue. l

“The experimental and unusual will feature”


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9

INDEPENDENT OF THE MONTH Cambridge ArtsTheatre SIOBHAN GODWOOD FINDS OUT WHAT MAKES CAMBRIDGE ARTS THEATRE SUCH AN IMPORTANT PART OF LIFE IN THE CITY O ccupying a prime location in the centre of Cambridge, as well as a very special place in the heart of the city’s theatre shows from The Marlowe Society and the Cambridge Footlights.” Those relationships with university groups are still important to the Arts Theatre today. “The Marlowe Society was established in 1907 to perform Shakespeare plays

goers, the Cambridge Arts Theatre was established in 1936 by one of the University of Cambridge’s most famous alumni, John Maynard Keynes. Most well-known as a ground-breaking economist, he was also a passionate patron of the arts, being a key member of the Bloomsbury Group and married to the Russian ballerina, Lydia Lopokova. One aspect of Keynes’ philosophy of economics was the idea that the aim of work was to provide money to pursue leisure activities. He believed in shorter working hours and longer holidays for everyone. He was awarded a 99-year building lease to establish the Cambridge Arts Theatre by King’s College in 1934. By February 1936, the theatre was ready for its gala opening with a programme featuring ballerina Margot Fonteyn. “The theatre also started its life hosting University productions,” says Caitlin Clark, marketing manager at Cambridge Arts Theatre, “with

in Cambridge, and the Arts Theatre programmes one of its plays every year,” explains Caitlin. “Also, Footlights presents two nights of stand-up comedy at the Arts Theatre each year, which are always really popular. Then, every three years we host the Cambridge Greek Play, which is also produced by the University; the whole play is performed entirely in Ancient Greek and we have people coming from all over the country to see it as it’s something that’s rarely performed.” Of course, Cambridge is primarily famous for its university, and as such is seen throughout the UK as a brainy city; but does that mean the Arts Theatre only programmes highbrow plays and talks? Not at all, according to Caitlin, the Arts Theatre works hard at achieving a good balance in the types of productions it hosts, with a mix of classic and contemporary theatre, comedy, musicals,

dance and shows for children. “We are aware that there are lots of academics in Cambridge, but it’s our responsibility to try to appeal to everyone who lives in the region, regardless of what they do and what kind of theatre they enjoy,” explains Caitlin. “People associate Cambridge with the University, but the Arts Theatre is for everyone who lives here. “Ever since the beginning of its life, the theatre has been a receiving house, which means that theatre and production companies on tour around the UK and the rest of the world will come to us, most often on a week’s run, which is Monday to Saturday. “We present dramas, comedies, musicals, a bit of everything really. We have around 40 weeks of theatre planned into each year. It’s a lot about having good relationships with companies and touring venues, and picking a range of work that the people of Cambridge will love, a mix of commercial and artistic productions to give our audiences as much variety as possible. The theatre ’ s long-term aim is to continue producing our own work; our recent in-house productions include La Strada, The Real


M A Y 2 0 1 9

C A M B S E D I T I O N . C O . U K


Thing starring Laurence Fox and 84 Charing Cross starring Stefanie Powers.” A big focus of the Arts Theatre’s programming is shows for children and families. It has had lots of excellent adaptations of well-known children’s books, including several by David Walliams, for example. Coming up in July there is a production of We’re Going on a Bear Hunt , which is adapted from the wonderful Michael Rosen book and, in October, Tom Gates Live on Stage, which is based on the books by Liz Pichon. “Of course for families, the biggest show of the year is our annual pantomime,” says Caitlin. “We produce our own show and do everything from picking the director and the writer, to casting the show and doing the lighting and costumes. It’s an entirely home- grown Cambridge production and it’s something we’re very proud of. It’s become a really important part of a Cambridge Christmas.” The title of this year’s Arts Theatre panto is still a closely guarded secret, but plans are already underway, and auditions for the 20 ‘panto babes’ from local Cambridgeshire schools are taking place

“It ʼ s our responsibility to try to appeal to everyone who lives in the region”

in September and open to children aged between nine and 13. The Arts Theatre underwent a major refurbishment in 2013 that involved changing the main entrance, which is now in St Edward’s Passage, and a reworking of the foyer and the theatre’s bars. Theatre goers can also now take advantage of pre-theatre buffet boxes that change every season and are proving really popular, offering the chance to grab a bite to eat before settling down to enjoy an evening’s entertainment. With its proud history and determination to look to the future and evolve, it seems certain

that Cambridge Arts Theatre will remain a central part of life in Cambridge for many years to come. l Cambridge Arts Theatre | 6 St Edward’s Passage | Cambridge CB2 3PJ | 01223 503333 |


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9



S ee the past brought to life next month at Wimpole History Estate. Taking place from 20 to 23 June, the event is seeing in its third year with its most ambitious outing yet, adding a second marquee and serving up a huge line-up of high-profile historians, authors, journalists, broadcasters and more, as well as interactive fun including sword and archery workshops. A fun and enlightening event with something for all ages, speakers include TV historian Lucy Worsley, who’s guided us through everything from 17th-century childbirth to Tudor wardrobes on our screens, will this time be deep diving into the long reign of Queen Victoria: one of the most exceptional eras in British history. Showing a softer side to the famously fearsome monarch, Lucy will explore how Victoria’s profound grief at the loss of her husband Albert shaped her decades in power. Also offering an intimate portrait of a towering figure in British history is Andrew Roberts, who’s at the festival to discuss his much-praised biography of Winston Churchill. Looking beyond the plume of cigar smoke and stirring speeches, he draws on fresh material to give some surprising insights on Churchill’s friendships, and his deeply sentimental streak. Joining him in a trip back to wartime London is Edward Stourton, who takes a lively look at BBC radio’s role in the second world war. In an age before the internet, the wireless was the lifeline of communication on updates from the frontline – find out how ‘Auntie Beeb’ shaped this defining moment in history. Also making an appearance is the inimitable Melvyn Bragg: straight-talking intellectual, author and erstwhile House Festival, a weekend-long feast of talks and activities at the Wimpole

of Lords peer. He’ll be discussing his latest novel Heloise and Abelard , a captivating retelling of the story of the relationship between Heloise d’Argenteuil and Peter Abelard, an infamous love affair that rocked 12th-century France. Michael Morpurgo, author of well-loved books including War Horse , stops by to provide a slice of music and storytelling in The Mozart Question on the 22nd. Featuring a live string quartet, the performance explores the story of Paolo Levi, a world-famous violinist, and that of his parents; Jewish prisoners surviving by playing music in a concentration camp. Sensitively told and with stunning excerpts of the music of Mozart, Bach and Vivaldi, it’s suitable for ages eight years and up. Another highlight is sure to be BAFTA winning television writer, producer and

Images Festival favourites Lucy Worsley, historian and curator of the Royal Palaces, and children’s author Philip Ardagh will be making welcome returns to Wimpole for 2019


M A Y 2 0 1 9

C A M B S E D I T I O N . C O . U K


director Sally Wainwright, who’s making a rare public appearance in conversation with Anne Choma, author of Gentleman Jack , to discuss bringing this true story to the screen. The sobriquet of 19th- century Yorkshire landowner Anne Lister, Gentleman Jack has been described as the ‘first modern lesbian’ whose coded diaries reveal numerous erotic encounters with other women. It screens on BBC Two later this year. A grisly chapter of British history is under the microscope at Hallie Rubenhold’s talk about a group of women: Polly, Annie, Elizabeth, Catherine and Mary-Jane, all of whom were victims of Jack the Ripper. The story of the crimes are famous, but details of the lives of these women less so – Rubenhold gives them voice in what’s billed as a “devastating narrative and landmark study of a time and place”. There’s close-to-home history with archaeologist Francis Pryor, whose new book delves into the ancient depths of the Fens, and closer to home still, with Shannon Hogan, who excavates the ancient history of Wimpole Hall itself, which dates back to the Late Iron Age.

The festival is looking forwards, as well as back, with a keynote speech from broadcaster Jonathan Freedland. The closing event, this speech will call into question our ability to learn from history in our current climate of fake news, denialism and ‘post-truth’ politics. Kids are well catered for too, with visits from the likes of award-winning children’s authors Julia Golding and Philip Ardagh, writer of The Secret Diary of Kitty Cask . In addition to the bustling programme of talks, you can enjoy all sorts of living history displays, from medieval cooking and duelling demos, to a falconry display and a scything festival. There will be two chances to marvel at a World War II Spitfire flyover, and eight to 16 year olds can learn how to fight like a medieval knight at Wimpole’s own sword school. The Wimpole Estate is a gem to explore in its own right as well, with a grand old country mansion, rolling parkland and library of more than 10,000 books, making it the perfect backdrop for the festival. If you get peckish or thirsty, there are two cafes and a restaurant to choose between, or wander over to

NEED - TO -KNOW WHAT? A feast of history, heritage and hospitality set against idyllic parkland.

WHEN? 20-23 June

WHERE? Wimpole Estate

HOW MUCH? Talks from £7

Church Field, which will be transformed into a street-food market with local traders including Azahar, Jack’s Gelato, Brewboard and Rural Coffee Project. Booking is open now at the Wimpole

History Festival website. l


C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9




THE MATHEMATICAL BRIDGE , BY J IM KELLY CAMBRIDGE FINALLY GETS THE DETECTIVE IT DESERVES IN THE SHAPE OF EDEN BROOKE T he second book in Jim Kelly’s Nighthawks series, The Mathematical Bridge is a pacy detective thriller which – as Val McDermid herself says of Kelly’s writing – is intelligent, and leaves you hungry for more. Set in Cambridge in 1940, the book follows detective inspector Eden Brooke in pursuit of a deftly-woven mystery involving a missing evacuee, Irish Republican bombers, a royal visit to the city and international espionage. It also contains the beautifully drawn human moments that define excellent crime writing: a family member presumed lost at sea, the torture of sleeplessness, and the painful agonies of doing all that one could, but still falling short. One of the particular joys of reading The Mathematical Bridge as a Cambridge resident is picturing Eden’s walks around the city and tracing his path through the familiar streets – until he suddenly disappears off into a space of Jim’s own creation. “I really like making up places that don’t exist,” the writer says from his home in Ely. “Cambridge is wonderful, but it doesn’t have that maze-like quality: you just run out of city. So it’s quite nice to have the ability to add bits on. I’m really proud of the Jewish Ghetto – it’s in that tiny little area opposite the front of Trinity, where the craft fair is, but it’s a bit like the Tardis: once you walk in, it’s limitless, and that gives you something to play with...” The book is peppered with gems of historical information about our city that add to the richly textured landscape, and Jim’s experienced hand at weaving them into the plot is evident in every chapter. “Anything that goes into the story has to

but not quite in the way you’d expect. “Whenever I see anything interesting, I just take a picture and tweet it – and then when I’m looking for ideas, I look back at my Twitter stream,” he says. “It reminds me of the landscapes, of what I’ve seen – those tiny details. I think really good stories come from very small details.” One of the challenges of talking about crime novels is discussing the book without giving away the plot: but it isn’t revealing too much to say that the detail which sparked The Mathematical Bridge was archive photos of evacuees. “They all had labels attached to their clothing – and I thought there had to be something in that,” Jim says. “For my annual book launch, I collect some pictures and talk about where the book came from. For this one I talked about the IRA campaign; I’m an Irish Catholic so we talked about my own childhood – and my brother was an evacuee…” The book’s echoes of Jim’s own experience doesn’t end with family history: Jim can often be found wandering our city just like his detective – though by

fit: you can’t let research appear on the page,” he says. “You’ve got to find a way of threading them into the story and then threading them out again. The bits of research that don’t get in just sort of pile up,” he says. “One day there’ll be a whole book of them…” Jim’s current regime sees a book delivered every year before an annual holiday in the summer months. “It’s a bit of a scrabble sometimes, but that’s fine,” he says. “That’s the thing about crime: if you get one book out, and if they like it, they want another one, and quickly. Having been a journalist I don’t think if I was given longer, the books would be greatly better,” he laughs, “I quite like having the year.” “I try to collect ideas throughout the year and put them in an ideas book, and then take the book on holiday with me, and sit down to think of a way forward and see if there’s anything there, any beginnings of a plot,” he says. “So by the time I come back, I’m sort of ready to get started again.” Another source of ideas comes from the phone in Jim’s pocket,



C A M B S E D I T I O N . C O . U K

M A Y 2 0 1 9


day, rather than at night – following a self- created ‘beat’ around writing locations that’s carefully honed to ensure the prolific writer effectively uses the time he has available. “There’s a cafe called Novi, where you can sit right by the window,” he says, “and in summer they open the windows up, so people are walking right past you on the pavement. I’ve never failed to get a decent hour there. Then I’ll go to the University Library where I’ll get another hour – and then I’d go to the Central Library for another hour – and if I’m really pushing it, I’m a member of the Botanic Gardens, so I’ll head to their cafe as well. I’m productive in those places, but they only work if I’ve thought in advance enough about what I’m going to do.” between London Liverpool Street and Ely, returning from his old day job as a journalist with the Financial Times . “I quite like working on trains: you’re surrounded by people but they leave you alone,” he laughs. “My wife (author Midge Gillies) was published before I was, and had an agent – I was messing around trying to write a crime novel: she offered to look at it, and she said there has to be something on every page that makes people want to read. So I thought I’d rewrite it – and each night, on the train, I limited myself to a single page. On the way in I read the newspapers, because I just… needed to. But on the way back, I wrote. It was a way of claiming back time. Psychologically it was very good: even when things went wrong with the train, I just thought ‘it’s all right – I’ve got more time to do this’.” Now a full-time writer, freed from the shackles of the daily schlep to London, when not moving around Cambridge Jim works at home in Ely, adopting the dining room table as his desk. The family dining table also comes in handy when laying out the book for the first time: Jim’s ‘spatial’ mind means he prefers to see a plot physically rather than carrying it around in his brain. “If it’s in your head, you’re never really sure if it works,” he says. “I use report cards, so every chapter is a different card, and then I colour-code for various parts of the plot – for this series, it’s very important whether it’s night or day, so I mark the cards with a black circle if it’s night, and an empty circle if it’s day – and then I can Impressively, Jim wrote his first two books on the commuter train

lay all the cards out on the dining room table and see the whole book.” “There has to be a plan before I start writing, but almost immediately the plan becomes untenable, so I have to have another one,” he says. “I know some writers who say ‘I’ve mapped it all out: all I have to do is write it,’ but the result is often not a very good book – it gets trapped by its plan. Some things work and some things don’t, and you only really find out in the middle – and then you’ve got to make really horrible decisions. Originally there were two big threads to the story, and I threaded them together so they both started almost immediately – and I finished the first draft, seven or eight months in, and I just knew, as soon as I started reading, that it’d be a much better book if one thread started and another came in later.” The resulting woven plots ebb and flow throughout the book much like the river Cam itself, a crucial part of the narrative that almost becomes a background character within the tale, or one of the nighthawks, who Eden visits on his nocturnal wanderings around the city. “Rivers are great,” Jim enthuses. “I did a book group reading: there was a woman at the event who was visiting Cambridge, and had just read the book, who said that I was clearly completely obsessed with rivers – and I thought ‘oh – you’re right’.


And [the detective’s] name is Brooke, which I hadn’t really thought of… it was one of those moments where somebody reveals much more about what you’re doing than you know. One of the brave things about writing fiction is that you don’t know what you’re revealing about the way you think: you just do it. And then someone stands up at an event and says: ‘Have you noticed…?’” he chuckles. “Someone pointed out that my books are always about a body that’s been hidden in the past, or lost, and that comes to light – which is a broad description of what a murder mystery is – but it’s interesting... I always do my psychoanalysis backwards, once the book’s finished, which I think is the best way.” The Mathematical Bridge is a hugely enjoyable book that will be extra- warmly received by readers familiar with Cambridge – and thanks to Jim’s abundant output, once you’ve finished this novel, there’s another in the series to dive straight into, and a whole host of other titles to paddle your way through in the future. Not to be missed: a perfectly gripping summer read. l

“The river Cam becomes a character within the tale”


M A Y 2 0 1 9

C A M B S E D I T I O N . C O . U K

Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116 Page 117 Page 118 Page 119 Page 120 Page 121 Page 122 Page 123 Page 124 Page 125 Page 126 Page 127 Page 128 Page 129 Page 130 Page 131 Page 132

Powered by