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Caroline McGinn

Caroline McGinn

Caroline McGinn is the former Global Editor in Chief of Time Out. 

Articles (15)

Reseña: Fantastic Beasts: The Secrets of Dumbledore

Reseña: Fantastic Beasts: The Secrets of Dumbledore

⭑⭑⭑✩✩ Coescrita por J.K. Rowling y Steve Kloves, guionista de Harry Potter desde hace mucho tiempo, Fantastic Beasts es la tercera de una saga de cinco películas de la franquicia Wizarding World de Warner Bros. Si bien es el más débil y la más incoherente hasta el momento, también ofrece momentos ricos, inmersivos y emocionantes; ofrece mucho para amar y reír. Las dos primeras películas siguieron el ascenso del mago oscuro Grindelwald en la década de 1920 en Nueva York y París. Ahora es la década de 1930 en Londres, Berlín y, extrañamente, Bután, mientras Grindelwald, al igual que su contraparte en el mundo real, Hitler, intensifica su toma de poder.  A pesar de todos los trucos brillantes de la marca registrada, la trama central apesta. Grindelwald puede ver el futuro, así que Dumbledore reúne a una valiente banda de héroes: Newt Scamander (Eddie Redmayne), su peludo topo con pico de pato y sus cómplices, su hermano Teseo (Callum Turner), ese dulce panadero de New York desde el principio de la saga, y algunos novatos al azar (uno de los cuales se llama Bunty). Les da instrucciones secretas superpuestas para "confundir" a Grindelwald, y también a todos los demás. Estos involucran a la pandilla que se dirige a Bután con cinco maletas marrones idénticas, una de las cuales puede contener o no un lindo ciervo bebé mágico que puede ver las almas de las personas. Es un montón de diversión, pero carece de sustancia, amenaza, peso emocional y a menudo, también carece de sentido. El

10 of the best Christmas hampers to see off 2021

10 of the best Christmas hampers to see off 2021

You just can’t beat Christmas in London. We love everything about it, the magical lights, the music blasted from every speaker, the dodgy jumpers and, of course, the hampers. Opening up a wicker basket of lush goodies that you’d never splash out on at any other time of year is adult equivalent of getting that toy you really wanted but didn’t need. There are hampers for vegans, hampers for cheese-freaks, hampers for drinkers and hampers for keen eaters of every description available from London shops and restaurants this Christmas. Behold: a few of the best. Recommended link: discover the best of Christmas in London. This article includes affiliate links. These links have no influence on our editorial content. For more information, click here.

Time Out Love Local Awards 2021

Time Out Love Local Awards 2021

We want to hear about the local places you love.  Maybe it’s the little coffee shop that always makes your morning better. Or that great local indie cinema, with the community vibes and events. It could be a fantastic food spot that you recommend to incoming friends and fam. Or a bold local gallery or theatre, a community-spirited garden-cum-café, a vintage shop, a cheesemonger, a pub, bar or music venue – or even all of the above. If you love it, tell us about it today. We’ll list and feature those places on Time Out. And, as it’s been a tough 18 months, we’ll offer your most-loved spots – the Time Out Love Local Award Winners of 2021 – a free marketing and advertising package to help them thrive. Let’s share the love! Caroline McGinn, Editor in Chief  // window.beOpAsyncInit = function() { BeOpSDK.init({ account: "5f69f55f46e0fb0001fde886" }); BeOpSDK.watch(); }; // If you are a business owner, or simply want to see your favourite venue listed on Time Out, you can submit venue details to the Time Out Edinburgh website by sending us your information.

Time Out Love Local Awards 2021

Time Out Love Local Awards 2021

We want to hear about the local places you love. Maybe it’s the little coffee shop that always makes your morning better. Or that great local indie cinema, with the community vibes and events. It could be a fantastic food spot that you recommend to incoming friends and fam. Or a bold local gallery or theatre, a community-spirited garden-cum-café, a vintage shop, a cheesemonger, a pub, bar or music venue – or even all of the above. If you love it, tell us about it today. We’ll list and feature those places on Time Out. And, as it’s been a tough 18 months, we’ll offer your most-loved spots – the Time Out Love Local Award Winners of 2021 – a free marketing and advertising package to help them thrive. Let’s share the love! Caroline McGinn, Editor in Chief // window.beOpAsyncInit = function() { BeOpSDK.init({ account: "5f69f55f46e0fb0001fde886" }); BeOpSDK.watch(); }; // If you are a business owner, or simply want to see your favourite venue listed on Time Out, you can submit venue details to the Time Out website by sending us your information.    

Time Out has been blocked from Facebook in Australia

Time Out has been blocked from Facebook in Australia

You might have heard something in the past few days about tech giants putting the squeeze on publishers in Australia. The government there has been debating new laws requiring tech companies to pay publishers for any news posted on their platforms. This week, Facebook removed all Australian publishers from its platform overnight and blocked Australian users from accessing any media from anywhere in the world. That includes our Time Out Sydney and Time Out Melbourne pages. We are deeply disappointed to be excluded from Facebook’s platform in Australia. Time Out cannot currently share local or international content with Australians via Facebook. A number of our English-language pages internationally are also affected. This hurts Time Out’s reach and revenue, but more importantly, it damages Australians’ access to accurate news and information from all professional media sources. Time Out has a strong presence in Australia and a special place in Sydney, Melbourne and beyond. We and all the cities that we champion have already overcome colossal challenges in the last 12 months. Every business whose business is social life has had to be ingenious and resilient to survive, and that includes Time Out. We are proud of Time Out’s mission and its professional, independent journalism. Our mission is to celebrate the city and its many cultures: the unique and brilliant events, restaurants, art, nightlife, bars, cafes, and theatres and – most importantly – the diverse and wonderful people

Tony Elliott, 1947-2020

Tony Elliott, 1947-2020

Tony Elliott was London. From the age of two, when he moved with his family from Reading to South Kensington, his life was inexorably linked to the city he loved. As a student in the ’60s, he quickly plugged into the city’s countercultural scene. He founded Time Out as a radical listings magazine at 21, and steered it – successfully and (mostly) profitably – through four decades of rapid social change. He mentored a generation of independent-minded magazine publishers, editors and journalists, fought for social justice, minority rights and the conservation of London’s historic buildings, and, behind the scenes, was an indefatigable supporter of the capital’s arts and culture industries. From the ’90s onwards he took Time Out global, launching magazines in 60-odd cities plus a definitive series of travel guide books, a website covering more than 300 destinations, and six editor-curated Time Out Markets. But despite all that globetrotting, Tony remained a lifelong Londoner, and it was here in the capital that he died on July 17, at the age of 73. It’s hard to overstate how much Tony’s ‘big idea’ changed London and the world. By launching Time Out, he embarked on a lifelong mission to make the city’s best happenings (from weird art and subcultural club nights to food, drink and shopping) more accessible to more people than ever before. Long before the internet, Time Out democratised culture, making anyone who picked up a copy an instant insider. That was entirely down to Tony’s

Time Out is becoming Time In – here’s why

Time Out is becoming Time In – here’s why

Hi everyone, We’ve temporarily changed our logo to Time In. We’re still Time Out – singing about the best of the city, fearlessly braving fringe drag and extreme art, tirelessly covering gigs and clubs and shows and other key cultural happenings. It’s just that we realise that right now, in many of our 327 cities, a lot of people aren’t going out. We, Time Out, will keep you updated about what’s going on. And our journalists, photographers and videographers will carry on showing you the best of the city, whether you’re out and about or stuck at home. To the venues and the creators which we champion and recommend: we want you to know we’re here for you. We love you, because you make our cities and our street life special and unique. We know this is a tough time to be running a restaurant or bar, to be putting on shows and finding an audience. We’ll be here to celebrate and champion you, even if you’re temporarily closed or empty. Because when our cities bounce back – as they always do – we’re going to need that craft beer/weird art exhibition/drag brunch more than ever. Be safe. Love your city. See you in the queue. Caroline McGinnEditor-in-ChiefTime Out

John Boyega vuelve a Star Wars como Finn

John Boyega vuelve a Star Wars como Finn

Traje elegante, sonrisa gigantesca, infecciosa sensación de diversión: ya sabes cuando el editor invitado de Time Out, John Boyega, está en la sala. El niño de Peckham convertido en superestrella galáctica se siente natural en la silla del editor, con los pies en el escritorio, hojeando los diseños. Tiene a todos gritando de risa. Un inmigrante nigeriano de segunda generación, Boyega creció en una zona de Peckham, hijo de un ministro y una trabajadora. Su historia es esencialmente londinense. Y las organizaciones artísticas y comunitarias de la ciudad han contribuido colosalmente a su éxito.  Años antes de ser elegido para Star Wars como su héroe más conocido, Finn, estaba aprovechando las oportunidades de la ciudad: entrenarse en el Teatro Peckham; actuando y asistiendo a espectáculos en el Shakespeare's Globe, el Royal Albert Hall y el Roundhouse . John Boyega es nuestro editor invitado porque se ha vuelto estratosférico y un tipo encantador. Es un testimonio de las oportunidades que Londres puede ofrecer, y este tema está dedicado a los lugares y las personas que lo han ayudado a él y a muchos otros. Estás en el final de la tercera trilogía de Star Wars. Es enorme. No es solo otra película, es parte de nuestra cultura, es como la Navidad. ¿Cómo se siente? ¡De la forma en que todos están hablando sobre el lanzamiento de esta película, pensarías que Jesús nació este año! ¡Pensarías que está a punto de venir este diciembre! Es parte de la cultura y la infancia de todos: es un

John Boyega e o último Star Wars: “Até parece que Jesus nasceu este ano”

John Boyega e o último Star Wars: “Até parece que Jesus nasceu este ano”

Fato aprumado, sorriso aberto e um contagiante sentido de humor: é fácil detectar a presença de John Boyega. O jovem de Peckham que virou superestrela galáctica assume o papel de director com uma extraordinária naturalidade – pés na secretária, dedos a folhear layouts e todos em seu redor a chorar de tanto rir. Nigeriano de segunda geração, filho de um pastor da igreja e de uma assistente social, Boyega cresceu num bairro social. A sua história tem um cunho caracteristicamente londrino, e as associações artísticas e comunitárias da cidade contribuíram de forma muito significativa para o seu sucesso. Anos antes de ser escolhido para interpretar Finn, o mais recente e relacionável herói de Star Wars, o actor ia aproveitando as oportunidades que a cidade lhe oferecia: fez formação na escola do Theatre Peckham e actuou e assistiu a peças em espaços como o Shakespeare’s Globe, o Royal Albert Hall, o Roundhouse e o Young Vic. Todos palcos de categoria mundial; todos profundamente enraizados no tecido cultural de Londres. A sua história não escapou à tragédia: Boyega e a sua irmã Grace foram das últimas pessoas a ver o seu companheiro de escola Damilola Taylor, também nigeriano e londrino, vivo, antes do seu homicídio, em 2000. Mas hoje Boyega traz outra história sobre Londres, mais positiva e que celebra as pessoas e organizações que o inspiraram, ensinaram e lhe permitiram expressar a sua identidade de forma autêntica. É o tipo de história que vale a pena recontar, em particular n

We chat with John Boyega on Star Wars, being a ballet kid and what's next for him

We chat with John Boyega on Star Wars, being a ballet kid and what's next for him

Sharp suit, gigantic grin, infectious sense of fun: you know when Time Out London’s guest editor, John Boyega, is in the room. The Peckham boy-turned-galactic superstar is a natural in the editor’s chair, with his feet up on the desk, flicking through layouts, and he has everyone hooting with laughter. But years before he was tapped up for Star Wars as its most relatable new hero, Finn, he was seizing the city’s opportunities: training at Theatre Peckham; performing and taking in shows at Shakespeare’s Globe, the Royal Albert Hall, the Roundhouse, the Young Vic. RECOMMENDED: Upcoming movies in Singapore Let’s start with Theatre Peckham, which I know is close to your heart.Theatre Peckham was where I trained – the first theatre where I really discovered the arts. I got a scholarship there when I was at primary school. Teresa Early, who’s the founder, was like: “You can come and train for free.” She gave me a really good opportunity. All of a sudden I was opened up into a world of contemporary theatre, dance, tap, ballet… I didn’t have you down as a ballet kid...Ballet classes were a bit tough! But I got to meet other kids who were into the performing arts, which was hard in school. A lot of my friendships are from there. I felt like I had creative people around the whole time, always performing. We did performances at the Roundhouse, my college drama group won a competition to perform at the National Theatre, and all of that made me more passionate about it. It’s so important

John Boyega: ‘I’d like to see a London where everyone has a chance’

John Boyega: ‘I’d like to see a London where everyone has a chance’

Sharp suit, gigantic grin, infectious sense of fun: you know when Time Out’s guest editor, John Boyega, is in the room. The Peckham boy-turned-galactic superstar is a natural in the editor’s chair, with his feet up on the desk, flicking through layouts, and he has everyone hooting with laughter. A second-generation Nigerian immigrant, Boyega grew up on a Peckham housing estate, the son of a minister and a care worker. His story is a quintessentially London one. And the city’s arts and community organisations have contributed colossally to his success. Years before he was tapped up for ‘Star Wars’ as its most relatable new hero, Finn, he was seizing the city’s opportunities: training at Theatre Peckham; performing and taking in shows at Shakespeare’s Globe, the Royal Albert Hall, the Roundhouse, the Young Vic. All world-class stages; all deeply rooted in London. It’s a story touched by tragedy too: Boyega and his sister Grace were among the last people to see their schoolfriend and fellow Nigerian Londoner Damilola Taylor alive before his murder in 2000. But Boyega is here today to tell another, more positive story about London, to celebrate the people and organisations that inspired him, taught him, and allowed his authentic self-expression. It’s the kind of story worth retelling, especially at a time when the news darkens every day, funding for culture and youth programmes is threatened, and London kids are too often stereotyped as victims or perpetrators of crime. John Boye

O que fazer em Londres, da comida ao buzz da cidade

O que fazer em Londres, da comida ao buzz da cidade

Caso não se recorde, a Time Out é de Lisboa mas é também de mais de uma centena de cidades espalhadas pelo mundo – o que significa que é, provavelmente, a maior e melhor rede global de especialistas locais. Para 2021, está prevista a abertura de um Time Out Market em Londres, um novo ponto de encontro para os amantes de comida e cultura em Watterloo, no coração da cidade e no popular bairro de South Bank. Mas, enquanto a novidade não avança, Caroline McGinn guia-o pelas cinco coisas que tem de fazer em Londres, desde a cultura gastronómica à oferta cultural. Recomendado: Cinco bebidas que valem a viagem

Listings and reviews (55)

‘Ruination’ review

‘Ruination’ review

5 out of 5 stars

It’s a rare treat to see a show that tickles your funnybone, messes with your head, breaks your heart then comes back to haunt your dreams. But Lost Dog’s fresh take on the myth of Medea is the real deal: a potent brew of dance, drama, music and glorious stage-scapes, with a GSOH to boot. It is staged, with lashings of irony, in the subterranean pit of the Royal Opera House’s Linbury Theatre, far below the glittering ‘Nutcracker’ onstage above. We’re in the front office of the underworld, where Hades, a muscular ballet boy sporting a see-through butcher’s curtain instead of a tutu, sardonically greets freshly departed souls on the slab. Today’s arrivals, Medea and Jason, are quite the pair of exes. They have the blood of their children on her – or maybe his – hands. Should they hold on to who they were, or drink from the water cooler of Lethe and forget? More importantly, which of them will win custody of their murdered kids in the netherworld?  From the moment that Medea and Jason dance themselves out of plastic body bags, stumbling like acrobatic newborn colts, but with the awful baggage of their adult lives weighing down every limb, you’re gripped and appalled. Lost Dog director Ben Duke has form in breathing new life into classics, and more importantly, a rare talent for communicating feeling and meaning through every sensory possibility available on a stage. Here we have a sharp, funny script that tells a pacy story and allows Medea – and Hades’s kidnapped wife Persephon

‘The Snowman’ review

‘The Snowman’ review

3 out of 5 stars

  Birmingham Rep’s ballet spin-off of Raymond Briggs’ dreamy Christmas classic is back in London for its twenty-fifth year. Unlike the ageless book and TV animation that inspired it, it’s creaking a little – but it is a classic in its own right, and still inspires rapture in the two-to-eight-year-old target audience and nostalgic sniffles in their middle-aged parents. It’s billed as ballet, but don’t expect tutus and immaculate technique. Small boys in slippers and snowmen encumbered by large white fatsuits are not the most naturally precise movers. Instead, the cast’s job is to convey the story’s cycle of Christmassy feelings via movement: joy, delight, humour, soaring imagination, merriment, and sad farewell are all writ broad and large in Robert North’s choreography.  Briggs’ story is padded out to fill one hour and 50 minutes on stage. The first half feels a bit long, despite some very ripe comedy from limbo-ing pineapples and bananas, and dance thrills from a leaping fox, squirrel and badger, trying to avoid becoming roadkill as the snowman chugs his noisy motorbike around the moonlit woods. Ruari Murchison’s stage design still looks magical – dreamlike oversized interiors in the boy’s home, graceful trees bending over the exterior scenes, all bathed in rippling light by Tim Mitchell like it’s happening inside a kaleidoscope, an evocative nod to the wistful, flickering hand-drawn animation of the TV classic. But the scene changes feel a bit clunky these days, and the a

In Plain Sight

In Plain Sight

4 out of 5 stars

This substantial – and free – exhibition uses its tight focus, the eye, to examine a great big heap of provoking ideas and quirky, fascinating things. It’s about how we see: physically, artistically, historically, medically and spiritually. It also glances at experience of becoming blind– lyrically, via an ethereally beautiful new VR artwork describing a writer’s loss of sight and cultivation of an inner eye. We start with striking examples of the all-seeing eye: from a precious ancient Egyptian amulet Eye of Horus, to folkier but no less striking Ojos de Dios, Mexican ‘gods eyes’ woven from bright colourful wool. It’s fun to ramble through the curiosities, glimpsing eye symbols being used to ward off evil and illness. A stunning modern version of a magical robe gleams, and is pieced from hundreds of individual squares like armour, each inscribed with the symbol of a deadly virus like Corona.  The show brilliantly illuminates the medical history and anthropology of vision and the eye The medical science section has equally striking stuff: like a superbly calibrated contraption for measuring eyesight and lens thickness that looks like a steampunk torture device, and fascinating paraphernalia surrounding writer Aldous Huxley and the American specialist who claimed to cure his extreme short-sightedness via patent 'eye exercises'.  I loved the mini-history of eyewear, starting with ancient inuit snow goggles. More glam are the green-lensed 'Goldoni glasses', probably named after

Objects of Desire: Surrealism and Design 1924-Today

Objects of Desire: Surrealism and Design 1924-Today

4 out of 5 stars

What’s that whizzing? It’s the sound of André Breton and the OG Surrealist crew spinning in their graves. The concept of this exhibition – 'surrealist design' – is as daft as, well, a lobster telephone. We start in the 1920s with the familiar, fantastic first surrealist objects: violent, deliberately dysfunctional visual puns like Man Ray’s ‘Cadeau’, an iron with nails, or objects like Duchamp’s spiky bottle rack. They’re the opposite of easy on the eye. Unlike Salvador Dali’s kitsch 1930s icons, also here: the lobster telephone and the Mae West sofa, plumped into the shape of her lipsticked pout and looking a little shabby, sadly. Dali had a genius for advertising. Whatever incarnation you glimpse him in here – in a deep sea diving costume, charming Sigmund Freud or as a sleek, mustachioed immigrant collaborating with Disney in the USA – he is the ringmaster for popular surrealism, and for its application in advertising, department stores, film-making and more. There’s surely a special episode of Mad Men starring Dali just waiting to be commissioned, and you could fruitfully stage a show on his design and pop legacy alone. Surrealism was on a rigorous mission to overthrow capitalist reality Instead, ‘Objects of Desire’ goes large. It’s at its best with the objects and earlier artworks, showing the stories behind them, through original photography, notebooks etc. It makes less sense when it ventures forward, or away from domestic objects. Claude Cahun’s self-portraits, stri

Hieroglyphs: Unlocking Ancient Egypt

Hieroglyphs: Unlocking Ancient Egypt

4 out of 5 stars

200 years ago, a young Frenchman called Jean-Francois Champollion rushed into his brother’s room, shouted 'I’ve got it!', then promptly collapsed. After centuries of failed attempts, Champollion had cracked the code of Hieroglyphics: the mysterious, semi-pictorial ‘language of birds’, of magic, rituals, the Pharoahs and their awesome monuments. The monument that enabled this breakthrough was of course the Rosetta Stone. It resided – still does, despite lukewarm calls for repatriation – at the world’s first free public museum, the British Museum, which has staged this thoughtful and scholarly exhibition in tribute to the eureka moment that’s known in the biz as ‘the decipherment’. The Rosetta Stone is important and momentous: it’s the BM’s most-visited object. But it’s a little dry IRL, being essentially a paragraph of bureaucratic whiffle, writ in stone (specifically, 762kg of granodiorite), in 3 scripts; hieroglyphs, demotic and greek. As rock stars go, it’s more Sheeran than Jagger. So intellectual kudos to the curators of this exhibition, Ilona Regulski and Kelly Accetta Crowe, for using this blockbuster opportunity to tell a thoughtful and accurate story of languages, conquest, and above all scholarship, instead of whacking out the usual richly coffined bodies of the Egyptian super-rich. If you want glamour, guts and glory, skip this and head upstairs to the Mummies gallery instead. This dimly lit and intense exhibition requires and repays close attention. The entrance is

Gary Barlow: ‘A Different Stage’ review

Gary Barlow: ‘A Different Stage’ review

4 out of 5 stars

When I took my mum to see Gary ‘Ooh isn’t he lovely’ Barlow, there was a moment when I lost sight of her near the loos. It was tough picking her out of the lineup. This audience is wall-to-wall mature ladies, out to get tiddly, have a giggle and get a bit closer to the blonde lad from Frodsham, Cheshire, whose swoopingly romantic ballads and sweet falsetto crooning were the beating heart of pop megagroup, Take That. I’m happy to say those ladies got everything they came for and more. Barlow’s one-man show is a hoot. Stubbled, tracksuited and as chipper as a squirrel with a Nutribullet, the 50-something Barlow has come a long way from the smalltown teen who used to ride his BMX to the park and watch the lights of the M54, dreaming of stardom. He now has thousands of hours of performances under his belt and it shows: he nails this two-hour tour of his life and music like the pro he is, the audience lapping up every joke and revelation as he holds them in the palm of his hand. It’s a far cry from a massive stadium gig: strippped back, intimate, the magic ingredients are a piano, a heap of packing crates and – hilariously – a Simon Le Bon wig. You can relax: it’s funny, it’s confessional and it’s comfortable and exudes the kind of slick affability Barlow would have admired many times from behind when he was a teenage organ prodigy, supporting Bob Monkhouse and other northern circuit acts as they passed through his local British Legion club. He’s now as rich as Croesus and doesn’

The Nutcracker (Royal Ballet)

The Nutcracker (Royal Ballet)

The Royal Ballet's 'The Nutcracker' is back for Christmas 2022. The below review is of a 2015 performance. Christmas wouldn’t be Christmas without ‘The Nutcracker’. Tchaikovsky’s 1892 piece, with its dancing dolls, feisty mice and fairies, all sugared over with snowflakes and delicious music, is probably the most popular ballet in the world. Everyone should go at least once, preferably with children. And if you’re going to splurge on tickets then the Royal Opera House’s production, now 21 years old and still going strong, is the one to see.This ‘Nutcracker’ is a box of delights, presided over by the magician Drosselmeyer  – a twinkly, raffish Gary Avis – who whirls about the stage dispensing sequins and magic tricks. His beloved nephew has been turned into a Nutcracker Doll, so when Drosselmeyer is invited to entertain the children at the Stahlbaums’s Christmas party, he takes the opportunity to give the Nutcracker to their daughter Clara, in the hope she will help break the spell.The story is even lighter than your average  ballerina. Which doesn’t matter, as it’s mainly there to provide an excuse for all the set piece treats. And there are a lot of them, starting with a stirring battle between stiffly leaping toy soldiers and leaping mice with manes like lions. It’s fantastic, and over before the end of the first act.  Which leaves the whole of the second for an extended victory party in the kingdom of sweets, complete with rewards, fairies, and divertissements from Spain,

We're Going on a Bear Hunt

We're Going on a Bear Hunt

4 out of 5 stars

'We're Going On A Bear Hunt' calls in at the Polka Theatre in 2022 and before returning to the Little Angel Theatre for a longer run. This review is of the production's 2014 run. ‘We’re going on a bear hunt, we’re going to catch a big one, what a beautiful day, we’re not scared.’ Michael Rosen’s rhythmic tale about a family which goes looking for bears is addictively popular with tots. And it's very nicely adapted here by a sweet-throated troupe of Little Angel puppeteers, in whose hands it’s become a charming, slightly alarming Saturday dad disaster story with additional folk songs. Converting a board book to a 45-minute show is often a stretch, but this pre-school classic can take the strain. Each onomatopeic obstacle that our plucky heroes have to surmount (such as swishy swashy grass) converts ingeniously to a nifty scene and set. And the whittled wooden puppets are cute, perfectly tuned to Helen Oxenbury's wistful original illustrations, and expertly handled, particularly the swimming baby and the licking dog. The energy drops in some scenes, especially when the makers opt for spooky ‘mild peril’, as DVD-regulators like to call it, and lose the adventurous enthusiasm in that rocking rhythm which drives the story forwards. And I could have wished that the helter skelter finale, where they do everything backwards, had been more hectic. But, as always at this treasured London venue, the production values are superb – if you have a 3-6-year old and can get them to Islington

‘Walking with Ghosts’ review

‘Walking with Ghosts’ review

4 out of 5 stars

This one-man autobiographical show, written and performed by the wonderfully craggy Irish star Gabriel Byrne, is a lilting, lyrical trip down memory lane. Byrne - a quiet man by Hollywood standards, in that he isn’t a notable limelight-seeker - has nevertheless had quite the career, directed by the Coens, Wim Wenders, Jim Jarmusch and every other quirky arthouse A-lister you can think of, in over 80 movies. But his showbiz years don’t get a look in here. This soulful patchwork of fond memories, funny stories and cautionary tales is happiest when hanging out in the Dublin of his boyhood with the ghosts of the folks who formed him. As a writer, Byrne’s a nice, pointed humorist with a lyrical streak a mile wide. As a performer the 72-year-old is a deft raconteur and a gifted mimic: he slides from character to character with completeness and ease: now channelling his mother, smoking wistfully over a rare afternoon tea at a fancy hotel; now his hilarious, movie-loving grandmother; now Brendan Behan, drunk one morning and on the wrong bus. Later, we get memorable vignettes featuring amateur dramatics, plumbing and Richard Burton, on a late-night drinking sesh in Venice. This show is based on his book of the same name and as a memoir-writer Byrne seems seriously determined to dig down to the roots and essence of his experience, whether that’s in a vivid metaphor, a well-rehearsed joke, or the exact accent of a remembered voice. There’s light and darkness here – mostly light, but By

‘The Gretchen Question’ review

‘The Gretchen Question’ review

3 out of 5 stars

The Master Shipwright’s House in Deptford must be one of the most gorgeously romantic secret spots in London: sparkling with fairy lights, a semi-ruined house and garden, on the brink of the mighty Thames where ships were once built and sent across the world in search of cheap natural resources, profit and glory. Behind the stage, the city scrapes the sky, sinister towers reflected brightly in the cold black water.  It all makes a wonderful and apt open-air setting for this new play about climate change, put together for the We Are Lewisham festival by veteran director Melly Still and musician Max Barton.  ‘The Gretchen Question’ brings together three women from different eras: eighteenth-century Gretchen (Lauren Moakes), working with dastardly fellows from the Royal Society to form a company and exploit a new fuel source; modern-day Lulit (Tamaira Hesson), a poet who wakes up sick in an ice rink, and influencer Maisie (Yohanna Ephraim), on an ill-advised extreme Arctic adventure where she’s supposed to be greenwashing the fuel company’s reputation. There’s a strong cast and some nice ideas - I loved the way the players recorded the audience’s collective heartbeat, at the start, playing it back at a crucial moment later on. But the plot is bonkers: so much that I found it increasingly hard to figure out what was going on or why. There are so many shocking true and historical stories about climate change, that it seems like a very weird choice to centre this one on oysters fr

‘The Southbury Child’ review

‘The Southbury Child’ review

4 out of 5 stars

This painfully funny play by Stephen Beresford, up from the Chichester Festival Theatre, is the best West Country drama I’ve seen since ‘Jerusalem’. But it will divide people - triggering them along the fault lines which split the seaside parish it describes, where mildewed institutions and trad public service values are spliced with offense culture, zero-hours poverty, and a loss of meaningful purpose and employment in both middle and working-class life. Unfashionably, Beresford’s theme is the Church of England. It dominates the play and the set, a sketch of an ancient spired church building filling the backdrop of the stage, drawn austerely with odd, imposing angles, like a memento mori, its perspective visibly at odds from the warmer world below. The action happens below in a threadbare vicarage kitchen, where all comers are welcome and every shade of human trouble is played out between the tea kettle and the whisky bottle. This is the grace and favour (ie temporary) home of vicar David Highland: middle-aged, witty, humane, exasperatingly stubborn and frequently a bit pissed. When Highland refuses to allow the bereaved family of a dead schoolgirl to fill his church with Disney balloons for her funeral, all hell breaks loose: turds through the letterbox, social pile-ons, death threats, ‘TNU’ daubed between the shabby front window curtains (read it backwards). And the arrival of a shiny new young gay vicar sent by the ‘grieved’ church bosses to assist David in his fall from

The Railway Children Return

The Railway Children Return

3 out of 5 stars

A mournful whistle, a man-shaped shadow emerging from clouds of steam, and the impossibly sweet elocution of Jenny Agutter calling out: ‘Daddy, my Daddy!’ It’s the tearjerker scene that made millions of families misty eyed 50 years ago – and made Agutter into a household name and face. The Railway Children Return doesn’t pack the power of the original, but it’s charming and sensitive stuff, with a few Easter eggs for old-school fans, and added thrills and issues for the next gen.  This is not a remake of Edith Nesbit’s classic novel, on which Lionel Jeffries’ 1970s movie was based. The original ‘railway children’ were an immaculately dressed Edwardian trio, exiled to a Yorkshire village with their mother after they lose their house and money when their father is unjustly banged up for a crime he didn’t commit.  Half a century later, the new trio are from bomb-weary Salford, evacuated to the same Yorkshire village to escape Hitler’s air attacks. They’re taken in by Agutter’s Bobbie – who brings her original character back as a suffragette grandmother, a nice nod to Nesbit who was a radical socialist – and her daughter, the local headmistress (Sheridan Smith).  The plucky kids encounter bullies and kindness, and soon discover an injured Black teenage GI (Abe Atkins) who’s on the run from a local US military base: is he a coward or the victim of racists?  The tougher, poorer Salford kids brush more closely to difficult issues than Nesbit’s gilded trio did: racism, bullying, fami

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If you do one thing in 2023… learn to sew

If you do one thing in 2023… learn to sew

Fast fashion is toxic. There are deep pits full of clothes we’ve all chucked because we lack the basic ability to mend them. But you know you could alleviate that shit, recycle garments and insulate your freezing flat with curtains and quilts – and yourself with zero-heating duvet suits – if only you could master The Sewing Machine. And there’s the fear. The Machine is spiky. It whiffs of scary Victorian lady. There are sinister loops, spikes and dials. It looks like it would nail your palm to the table faster than you can say ‘applique’.  Sooner than I could have believed possible I’m whirring away So when the time comes to give my Sunday afternoon to a beginner’s class at Fabrications on Broadway Market I don’t want to go. But I’m so glad that I do.  The instructor in the scary art is Barley, the owner, who shows up wearing an amazing self-made dress (it’s recycled from a man’s shirt. The straps are made from the stripy sleeves! How cool is that?). In the first ten minutes I conquer my fear by threading and re-threading the machine and – sooner than I could have believed possible – I’m whirring away.  This class is brilliant for beginners because you get all the basics that you need to be self-sufficient and learn more at home, and because you get to make something from scratch, and finish it under an expert trouble-shooting eye. Barley is a marvellous teacher: patient and clear, but also open and creative. We’re precise about learning basic stitches and hemming techniques

You can see 2022’s Turner Prize-winning installation on this Hackney street

You can see 2022’s Turner Prize-winning installation on this Hackney street

Veronica Ryan, the 66-year-old artist behind Britain’s first permanent public artwork to honour the Windrush generation, has won 2022’s Turner Prize. You can see Ryan’s giant fruit sculptures on Narrow Way in east London, a stone’s throw away from the African- and Caribbean-flavoured market that inspired them: Hackney’s Ridley Road. Ryan’s trio of huge tactile marble and bronze sculptures are as vivid and warm as the community around Ridley Road market, which she fondly remembers visiting as a child, after arriving in the UK from the Caribbean. Her custard apple, breadfruit and soursop pieces look like they’ve just tumbled from a giant fruit and veg stall in the sky. They are a million miles away from the coldness or just plain naff-ness of so much public art, and were commissioned by community art organisation Create London, which has been responsible for so many imaginative, award-winning and genuinely accessible public artworks in the city over the last decade. Shockingly, Ryan’s Hackney fruits are not only the first permanent public Windrush commission in the UK but the first permanent public sculpture by a female Black artist. It’s good to see the Turner Prize – which is staged in Tate Liverpool this year not at its usual London home – honour Ryan, who at 66 is its oldest-ever winner. Ryan wore her father’s hat while accepting the award, and shouted ‘Visibility!’ and ‘Power!’ from the podium. The UK needs to do more to recognise and celebrate marginalised citizens and ta

タイムアウト創業者トニー・エリオットの追悼式が開催

タイムアウト創業者トニー・エリオットの追悼式が開催

2022年3月29日、ロンドンのカムデンにあるラウンドハウスで、2020年7月に長い闘病生活の末逝去したタイムアウト創業者、トニー・エリオットの追悼式が開催され、700人以上の友人、家族、同僚などが彼の人生を祝福した。 彼らが敬意を評したのは、エリオットがロンドン、国際的な出版、文化、旅行、エンターテインメント、都市生活などに与えた、個人的、職業的な影響力の大きさ。さらに雑誌やガイドブックへの掲載だけではなく、彼の個人的な助言や支援で、擁護され活動できた表現者があまたいたことだ。 イベントのホスト兼キュレーターを務めたのは、エリオットの妻であるジャニー・エリオット。放送業界の著名人であるアラン・イェントブやジャネット・ストリート・ポーター、起業家でかつてはエリオットのビジネス上のライバルだったリチャード・ブランソン、ロイヤル・アカデミー・オブ・ダンスの最高経営責任者(CEO)である、ティム・アーサー、ラウンドハウスのCEOであるマーカス・デービーなどが登壇した。 彼が残した素晴らしい遺産は、式に参列した全ての人が彼にささげた、感動的で個人的な賛辞の中に生きていた。タイムアウトは、このイベントに参加した全ての人々と一緒に、本当にすてきだったエリオットの人生を祝福したい。 エリオットの友人や同僚が、式をどのように受け止めたかを以下に紹介する。 ルイーズ・チュン(Welldoing.org創業者) 「昨日、トニー・エリオットの追悼式に出席した。1970年代のロンドンの現実的な懸念を取り上げた、優れた雑誌の表紙の力を再認識できてよかった」 Great to be at Tony Elliott’s memorial yesterday and to be reminded of the power of a good #magazine cover, addressing real concerns in London in the 1970s. @TimeOutLondon pic.twitter.com/N23nqUxxx5 — Louise Chunn (@LouiseChunn) March 29, 2022 ゴードン・トムソン(元タイムアウトロンドンエディター) 「昨夜ラウンドハウスで、トニー・エリオットの人生を祝い、多くの旧友や同僚と再会できてよかった。トニーはタイムアウトロンドンを設立し、多くの人にとって素晴らしく先見の明のある上司だったが、それ以上に、彼はとても親切ですてきな人だった」 A joyous celebration of the life of Tony Elliott at @RoundhouseLDN last night, wonderful to catch up with so many old friend and colleagues. Tony founded @TimeOutLondon and was a brilliant and visionary boss to so many - more than that, he was a deeply kind and lovely man. pic.twitter.com/nJIwjbnJJ0 — Gordon Thomson (@GordonJThomson) March 29, 202

Time Out founder Tony Elliott is remembered at the Roundhouse

Time Out founder Tony Elliott is remembered at the Roundhouse

On Monday 29th March, friends, family and colleagues gathered at the Roundhouse, Camden, to celebrate the life of Time Out’s founder Tony Elliott, who died in July 2020 after a long illness.  Over 700 people attended the event, which paid tribute to Tony’s colossal personal and professional impact on the worlds of London, international publishing, culture, travel, entertainment and city life - and to the extraordinary diaspora of creative talent which he championed and enabled, not only via his magazines and travel guides but through tireless personal encouragement, mentoring and support. The event was hosted and curated by Tony’s wife Janey Elliott and speakers included broadcasters Alan Yentob and Janet Street Porter, entrepreneur (and onetime business rival) Richard Branson, Royal Academy of Dance CEO Tim Arthur, and Roundhouse CEO Marcus Davey.  Time Out joins all who attended in celebrating the life of a truly lovely man, whose remarkable legacy as a human being was visibly alive in the moving and personal tributes paid to him by everyone who attended his memorial.  Here's how Tony's friends and colleagues reacted to the memorial event: Great to be at Tony Elliott’s memorial yesterday and to be reminded of the power of a good #magazine cover, addressing real concerns in London in the 1970s. @TimeOutLondon pic.twitter.com/N23nqUxxx5 — Louise Chunn (@LouiseChunn) March 29, 2022 A joyous celebration of the life of Tony Elliott at @Roundh

Tell Time Out how you feel about going out now

Tell Time Out how you feel about going out now

Yes, London. We’re back out there and loving it. But how have your going out habits changed? Are you roaming around Theatreland in full-on Elsa costume? Or is your neighbourhood now where your heart resides forever? And how do you feel? Liberated? Nervous? Disgusted by the lack of mask-wearing? Please take two minutes to tell us - we want to know all about your time out... // window.beOpAsyncInit = function() { BeOpSDK.init({ account: "5f69f55f46e0fb0001fde886" }); BeOpSDK.watch(); }; //

Hamper time! Picnic with the Best of Borough Market

Hamper time! Picnic with the Best of Borough Market

After making a bit of a hit last festive season with their genuinely excellent Christmas hampers, the traders at Borough Market (scions of an ancient tradition) have got together again to create a Best of Borough hamper for summer. Lovers of fine food and independent local traders (tick, tick) can now order a toothsome market-stall selection tailored to all manner of occasions from a v classy pancake brunch to a posh park picnics and an extra-extra Sunday lunch. The traders also have an impressive and reasonable range of bread-, veg-, meat- and cheese-filled subscription boxes packed with all the umami goodness you would expect from a browse at Borough Market: regulars can subscribe for delivery and samplers can get £5 off by entering the code TIMEOUT at the checkout. You’re most welcome.  Order at www.goodsixty.co.uk. Great rooftop bars in London you can book right now. And some great beer gardens for your pleasure. 

Hackney’s Top Up Truck is bringing zero-waste to your door

Hackney’s Top Up Truck is bringing zero-waste to your door

You may have seen a couple of girls whizzing around London Fields in an electric milk float (remember them?) crammed with flour, tins and laundry liquid. They are Ella and Martha and that is the Top Up Truck, backed by Re:Store in Hackney Downs. It’s basically a very cute zero-waste shop on wheels, selling grains, pulses, teas and household products like loo roll. it’s a great plastic-free solution, especially for all the heavies that you don’t want to lug back from a shop on foot or by bike. You put your order in before Thursday via the website, then take your containers out and refill them when the milk float rocks up outside your door, as local residents stream from their houses clutching string bags and wicker baskets like something out of ‘Call the Midwife’. So it’s not only good for the environment, you get to have a bit of chat and community fun time in the open air while you and your neighbours are hovering to pick up your raw chocolate raisins or find out what this is and how to sign up.  Ella is currently crowdfunding to increase the capacity of the Top Up Truck by adding some shelves to it (it’s a single-decker currently). Donate, and you might win a ride on the truck, some natural wine or some reiki (obviously). The whole thing is clearly a great idea and the sort of thing that makes daily life in London just that little bit more bearable.  Book a delivery via the Top Up Truck website. And check its Instagram for updates. Find more local initiatives and ways to

Time Out se tiñe de morado por el Día Internacional de la Mujer: te contamos por qué

Time Out se tiñe de morado por el Día Internacional de la Mujer: te contamos por qué

Me siento orgullosa de que Time Out se vuelva lila el lunes 8 de marzo para apoyar el Día Internacional de la Mujer. Me gustaría explicaros las razones. En cualquier otro año, habría compartido con vosotros estadísticas alarmantes para mostraros que, a pesar de las extraordinarias mujeres que vemos y celebramos hoy y todos los días, la paridad de género está a una vida de distancia, y el progreso hacia ella es demasiado lento. Este año, en cambio, me gustaría mostraros una instantánea personal. Ahora mismo, estoy escribiendo este artículo en la mesa de mi cocina. Esta mesa es donde he cocinado y servido comidas para mis hijos todos los días durante el último año y he limpiado después. Ha sido una tabla de planchar improvisada y un gimnasio casero bastante cutre e infrautilizado. También es un escritorio compartido en el que he trabajado hasta altas horas de la noche, escribiendo, editando, enviando correos electrónicos y planificando. En ella también me he esforzado en dominar el álgebra, nuevos y extraños métodos para hacer una división larga, hechos inspiradores sobre Rosa Parks y otros alarmantes sobre Myanmar, o cualquier otra cosa que se requiera para educar en casa a tres niños con edades, necesidades y personalidades totalmente distintas. La mesa está, francamente, un poco pegajosa, y no quiero saber por qué. Mis días consisten en tres turnos: uno para el cuidado, otro para la limpieza y la cocina, y otro para mi trabajo: trabajo de cabeza, trabajo de corazón y trabajo

El Time Out es torna lila el Dia Internacional de la Dona: aquí t'expliquem per què

El Time Out es torna lila el Dia Internacional de la Dona: aquí t'expliquem per què

Em sento orgullosa que Time Out es torni lila el dilluns 8 de març per donar suport al Dia Internacional de la Dona. M’agradaria explicar-vos-en les raons. Qualsevol altre any, hauria compartit estadístiques alarmants amb vosaltres per demostrar-vos que, malgrat les dones extraordinàries que veiem i celebrem avui i cada dia, la paritat de gènere encara queda molt lluny i ens hi acostem de forma massa lenta. Aquest any, voldria mostrar-vos una instantània personal. Ara mateix, escric aquest article a la taula de la cuina. Aquesta taula és on he cuinat i servit menjars per als meus fills cada dia durant l'últim any i he netejat després. Ha estat una taula de planxar improvisada i un gimnàs casolà bastant tronat. També és un escriptori compartit on he treballat fins ben entrada la nit, escrivint, editant, enviant un correu electrònic, planificant. També és on he mirat d'esprémer-me el cervell per dominar l’àlgebra, nous i estranys mètodes per a una llarga divisió, fets inspiradors sobre Rosa Parks i alarmants sobre Myanmar, o qualsevol altra cosa que demanin a l’escola de tres nens amb edats, necessitats i personalitats totalment diferents. Francament, la taula està una mica enganxosa i no vull saber per què. Els meus dies consten de tres torns: un de cura, un de neteja i cuina, un de feina: treball de cap, treball de cor i treball manual. No hi ha gaire temps per dormir o divertir-se. I soc una de les dones afortunades, privilegiades, del primer món. Tinc una feina, un sou, una

Time Out se tiñe de morado por el Día Internacional de la Mujer

Time Out se tiñe de morado por el Día Internacional de la Mujer

Me siento orgullosa de que Time Out haya vuelto morado este lunes 8 de marzo para apoyar el Día Internacional de la Mujer. Me gustaría explicaros las razones. En cualquier otro año, habría compartido con vosotros estadísticas alarmantes para mostraros que, a pesar de las extraordinarias mujeres que vemos y celebramos hoy y todos los días, la paridad de género está a una vida de distancia, y el progreso hacia ella es demasiado lento. Este año, en cambio, me gustaría mostraros una instantánea personal. Ahora mismo, estoy escribiendo este artículo en la mesa de mi cocina. Esta mesa es donde he cocinado y servido comidas para mis hijos todos los días durante el último año y he limpiado después. Ha sido una tabla de planchar improvisada y un gimnasio casero bastante cutre e infrautilizado. También es un escritorio compartido en el que he trabajado hasta altas horas de la noche, escribiendo, editando, enviando correos electrónicos y planificando. En ella también me he esforzado en dominar el álgebra, nuevos y extraños métodos para hacer una división larga, hechos inspiradores sobre Rosa Parks y otros alarmantes sobre Myanmar, o cualquier otra cosa que se requiera para educar en casa a tres niños con edades, necesidades y personalidades totalmente distintas. La mesa está, francamente, un poco pegajosa, y no quiero saber por qué. Mis días consisten en tres turnos: uno para el cuidado, otro para la limpieza y la cocina, y otro para mi trabajo: trabajo de cabeza, trabajo de corazón y t

Time Out is going purple for International Women’s Day – here’s why

Time Out is going purple for International Women’s Day – here’s why

I’m proud that Time Out is turning its masthead purple on Monday March 8th, to support International Women’s Day. I’d like to tell you why. In any other year, I’d have shared alarming stats with you to show you that – despite the extraordinary women we see and celebrate today and every day – gender parity is a lifetime away, and progress towards it is too fricking slow. This year, I’d like to show you a personal snapshot instead. Right now, I’m writing this article at my kitchen table. This table is where I have cooked and served meals for my kids every day for the last year and cleaned up after them. It’s been a makeshift ironing board and a fairly crappy and underused home gym. It’s also a shared desk where I have worked late into the night, writing, editing, emailing, planning. Either that or cudgelling my foggy brain to master algebra, new and bizarro methods for long division, inspirational facts about Rosa Parks and alarming ones about Myanmar, or whatever else is required to homeschool three children with totally conflicting ages, needs and personalities. The table is, frankly, a bit sticky, and I don’t want to know why. My days consist of three shifts: one for care, one for cleaning and cooking, one for my job: Head work, Heart work and Hand work. There’s not much time for sleep or fun. And I’m one of the lucky, privileged, first-world women. I have a platform, a job, a salary, a home and an empathetic boss. I have access to medicine and – soon – a vaccine. I have a b

Dalston’s getting a new outdoor theatre and bar space

Dalston’s getting a new outdoor theatre and bar space

The Arcola Theatre is turning itself inside-out for winter. The pioneering Off-West End playhouse has employed multi-award-winning stage designer Jon Bausor to create a brand new outdoor performance space and bar near its main building on Ashwin street (just opposite Dalston Junction Overground station). Arcola Outside is due to open in December. Under Tier 2 restrictions, groups of up to six people from different households can mix in an outdoor space – and the Arcola aims to bring them safely together under one very big and well-ventilated roof. The Arcola – along with its neighbour Dalston Curve Garden – has been a longstanding champion of sustainability since its inception two decades ago. Its new 90-seat space will use planters and reclaimed materials. In 2021 it will be the central hub for a Hackney-wide festival of outdoor performance, ‘Today I’m Wiser’, celebrating collective change and creativity. Unmissable theatre to see this year. Shakespeare’s Globe is back with screenings and live comedy.

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