Mariana Teixeira

O açaí é um fruto de cor roxa que cresce na Amazónia, rico em fibras, cálcio, ferro. Tem vitaminas, é antioxidante e anti-inflamatório, ajuda a prevenir doenças cardiovasculares e podíamos continuar aqui a enumerar os seus benefícios. A polpa tem um sabor amargo, quase como terra, e esse é um dos motivos para muitas vezes ser tratado como sobremesa, uma vez que é misturado em muitos sítios com xarope de guaraná (embora existam outros adoçantes naturais). Pode ser comido gelado, em modo de batido com fruta ou numa bowl com granola, morango e banana com toppings (os mais clássicos, mas o limite será sempre a sua imaginação). Pode acrescentar ainda mel, leite em pó ou leite condensado. Recomendado: Os melhores sítios para comer comida brasileira em Lisboa

Atravessar o rio Tejo não precisa de ser um bicho de sete cabeças, pelo contrário. Aqui damos-lhe várias razões para que esta travessia seja uma odisseia memorável. Os motivos são muitos e para todos os gostos, desde os restaurantes que vale a pena conhecer em Almada, passando pelas melhores praias da Costa da Caparica, sem deixar de fora um roteiro de tudo o que não pode perder em Cacilhas. Dito isto, evite as desculpas e parte à descoberta do melhor que a margem sul tem para lhe oferecer. Recomendado: Ideias para aproveitar os 220 dias de sol em Lisboa

O que mais apetece quando o calor aperta é uma linha de areal e aqui estende-se por 30 km. Partindo de Tróia para sul, sempre junto à costa, passa pela Comporta, pelo Carvalhal e chega à fronteira de Melides. Com esse mapa em mente, atravessámos o Sado e alcançámos um paraíso da nossa costa com praias de mar azul turquesa, restaurantes com peixe e marisco da zona, hotéis em tons campestre mas com muitos apontamentos de luxo e vários programas para fazer depois de esturricar ao sol ou até quando o sol não está à vista. 

É um género de condomínio fechado em Alcântara. Uma mini-cidade dentro da cidade, com tudo o que precisa, especialmente para ficar bem alimentado: há uma diversidade imensa de mesas obrigatórias, dos cachorros quentes à comida indiana, para picar ou se deixar ficar com vista para o rio. Mas como empreendimento que é, tem ainda espaços para trabalhar (co-work), para ir às compras para a casa numa das lojas de decoração ou comprar um trapinho novo numa das lojas de roupa, ler um livro na Ler Devagar ou comer um brigadeiro na Brigadeirando. Tem até sítio para fazer uma tatuagem, no estúdio de tatuagens Queen of Hearts. Faça o seu próprio roteiro e não passe fome: escolha já um destes restaurantes na Lx Factory para o seu almoço ou jantar. Recomendado: O melhor de Alcântara

Fica a um tirinho de Lisboa, entre Cascais e a Parede e durante anos foi a estância balnear mais luxuosa da Linha (não nos esquecemos também de São Pedro do Estoril e São João do Estoril). Hoje, além de praias, tem bons sítios para comer, ir às compras e passear, a dois passos do mar ou mesmo no meio da vila apalaçada. Nesta lista encontra os melhores restaurantes no Estoril para almoçar ou jantar, desde os espaços mais clássicos até aos mais modernos e saudáveis – passando por tascas e restaurantes de fusão .  Recomendado: As melhores coisas para fazer no Estoril

‘The Vote’ returns in reworked, recast form for one (election) night only in 2019. At 10am on Sunday December 8, 166 tickets only will go on sale at www.thevote2019.co.uk. There will be a further release of tickets on Wednesday December 11 at noon. This time it will star Catherine Tate, Nina Sosanya, Mark Gatiss, Michael Shaeffer, Tommy French, Hadley Fraser, Llewella Gideon, Rachel Denning, Rosalie Craig, MyAnna Buring, Aicha Kossoko, Jackie Clune, Joanna Griffin, Yusra Wursama, Rita Balogun, Paul Chahidi, Stephen Kennedy, Heather Craney, Fisayo Akinade, Bill Paterson, Eddie Arnold, Wanda Opalinska, Nicholas Burns and Lisa Caruccio Came.  It will run 8.30pm to 10pm, with the results of the exit poll announced on stage at the end. If you’re heading to the polls today, spare a thought for the people who hand you your ballot papers. Not only do they have to enforce a series of almost unenforcable rules – No phones! No politics! No selfies! – and deal with angry, possibly drunk members of the public, their role allows pretty much no room for human error. And smart political playwright James Graham is all over the dramatic potential.  Graham sets his ambitious, star-saturated ‘The Vote’ in a polling station in the 90 minutes before voting finishes on Thursday May 7 2015. (Recognise that date? Haven’t voted yet? Don’t bloody forget.) As well as a short run at the Donmar, the play is being screened live on TV during the the exact time the play is set, so chances are a lot of peop

This review is from June 2015; 'This is How We Die' returns for five shows at Ovalhouse around Hallowe'en in 2019. Here’s fair warning: definitely don’t watch Christopher Brett Bailey’s ‘This Is How We Die’ on any kind of drugs. There’s a real chance you might explode. The Canadian’s extraordinary motor-mouth monologue music piece is an annihilation of the senses. His rapid, funny and surreal narrative messes with your head before his exceptionally loud music messes with your heart – vibrating your entire body until you think your vital organ may have missed a beat. You don’t need artificial stimulants anyway: ‘This Is How We Die’ is enough of a trip. From the moment Brett Bailey stomps on to the stage to sit at a table with a microphone and reads from pages of a script, it’s transfixing: a fast stream of irony, barbed words and fucked-up narratives. He tells of an intensely visual, often smilingly brutal magical realist journey through England and America. There are hilarious tangents – when someone tells him to go fuck himself he tries it, swapping out of his and her roles in a twisted solo duet. He creates weird, impossible characters: his girlfriend’s dad is a walking swastika, literally shaped into one after a car crash; her mum is the strong silent type, a bodybuilder with her mouth stapled together.‘This Is How We Die’ is a lot of things, but what I took away most was its riff on the way we use language, its signifiers and its cliches. Brett Bailey’s imagery is minutel

The old cliché goes that death is life’s only certainty. But does that still stand today? In their new piece, Unlimited Theatre explore the possibility that death may not be the finale we all think it is. Which is a comforting thought until you begin to imagine a world that’s filled to the brim with people who are stubbornly refusing to pop off. Despite dealing with the most morbid of subjects, ‘Am I Dead Yet’ is actually quite genial. The two-hander has Chris Thorpe and Jon Spooner standing together on a stage scattered with microphones, amps, guitars and a piano. They get dressed into all-in-one suits that make them look a little like racing drivers, they perform songs, tell us facts (they’ve been creating the show with the help of a resuscitation expert) and get a trained professional to teach us CPR. Everything within the piece is a way of demonstrating how death isn’t what it once was. Where once it was an ending, these days it can be a mid-way point. Modern science is getting better and better at bringing back to life those who have died. Thorpe’s skill at provoking a vivid image in the mind of an audience is firmly at work here. He and Spooner tell two separate tales involving dead people. In the first, two coppers in the late '70s search for the body parts of a man who has jumped in the way of a passing train. They’re still looking for his head. He’s definitely dead. Then there’s the young girl who slips through the ice on the top of a frozen lake and disappears under

'Tonight With Donny Stixx' will be on at The Bunker in November 2016. This review is from the Edinburgh Fringe run in 2015. The latest play from master of the dark monologue Philip Ridley is this companion piece to 2013’s  ‘Dark Vanilla Jungle’. Like its sister-work ‘Tonight with Donny Stixx’ is hard to stomach: a shattering story of one vulnerable young person pushed to a violent edge. And like the most recent production of ‘Dark Vanilla Jungle’ it’s directed by David Mercatali who again elicits a vein throbbing, red-faced, sweat-soaked performance from the lone actor onstage. Sean Michael Verey gives a superbly shocking, intense and all-encompassing performance. The piece begins as if Donny were hosting a talk-show; he smiles and gurns, he charms the audience, he laughs hollowly at his own jokes until he cracks and suddenly he’s screaming. Angry, mad, vicious and bitter he begins to relay his tale of neglect, spitting out a story of mental abuse, grief, breakdown and horrible violence. To begin with, when we get the glimpses of what Donny has done – some sort of shooting, maybe in a church, some sort of mass murder – we think he’s a monster. But, as always with Ridley – and as with life – it’s complicated. Donny’s life – with an unstable, controlling, unhappy mother who he idolises – is unravelled and the responsibility for his actions begins to shift onto other shoulders. ‘Tonight with Donny Stixx’ is no easy ride – that’s not Ridley’s style. Mercatali knows exactly this a

This review is from 'Grounded's April 2014 run at the Gate The First World War was a century ago and times have changed. Where war once meant hordes of young men sacrificing their lives in foreign lands, now both women and men can take part in the battle, some from the safety of a trailer park near Las Vegas. George Brant’s superb, intense play demonstrates how no matter where you’re conducting it, war grates on the heart, soul and mind. His protagonist is The Pilot, a rough, tough woman F-16 flyer for the US Air Force who loves ‘the blue’ and the thrill of flight. When she gets pregnant on leave she starts a family and is happy, but it’s not long before she’s raring to get back to work. When she does, things are different. She is reassigned to ‘pilot’ drones – remotely controlled stealth bombers operated from the desert a few miles from the Vegas Strip. Lucy Ellinson returns as The Pilot after the show’s hit runs in Edinburgh and London last year, and she is devastatingly good. Her relaxed, jokey manner occasionally breaks, hinting at a taught energy which she increasingly loses control of as The Pilot struggles to reconcile her two worlds – one where she bombs ‘the guilty’ in 12-hour shifts, the other where she returns home each night to be a wife and mother. Though we are never quite sure what’s going to happen until it does, Ellinson makes this journey feel determined somehow, like one of the Greek myths she frequently references. The Pilot is a tragic figure, alone on he

This is review is of 'My Eyes Went Dark's 2015 run at the Finborough Theatre in London, where this porduction premiered with the exact same cast Matthew Wilkinson’s thrilling new play is about a grieving man, suffering a deep, awful trauma. As a visceral, realistic exploration of whether a victim can and should forgive, it’s practically Greek on the tragedy scale.  Nikolai Koslov is an architect from Ossetia in Russia whose two children and wife have been killed in a plane crash. He calls it a crime, but everyone around him calls it an accident. As the trial drags on, he slowly realises that no-one will take responsibility for what has happened. Haunted by the image of the mangled bodies of his family, he desperately needs someone to apologise and face jail. He wants someone to blame. When he isn’t satisfied, he exacts his own revenge and in the process transforms himself from victim to perpetrator.‘My Eyes Went Dark’ is a tragedy that looks at human beings’ inherent need to exact revenge. As in the ancient tragedies, Nikolai is on a singular path where nothing but punishment will satisfy him. But seeking it is the thing that ultimately destroys him. The play deftly and intelligently asks whether the Bible’s ‘an eye for an eye …’ can ever be something to live by.Wilkinson’s dialogue is realistic and sparse and his scenes move fluidly into each other, slowly revealing Nikolai’s story. Thusita Jayasundera plays all the characters apart from Nikolai, including a councillor, fami

'You Me Bum Bum Train' tickets for Spring 2016 are only available through ballot. If you would like to purchase a ticket, sign up to the lottery at bumbumtrain.com by Feb 4, 4pm.  All aboard! Or should that be: everyone who managed to elbow their way to a ticket, aboard! ‘You Me Bum Bum Train’, the crazy, immersive and entirely sold out ride for one person has pulled into a secret London location and is as exhilarating as ever. Volunteering on the 'Bum Bum Train'With its ridiculous name and its glorious refusal to make its home in a genre (it’s *sort* of theatre, but it’s also *sort* of a game and it’s *sort* of like nothing else on earth), ‘You Me Bum Bum Train’ – the brainchild of the monumentally imaginative Kate Bond and Morgan Lloyd – takes you into the unknown. I can’t say much more, because I’ve signed something resembling the official secrets act, saying I can’t disclose anything about ‘YMBBT’. It’s all a little like the first and second rules of Fight Club.But the truth is I wouldn’t want to tell you too much. Part of the terror and joy of it is not knowing what might be on the other side of the many, very different doors constructed in Bond and Lloyd’s intricate and exceptionally realistic sets – put together by an army of volunteers.You are cast as the lead actor in a series of interactive experiences: ‘YMBBT’ will take you to some strange places, some of which may seem familiar, most of which probably won't. Fan of early '90s TV show ‘Quantum Leap’? You’ll probabl

A luminous roller-coaster ride of colour, spectacle and fantastical happenings, Sam Mendes’s stage version of Roald Dahl’s adored children’s book is still as entertaining as ever, two years and a couple of casts down the line. And though a lot of that comes down to the show’s garishly-hued stage tricks, it’s also due to the main attraction. In David Greig’s adaptation that’s not the eponymous Charlie Bucket, but eccentric factory owner Mr Willy Wonka. Following in the footsteps of the cuddlier Douglas Hodge, RSC stalwart Jonathan Slinger is now the third Wonka. He has a superb subversive touch that I’d wager Dahl would heartily approve of. He spits and roars, huffs and growls his way through Marc Shaiman and Scott Wittman’s bland songs (only ‘Pure Imagination’, lifted from the 1971 film, really makes an impact). There’s something enchanting and also a little scary about Slinger as he channels everyone from a toned-down Tim Curry in ‘Rocky Horror’ to croaky crooner Tom Waits. His cheshire cat smile is both welcoming and disconcerting and it’s not until the very end that either you or Charlie can be entirely sure you can trust him. Which for this particular character, is pretty perfect. In Greig’s taut, naughtily funny script, Wonka doesn’t properly arrive until just before the second half, which means the early scenes, set in the slum home of the Buckets feel a little drawn out. The plot is all set up thoroughly, though, and designer Mark Thompson’s clever way of introducing a

This review is of the show's run in 2013. 'The Bunker Trilogy' returns in September 2015. It's an interesting premise, if a little arbitrary and a smidgen restrictive: stage three very different plays adapted from drama from wildly varied eras in a replica of a tiny bunker in a trench in world war one. In Jethro Compton's so-called 'Bunker Trilogy' where the audience sit scrunched up inside the bunker inches from the action, the idea just about manages to avoid being gimmicky. (Especially when you ignore the third, frankly awful show 'Macbeth', which isn't transferring with the other two from the Edinburgh festival for a London run at Southwark.) The best by far is 'Morgana', worked from the Arthurian legends by James Wilkes (who has also adapted 'Agamemnon'). To find a way into the story, he has three soldiers as old boarding school chums who, along with 10 other, now dead peers, gave themselves pet names. These three are Arthur, Lancelot and Gawain. There's a plausible mystery and magic in this show, evoked in the way the innocent Gawain (played by James Marlowe with a touching vulnerable innocence) meets an intriguing French stranger in the local town and how his traumatised mind gives way to strange, bewitching hallucinations. All the while the otherworldly Serena Manteghi as Morgana, Guinevere and Gawain's love interest permeates the three men's memories and thoughts, until their sharp, funny boyish banter slowly gives way to distraction and dread. 'Agamemnon', on the ot

The arrival of new artistic director Matthew Warchus has knocked years off the Old Vic. The theatre’s gone a bit yoof, with a trendy refurb of the foyer and bar, and now this energetic, rock-soundtracked drama about Britain’s educational establishment.Opening to speeches from Maggie Thatcher and Tony Blair alongside strains of punked-up  Beatles tracks, Tamsin Oglesby’s ‘Future Conditional’ suggests that if our school system was itself at school, it would have scored a big fat F in its last SATs. The three strands of story follow a diverse bunch of mothers at the primary school gates dealing with the desperate world of secondary school selection; the excellent Mr Crane – comedian Rob Brydon delivering a nicely understated performance –  teaching a secondary school class including a bright Pakistani refugee revelling in the chance to learn; and then there’s a collection of government stooges tasked with bringing out a report on how they can make Britain’s education better.The issues are all recognisable – parents pretending they are nearer to a school than they are in order to secure a place; Brydon’s harassed but inspiring Mr Crane struggling in a world where some kids have zero respect for their teachers; the government trying to tackle a system that isn’t working, while also avoiding any unhelpful headlines.Though Oglesby’s scenarios are very funny, and grapple well with some complex issues, the sheer number of characters mean that several are fairly lazy stereotypes. It’s

The world premiere of this intriguing two-hander about a Russian architect who kills an air traffic controller as revenge for the death of his family in a plane crash. When he's released suddenly from a Swiss prison and given a new life, his demons catch up with him. Playwright Matthew Wilkinson directs his play, which was originally developed with the help of the National Theatre Studio.  

Este ano pode contar com uma novidade nos Santos Populares, a Hive junta-se ao Santo António e apresenta-lhe as "Hive Bees", uma patrulha que se certifica da sua segurança enquanto lhe oferece viagens de trotineta, para não perder pitada das festas de Lisboa. Depois de ter anunciado que o Cartão Lisboa VIVA passaria a dar direito a viagens grátis de trotineta, a Hive junta-se também às Festas de Lisboa e vai aos bairros dos Santos Populares com uma patrulha à qual chamou de “Hive Bees”. As Hive Bees vão estar nos pontos principais de festa, de Alfama a Santos, passando pela Mouraria, Graça, Cais do Sodré e Avenida da Liberdade, a oferecer vales de viagens de 20 minutos (após o download da app). Esta equipa vai ainda garantir o bom funcionamento das viagens pelos bairros e a segurança dos utilizadores. Mas não vai ser só nesta noite de Santo António: a equipa vai operar durante todo o mês de Junho das 19.00 às 04.00. “O nosso objectivo é que quem queira conhecer os bairros mais característicos de Lisboa, o possa agora fazer naquela que é considerada por muitos como a época mais especial do ano contando connosco para irem em segurança e desfrutarem da melhor forma”, escreve em comunicado Joana Pereira Correia, city manager da Hive. + Santos Populares 2019: arraiais em Lisboa

Se o Verão por si só não é uma boa desculpa para comer gelado, damos-lhe mais uma (ou duas, neste caso): o Santini tem dois novos poisos em Lisboa. A loja do Oeiras Parque abriu no dia 1 de Junho, enquanto a das Amoreiras tem abertura prevista para meados de Julho. Sete décadas depois da abertura da primeira loja de Attilio Santini, na praia do Tamariz, no Estoril, a marca continua a crescer – o mais provável é que o senhor que veio de Itália fazer gelados italianos nunca tenha imaginado que 70 anos depois a sua pequena casa acabaria por se tornar numa marca de referência com quase duas mãos cheias de lojas entre Lisboa e o Porto. E o sucesso continua a ganhar forma com mais duas lojas, ambas em centros comerciais.  "A abertura destas novas lojas em centros comerciais traduz-se numa adaptação da estratégia da marca, numa óptica de combater a sazonalidade do produto. Pretende-se, desta forma, alterar o hábito de consumo de gelado por parte dos consumidores ao posicionar-se em locais mais frequentados nos meses em que o comércio de rua é menos frequente", lê-se no comunicado que dá conta das novidades. Na mesma nota, Eduardo Santini, administrador da marca e neto do fundador, explica que a loja das Amoreiras "foi cuidadosamente seleccionada pelo factor estratégico da localização". "Achámos que faltava ao Santini estar mais perto dos lisboetas, num local prático e de fácil acesso, já que, até agora, quem quisesse um gelado Santini tinha que se deslocar às lojas do Chiado, Belém,

Os chefs Henrique Sá Pessoa e Vítor Sobral juntaram-se à marca de gelados Carte D'Or para criarem as "sobremesas perfeitas". Estão à venda no Studio Carte D'Or, no Chiado.  O desafio foi lançado depois da colaboração dos chefs com o evento O Jantar do Ano: vestir um gelado da Carte D’Or e criar a "sobremesa perfeita". Henrique Sá Pessoa e Vítor Sobral aceitaram o repto e as duas sobremesas de assinatura, com os sabores de gelado de tangerina e morango na base, estão à venda no Studio Carte D’Or, no Chiado, por 4,50€.  Tanto Sá Pessoa como Vítor Sobral inspiraram-se nas sobremesas tradicionais portuguesas, explicaram no evento de apresentação à imprensa: o chef estrelado do Alma combinou o tradicional toucinho do céu e contrastou-o com um sabor mais fresco, o sorbet de tangerina. A isto juntou uma espuma de amêndoa e finalizou com amêndoa torrada, para dar textura. “O desafio foi trazer a portugalidade e depois interpretar e dar um cunho pessoal”, reforça Henrique Sá Pessoa, contando que esteve dividido entre “o pudim de ovos, o pastel de natal, o toucinho do céu e o arroz doce”. Acabou a escolher o toucinho do céu, inspirando-se, também, numa sobremesa que tem no Tapisco.   A sobremesa de Vítor Sobral Fotografia: Inês Félix   Por sua vez, Vítor Sobral, quis “vestir” o gelado de morango. Juntou creme de ovos, três versões de morangos e uma infusão de menta, com topping de morango seco em cima. “O desafio está em vestir o gelado: um pouco de hortelã na mistura de morangos fre