The Comedy About Spies review — just the type of inventive humour we need
The Sixties espionage farce that the co-writers Henry Lewis and Henry Shields have brought to the Noël Coward rampages through a potpourri of Cold War plots and sub-plots while adding an affectionate nod towards the James Bond series. Matt DiCarlo's intricately calibrated production is a miracle of comic timing and ensemble acting. There's a particularly hilarious sequence in the first act when the action ricochets around four hotel rooms, generating waves of chaos reminiscent
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Times
27 minutes ago
- Times
Fantastic low and no-alcohol fizz
In April I took my 16-year-old stepdaughter south to see the cherry trees bloom. Not so far south — just to Mei Ume, the Japanese restaurant at the Four Seasons Hotel in London. Handcrafted paper cherry blossoms sprouted from the light fixtures in the elegant, high-ceilinged room, with its Chinese and Japanese art on the walls to match the blend of those two countries' cuisines on the menu. For Cherry Blossom Season, the head chef Peter Ho had concocted a series of delicious small plates, matched to cocktails based on Saicho Sparkling Tea. Mine contained Saicho Hojicha (a green tea made smoky by roasting over charcoal), as well as Hennessy XO and Grand Marnier. Nora, being slightly younger, had a mocktail with Saicho Jasmine, green apple puree and vanilla. Mine was good but hers, with the bite of that apple and the perfumed NoLo fizz, was better — and I don't even much like vanilla. • This article contains affiliate links that will earn us revenue This was a revelation. I already knew I liked the Saicho drinks (£17.99, — adding bubbles to the delicate aromas and structured tannins of good tea is a brilliant idea. A recent dinner with the teens involved us all sharing a magnum of Fortnum & Mason's Sparkling Tea (£45, Its lemon-peel and thyme flavours were a great complement to one-pot Basque chicken and, especially, an orange, fennel and radish salad. And pouring a magnum for four is a lot more fun than sharing a bottle between two while the young people dissolve their teeth in sugar-loaded soda pop. I am not giving up alcohol any time soon. But there is, as Maggie Frerejean-Taittinger points out, a pleasure balance. She is the co-creator of French Bloom, one of the best non-alcoholic sparkling wines on the market. She has made canny use of fine chardonnay grapes from Limoux in the Languedoc and of the Champagne expertise available via her husband, Rodolphe Frerejean-Taittinger, who heads Champagne Frerejean Frères. There is even, now, a vintage French Bloom, La Cuvée 2022 (£95, Frerejean-Taittinger has made it her mission to create a sparkling no-alcohol drink from grape juice that is as pleasurable as a champagne. She doesn't think they are quite there yet. 'We hope, in five to seven years, to be able to share a bottle with as much complexity as a wine,' she said at Women in the World of Wine, a conference on the future of wine (alcoholic and otherwise), held last autumn at the sumptuous Royal Champagne & Spa hotel. I'm sure she will get there. But my assumption has always been that for real complexity, alcohol helps. That Saicho experience made me think again. I experimented with a mocktail of my own: a version of one of my favourite cocktails, the kir royale, champagne and crème de cassis. A slug of Jukes 6 — The Dark Red (£43 for 9x30ml bottles, a savoury black-fruit cordial that is part of the Jukes Cordialities range, topped up with French Bloom's Le Rosé. It was lovely, softly floral with just a touch of blackberry acidity. After all, the only necessary beverage is water. Everything else is a luxury, intended to elicit the same sensations of delight as gazing at the ephemeral loveliness of cherry blossom. Pleasure is meant to be temporary. It's the memory that lasts — or at least, it does when the drink is alcohol-free.
The Independent
an hour ago
- The Independent
How to get two theme park visits for the price of one this summer
The cost of summer holiday activities can quickly add up, which is why we're always on the hunt for cost-effective ways to have fun. Case in point: if you're looking for a cheap family day out this summer, we've found a deal that will save on theme park visits. Until Sunday 17 August, when you book a ticket for Alton Towers, Chessington, Legoland Windsor or Thorpe Park, you'll get a ticket for a second visit for free. This doesn't mean visiting the same theme park twice, as it can be used at any of the four parks. In order to qualify, you'll need to pre-book a 'twice the fun' ticket to get your hands on the freebie. You'll then receive a confirmation email with a barcode, which you can use to make your second booking, so keep this handy. The second ticket is valid until Tuesday, 30 September, so there is plenty of time to squeeze in a second visit. It is rare for a free ticket offer to come along, particularly during peak season. Advanced tickets to the theme parks typically start from around £34, so if you're visiting as a family, that's a chunky saving for your second visit. You can book your visit using the links below, or keep reading if you want more inspiration on which of the theme parks to visit this summer. Alton Towers If you've got little thrill-seekers to entertain this summer, Alton Towers is worth a visit. There are nine roller coasters to enjoy, including the Toxicator, which is new for 2025, while younger kids can head to the rides and attractions in CBeebies Land. Alton Towers is located outside of Stoke-on-Trent, so if you're based in the north of England, this is likely to be your nearest major theme park. Chessington World of Adventures There are plenty of adventures for kids of all ages to enjoy at Chessington, with rides inspired by the fantasy board game Jumanji, the tales of the Gruffalo and more. Your ticket also includes a visit to the park's zoo and aquarium, with the chance to see penguins, giraffes, monkeys and zebras. The park is based just outside of London, and there are regular train services running from the capital to Chessington South, which is around a 10-minute walk away. Legoland Windsor There are more than 50 rides and attractions to enjoy at Legoland Windsor. Kids can cool off on a hot day in the splash safari water play park, hop aboard the Lego submarine as part of the deep-sea adventure, get behind the wheel at the Lego driving school and lots more. The theme park is two miles outside of Windsor town centre, with shuttle services available from nearby train stations. Thorpe Park If you or your youngsters can't get enough of roller coasters, a visit to Thorpe Park is a must. The theme park is home to Hyperia, the UK's tallest and fastest rollercoaster, plus five other rides for those that want an adrenaline-filled day out. There are also plenty of rides and play areas for little ones, so the whole family can enjoy the day. The theme park is located in Chertsey, which is about 30 minutes outside of London, with shuttle buses running to the park from nearby train stations.
The Guardian
an hour ago
- The Guardian
Trophy Boys review – gripping and entertaining play tackles urgent issues
An Australian playwright's debut work receiving international transfers to great acclaim and extended runs is extremely rare; that it's happened twice in 12 months, along with two other starry international productions of local works, is extraordinary. Right now, the Australian voice has an increased currency on international stages – and it's our stories of power, privilege, gender and identity that are making waves. First, there's The Picture of Dorian Gray, Kip Williams' dazzling Oscar Wilde adaptation, remounted for a Tony and Olivier award winning international run starring Sarah Snook. Then there's Prima Facie, Suzie Miller's searing one-hander about a cutthroat lawyer who experiences the justice system as a victim after a sexual assault, with an international production starring Jodie Comer that was also heavily awarded (a film adaptation is in the works, starring Cynthia Erivo). Then there's Counting and Cracking, S. Shakthidharan's breath-taking 2019 debut, a family epic that played at New York's Public Theater in 2024. Now, there's Trophy Boys. Written by actor and playwright Emmanuelle Mattana (Mustangs FC) when they were 21, the play debuted in 2022 at Melbourne's La Mama and has since had sell-out local seasons as well as a twice-extended off-Broadway run under the helm of Tony Award-winner Danya Taymor. This month, the original Australian production, directed by Marni Mount, returns for an east coast victory lap, starting at Sydney's Carriageworks. Jared (Fran Sweeney-Nash), David (Leigh Lule), Scott (Gaby Seow), and Owen (Myfanwy Hocking) are the Year 12 debating team at Imperium, an elite private school. When we meet them, their trophy-deciding bout is just an hour away, and they're already cocky about their success. They're up against their sister school and clearly don't consider them competition until the debate topic and position is revealed: that feminism has failed women; affirmative. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning The boys – played here and in every production by actors who are non-binary or women – are horrified. They're feminists, they proclaim. They love women. Arguing the point will get them cancelled and might even rule out any future chances of becoming prime minister. Owen, the one dreaming the hardest of Kirribilli House, even suggests that they forfeit – largely for the optics. But the boys' thirst for the win trumps their desire to be seen as good, so they start scheming. Could they say feminism has failed women because it isn't intersectional? Could they say that getting women into CEO roles hasn't done anything to address broader gender inequities? They brainstorm, they sweat, they spray a lot of Lynx Africa – and, at one point, they even perform an energetic dance break. Then the play pulls off a bait-and-switch: a new piece of information, that shouldn't be spoiled, reaches their closed-door prep session and gives all the rhetoric being flung around the room a sudden urgency. The play is a sprint at about 70 minutes, and after the twist, it takes off: you watch personal gain weighed against women's interests in real time, as the group uses its debate skills, subtly different stores of acquired power, and their awareness of larger social dynamics to reveal the gulf between all that box-ticking politically correct talk about feminism and how many men actually treat women. The show is adjusted to fit the region in which it's being performed: the boys off-Broadway are American, but here at Carriageworks, in local accent, they are instantly and identifiably Australian, of the same social cohort of male students who created and circulated graphic deepfake images of girls from their school, or ranked girls' looks for sport. The play is gripping and entertaining, but not as incisive as it might be. Early scenes run on necessary tonal shifts: it starts with camp choreography and quick laughs that lull us into a sense of comfort to be shattered later, but the narrative throughline isn't drawn tightly enough by Mattana, or facilitated clearly enough by Mount, to make the piece feel cohesive. The performances alternate between drag-king-satire and chilling realism in ways that aren't always clear. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion In scenes where the boys race to construct their debate arguments, the dialogue is more didactic than character-driven; a little more workshopping would probably see those talking points tied more deeply to character and to the group's interesting and occasionally under-tapped personal dynamics. For example, there's a fascinating social hierarchy in the group that only gets a glancing look-in before the plot twist; if we knew the group dynamics better in the first half, the second would be even more powerful. But it's an exciting play: bursting with urgency, laced with keenly observed behaviours filtered through a queer lens, it speaks directly to issues that are choking schools, universities and social groups right now. While its dramaturgical build isn't as sharp as its dialogue, it's the kind of play that has you leaning forward in your seat. I attended a Friday night performance, sitting among a diverse audience that skewed young, and felt a current of close attention. Leaving the venue, I overheard lively, thoughtful conversation about the play. Trophy Boys starts a conversation; the audience was continuing it. That's a valuable export. Trophy Boys is playing at Carriageworks, Sydney, until 3 August; Riverside, Parramatta (6-9 August); Arts Centre Melbourne (12-24 August); Queensland Performing Arts Centre, Brisbane (25-30 August)
