Vegetarian Cuban-Style Black Beans and Rice Recipe

Arroz y Frijoles. Gallo Pinto. Hoppin’ John. Whatever name they go by, Beans and Rice are a staple meal throughout Latin America, the Carribean, and many parts of the United States. It’s easy to see why: this is a meal which is ridiculously inexpensive, easy, and tasty. The ultimate comfort food, it’s the perfect way to warm your belly on a chilly winter night. And as a further benefit to my fellow veggies, the combination of beans and rice provides a source of complete protein, as well as a favourable dose of Iron and Vitamin B.


There are countless ways to prepare this dish, but I like to use a variation on the Cuban method. The Cubans call their dish Platillo Moros y Cristianos and generally add black beans to a simmering and richly flavoured sofrito, or base, and serve over piping hot white rice. Sofrito is traditionally made with lard and often has a touch of bacon or ham added in, but don’t worry as the recipe below is suitable for vegetarians (vegans, hold off on the cheese or buy a vegan version and you can also enjoy!).

Ingredients:
1 large onion, diced
4 garlic cloves, crushed
2 bell peppers, finely chopped
410 grams of chopped tomatoes with chilli (or roughly 1 tin)
2 heaping tablespoons of concentrated tomato puree
pinch of salt
pinch of sugar
dash of pepper
dash of cayenne pepper
dash of turmeric
1 tsp hot chilli pepper
1 tsp paprika
800 grams of black beans (or roughly 2 tins, or 4 cups cooked)
hot sauce of your choice (Cholula is highly recommended if you can find it!)
water
crumbled queso blanco or shredded mature cheddar cheese (optional)

Directions:
Preheat oil in a large frying pan, and sauté onions, peppers, and garlic for several minutes until the onions are transparent. Stir in chopped tomatoes, adding in tomato puree to thicken. Continue stirring in spices, sugar, salt, pepper, and 5-6 tablespoons of water over low heat. Simmer gently for 20-30 minutes, or until mixture has reduced and thickened but taking care that it does not burn or dry out. This base is your ‘sofrito’.
After the mixture has simmered, add in black beans, 1/8 cup of water, and a few dashes of hot sauce, and continue cooking on low/medium heat for an additional 5-10 minutes or until it is heated throughout. Serve over a bead of steamed white rice, with grated cheese and hot sauce on the side. Serves 4.


Written by Megan Hunter for Fringe Report: http://www.fringereport.wordpress.com/. (c) Megan Hunter 2010.

Review of 'I am Woof'

I am Woof
Created and Performed by: Robert Taylor
Produced by: ScenePool
Edinburgh Fringe Festival
The Space at Surgeons Hall (V53)
06/08/2010 - 14/08/2010
*An emotional powerhouse. Not to be missed.



Robert Taylor's original piece 'I am Woof' is a moving and insightful look at the impact of war. Based on verbatim text taken from interviews with soldiers returning from Afghanistan, it explores the reasons why young men and women enlist, their fear in the face of battle, and their struggles to reacclimatize once they've returned home. Set on a bare black stage adorned only with one wooden chair, this is a simple, honest, and incredibly powerful exploration of a vital topic which doesn't receive enough attention.


'I am Woof' focuses on the individual stories of three soldiers, each at different points in their service. There is the experienced, disillusioned older man who has sacrificed his youth and relationships to fight for his country. Then, there is the soldier leaving for Afghanistan who is terrified of what he faces but proud of his place in a family line of servicemen. Finally, there is the young man returning home, scarred by what he has seen in battle, and facing mental health issues as he attempts to readjust to life in Britain.


The most impressive part of 'I am Woof' is that it doesn't take a biased stance on the current conflict. Instead, it allows the true words of its real life subjects to speak for themselves. This is not a political piece pushing an ulterior motive. Instead, it is a human piece which examines the high moral cost to our society of sending young men and women to risk their lives. It also asks a series of crucial questions. What are the reasons which motivate young people to join the military? How well do we prepare our troops for battle, and how well do we support them once they're there? Even more crucially, how do we support them once they return?


Robert Taylor turns in a brilliant performance while effortlessly transitioning through the truths of each character. He infuses life and vulnerability into other men's words, while allowing for subtlety and emotional variation. That he resisted the urge to make this controversial subject matter melodramatic is greatly appreciated, with the end result being that it is impossible to take your eyes off of him. The only disappointment with the performance is that it isn't longer, as you want to know more about these men and their stories. But for the thirty minutes that he is on the stage, Robert Taylor is delightful and totally captivating. Paul O'Brien has also supported the piece perfectly with his naturalistic, understated sound design. While setting the tone for the text, the sound lends atmosphere without competing for audience attention. The focus remains where it should be: on the words.


There is a recurring theme of 'youth' in 'I am Woof'. One of Robert Taylor's characters says of enlisting, simply: 'I was young; I don't think I knew what I was getting into'. If we at home were also unaware, we can no longer be after seeing 'I am Woof'. The performance is playing at the Edinburgh Fringe from August 6th through August 14th. If you are going to be in Edinburgh for the festival, I highly recommend seeing it. 5 Stars.


Playing August 6th through August 14th, 2010 at The Space at Surgeons Hall (V53) at the Edinburgh Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk/. Artwork by Ben Jarlett.

Review of "Shrunk"

Shrunk

By, Charlotte Eilenberg

Presented by: Good Night Out Presents

The Cock Tavern Theatre, Kilburn

18/05/2010-12/06/2010

*The tables are turned in this darkly-comic look at psychoanalysis and its effects on both therapist and patient.

Charlotte Eilenberg’s new play “Shrunk” explores the concept of modern psycho-analysis and the potentially negative power it can wield. It questions the impact of an analyst’s own struggles on the advice which they give to their patients, as well as the impact of that advice on their lives. Would we still value the opinion of our therapist if we knew how similar they were to us, flaws and all?

The credentials of “Shrunk” are certainly impressive. The Cock Tavern Theatre is a beacon on the London Fringe scene, producing consistently good material, a fine example of which is its long running “La Boheme” which is transferring to the SoHo Theatre in July. Under the Artistic Direction of Adam Spreadbury-Maher, The Cock Tavern has won awards and critical acclaim and built a reputation as a showcase for exciting new works. “Shrunk” playwright Charlotte Eilenberg also won both The Critic’s Circle Award and a Laurence Olivier Award for her first play, “The Lucky Ones”, which had an extended sell-out run at The Hampstead Theatre. Director Julian Birkett has built an impressive career as a producer and director for BBC TV. And actors Jack Klaff and Amanda Ryan have, between them, experience at the National Theatre, the Donmar Warehouse, the Royal Shakespeare Company and the West End.
Adding to these strengths, Kate Guinness has designed an intricate and intimate set which truly draws the audience in. The endless collection of books, dark wooden window shades, leather and oak furniture, and plush carpets create an extremely realistic analyst’s office. This attention to detail, combined with the close quarters of the Cock Tavern, produce an overwhelming feeling of actually being in the room with Max and Celia. Sound and lighting design compliment this experience perfectly.

 

Yet, despite all of this, and despite a committed performance turned out by both members of the cast, there are things about “Shrunk” which don’t work. The script has several darkly comical elements, however attempts at shock plot twists come across as too predictable. Further, the play relies heavily on melodrama, which makes it difficult to find pieces of the action believable. For example, the reality of a spouse leaving is undoubtedly traumatic, but Celia’s behaviour suggests a deeply disturbed woman with mental health issues beyond the pain of marital breakdown. Where the audience wants to see real emotional honesty and vulnerability from her, she is instead written as unsympathetic, psychotic, and violent. With this in mind, it is unlikely that Max would be so relaxed around her or, indeed, that he would freely reveal so much of himself given that she is pointing a gun at his head. Obviously, she is forcing him to speak, but Max’s forthcoming calmness feels out of place. By layering the character of Celia, allowing for her to express more emotional levels, and sharing more glimpses of her life with her husband, it would lend much needed sympathy to her character and, by extension, believability to the play as a whole.

The result of this lack of emotional variation is the impression of unnecessary exposition and posturing, which misses the numerous opportunities for real, honest connection between the characters. However, Jack Klaff and Amanda Ryan are both obviously skilled actors, turning out entirely watchable and entertaining performances. The set is sumptuous, the writing is generally witty (aside from the prevalence of excessive Freud impressions), and with work on the structure and characterisation within the script there is certainly room for improvement. Ultimately, there is a great deal of talent on display in this particular production, and “Shrunk” is worth seeing if for this reason alone.

Playing through June 12, 2010 at the Cock Tavern Theatre, Kilburn. Review written by Megan Hunter for Fringe Review: www.fringereview.co.uk.

Review of "The Libertine"

The Libertine
Presented by: Sedos
The Bridewell Theatre, Bride Lane, Fleet Street
02/03/2010 - 06/02/2010
*An Invitation into the Debauched World of the Second Earl of Rochester


Defiant, morally unrestrained, dissolute, and promiscuous, the second Earl of Rochester was as well known for his dalliances in Restoration England as he is today. Based on his life and poems, Stephen Jeffreys’ “The Libertine” explores some of Rochester’s more controversial years and, in particular, his affair with the actress Elizabeth Barry. Playing at the Bridwell Theatre through Saturday, March 6th, Sedos’ production takes an unorthodox approach to this story of a highly unorthodox man.


The thing that makes reviewing “The Libertine” so difficult is that it truly is a tale of two opposing acts. Act One, despite some issues, is an overall enjoyable experience. The acting, from Luke Trebilcock as Lord Rochester in particular, is very good, and the action moves ahead at a comfortable pace. The use of the Grotesque Chorus in demonstrating bits of back-story is clever, and unique choreography by Leigh Tredger and Angus Jacobs allows the chorus to transition effortlessly from individual entities into one concise unit. Still, the highlight is the playful, satirical humour that courses through the first half and is at its finest when Rochester, Sebastien Blanc as George Etheredge, and Mark Macey as Charles Sackville share the stage. Rebecca Weymouth’s fine portrayal of Jane is also of note. Add to this the palpable chemistry between Rochester and Brooke Peterson’s Elizabeth Barry, and it is possible to overlook the often too gratuitous and overt sexuality that permeates the piece.


Of course, this is a play about the second Earl of Rochester, England’s precursor to the Marquis de Sade, and one expects a certain level of debauchery. Stephen Jefferys has rightly filled his text with sexual references, and there should be little doubt when booking tickets of what is in store. However, where this production errs is by removing itself from the 17th century setting and attempting to use a combination of period-inspired text, New Romantics style costumes, and a heavy metal soundtrack to uncover modern-day taboos. The problem with all of this is that it is no longer 1672, and attitudes regarding sex have had a major shift. Instead of confronting the audience with its subject matter, the production tries too hard to shock them and in doing so it risks predictability. Meanwhile, with nearly every other character on staged equally or more debauched than him, Rochester ends up looking tame by comparison.


It is with the second act, though, that the play needs the most improvement. With all the energy and pacing of the first act forgotten, the second drags on endlessly. This seems to be partly a textual issue, as Act Two deals with heavier emotional material and thus loses some of the playful cynicism of the first. Rochester is also dying, something that the programme notes and historical accuracy have set us up for, but watching him struggle and wince for over an hour while his friends cry around him is exhausting. Tighter cues between lines and more greatly varied emotional levels would better serve to keep the audience’s attention. As it is, “The Libertine” is recommended for a handful of standout performances and some nice moments in the first half. 3 Stars.


Playing through March 6th at the Bridewell Theatre on Bride Lane, Fleet Street. Review written by Megan Hunter for Fringe Review: www.fringereview.co.uk.

Review of "Parade"

Parade

Presented by SEDOS

The Bridewell Theatre, Bride Lane, Fleet Street

25/11/2009 - 05/12/2009

* Beautiful, Thought Provoking, and Challenging Musical Theatre

SEDOS may be London’s premier amateur theatre company, but the work that it produces holds up to professional standards. This is a company that pushes boundaries and takes risks when selecting its performance material and that presents theatre well worth seeing. Certainly, this is the case with their newest production of “Parade”. A riveting production written by Alfred Uhry and composed by musical theatre prodigy Jason Robert Brown, this difficult piece confronts head on the issues of racism, violence, and legal injustice. Focusing on true events that occurred in Atlanta, Georgia at the turn of the 20th Century, “Parade” is at once dramatic, beautiful, controversial, and heartbreaking. And, although there are areas for growth in this particular restaging, the overall effort is an admirable one.

In 1913, Atlanta was still bitter over the loss of the Civil War, rife with race and class tensions, and seething with contempt for the North. When a young girl was found brutally murdered in the basement of the factory where she worked, it was the factory’s supervisor, Leo Frank, who was charged with the crime. Despite the lack of any clear evidence and his insistent pleas of innocence, Leo Frank was wrongly tried, convicted, and sentenced to death. That he happened to be a middle class, Jewish industrialist from New York did not go unnoticed and newspapers throughout the major cities of the North called for his life to be spared, but to no avail. This is the premise of “Parade”.


This is director Alan Pavis’ debut at the Bridewell Theatre, and he has cast and staged his production skillfully. Despite technical difficulties that delayed the opening night curtain, these issues were quickly resolved and the overall impression of the sound and lighting design was very good. Furthermore, Rachel Williams’ choreography utilized well both the available space and the performers’ varying abilities. Nevertheless, some dance sequences did seem out of place for the tone of the subject matter, particularly the chorus’ employment of “jazz hands” during the trial scene.


Perhaps the most important part of “Parade”, though, is its score. Often described as the Sondheim of his generation, composer Jason Robert Brown is famous for creating beautifully melodic, complex, modern musical theatre. To that end, Musical Director Matthew Gould has obviously worked a great deal with an already very gifted cast, and it has paid off. From Richard Ash’s opening lines to the last note of the piece, “Parade” is beautifully and emotionally sung. The only major issue, then, is the placement and volume of the band. Sitting upstage center, directly behind the area where most of the action takes place, the band frequently drowns out the singer’s voices and makes hearing and understanding the lyrics difficult. In a piece with so little dialogue and where the plot is driven forward by the music, missing even a single line can be disastrous.


As a cast, there are some notable performances and a few very good ones. Ben Fuiava, with his powerful and soulful voice, is exceptionally good as Jim Conley. Paul Wooller as Frankie Epps is fantastically charismatic, and Jason Thomas is excellent as the prosecuting attorney Hugh Dorsey. However, the crucial relationship of the piece is undoubtedly between James Franey and Pippa Lloyd as Leo and Lucille Frank. In the First Act, their relationship seems almost too hostile and restrained and it could benefit from a bit more tenderness and humanity. While the tragedy of their relationship comes from realizing too late how much they have taken their love for granted, there still needs to be some warmth between them from the start. When the warmth is found, however, Franey and Lloyd provide the production with its most resoundingly beautiful moment. The second act’s “All the Wasted Time” is breathtakingly good, and if there was no other merit to this production, it would be worth seeing for these few brilliant minutes alone. Thankfully, though, there is plenty of merit to “Parade”, and it promises an enjoyable, thought provoking evening. 3 Stars.


Playing through December 5th at the Bridewell Theatre on Bride Lane, Fleet Street. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "Secrets"

Secrets

Presented by Flexible Productions

The Cock Tavern Theatre, Kilburn

17/11/2009 - 05/12/2009

*The nature of secrecy is explored in an original work that draws inspiration from its actors’ real lives.

We all have secrets that we keep from others: the romantic entanglements that we’d rather not admit to, the illnesses we hide, matters which seem better kept within families, abuse of one form or another, or events from our past of which we are ashamed. The degree to which we choose to reveal these secrets often goes a long way towards defining our relationships and can provide us with closure or with further confusion. However, it is these secrets that follow us through life and which affect us when we least expect them to that help to shape us and to define our actions. This is the concept of “Secrets”, a devised play created in collaboration with eight actors and director Danielle Coleman, and which weaves the real life secrets of its performers into its storyline. The result of weeks of creative work-shopping and improvisational work, “Secrets” promises a uniquely different theatre experience and it delivers, not least of all because its revelations are highly personal. However, where it succeeds in honesty, it fails in overall consistency.

At nearly two hours in length and with eight separate sets of back-story to develop and expound upon, much of the detail in “Secrets” gets lost in the mix. Some scenes are deeply emotional and well fleshed out, particularly those concerning actress Helen Briscoe, while others desperately need further exploration and explanation. Director Danielle Coleman says that this play is about secrets, although not necessarily the revelation of those secrets. As in real life, we never know the full truth behind what is revealed to us, and often we are left to form our own conclusions about what to believe. While this concept does work at times, at other times we are simply provided with too little information about what is happening to form any conclusion at all. This results in confusion, but little else. This may not be a play about revelations, as such, but it still needs some.

Danielle Coleman has undoubtedly provided her actors with a safe and creative environment in which to reveal themselves. Furthermore, this is an enigmatic and talented group, and watching them play off of each other and explore is very entertaining. At the heart of “Secrets” is the idea that all if its characters are connected in some way, and often this connection is through psychologist Andrew Cleaver. Andrew Cleaver is particularly good in his role, with subtle intensity and expressions which betray far more than his dialogue allows. A s a play about character relationships, “Secrets” has some solid, buildable points; the relationship between Helen Briscoe and James Dutton, for example, is appropriately humorous and distressing, and its intensity is fascinating to watch. Additionally, as a teacher who confronts her own past as a schoolyard bully, Ishbel Nicol is believable and sympathetic, particularly in flashback sequences. And Shireen Walton is lovely as a daughter hiding a family secret. Perhaps the biggest disappointment in “Secrets” is that Shireen Walton is not allowed a greater opportunity to build on her character.

Ultimately, “Secrets” has touching moments, some well structured scenes, and a notable cast. However, as a fully formed production, it falls short. There is still a distinct feeling of this being a “workshop”; there are many good moments, but no consistent through line. At the end, there are just too many unanswered questions and too many loose ends. And while the final scene was crucial to the development of Helen Briscoe’s character, it was an odd choice to end the production and only added to the lingering sense of confusion over the point of the play. As it currently is, “Secrets” is recommended for some exceptional acting and the beginnings of an original and entertaining concept. With a little more work and a concise script editor, “Secrets” has the potential to be very good. 3 Stars.

 

Playing through December 5th at the Cock Tavern Theatre in Kilburn. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "The Faulty Towers Dining Experience"

The Faulty Towers Dining Experience

Presented by: Interactive Theatre Australia

Cafe des Amis, Covent Garden

31/10/2009 - 01/11/2009

*A lively and entertaining trip into the world of Fawlty Towers.

In the downstairs bar of Café des Amis in Covent Garden, a large party of diners is finishing their drinks and awaiting their seating arrangements. Suddenly, through the doors and to a round of laughter, bursts Manuel, a Spanish waiter with a big heart and a small grasp on the English language. He hands out single peanuts from a silver tray, pokes his head into the ladies’ restroom, and scurries around frantically. Following behind him and desperately trying to keep him under control are his employers, husband and wife team Basil and Sybil. When the seating plan has finally been located, the trio begins ushering their guests to their tables. This, of course, generates further confusion, as Basil directs patrons to the wrong places and Manuel unsuspectingly removes their chairs before they can sit down. However, the mayhem is met with further hysterics, signaling that this is no ordinary dining experience. This is the Faulty Towers dining experience.

Based on Fawlty Towers, the 1975 British sitcom by John Cleese of Monty Python fame, the Faulty Towers Dining Experience offers patrons a chance to step into the original series and participate in some of its better-known moments. Basil is as brow beaten by Sybil as ever, and Manuel causes an array of inadvertent, language-barriered chaos. Sybil’s alternating shrill cries and braying laughter permeate the room. Basil is appropriately snobbish and classist, abusive towards Manuel, and petrified of his wife. Moreover, Manuel is endearing and humorous, particularly during his frequent misunderstandings and innocent blunders. By the end of the evening, the chef’s false teeth will have turned up in one lucky diner’s soup, Manuel’s pet rat will have made an appearance, someone will have danced on the tables, and a fire extinguisher will have been dutifully employed. Undoubtedly, your laughter will have also brought you, gasping, to tears. This is predictable, slapstick, sketch comedy in the same vein as the television program, and it is utterly entertaining.


The Faulty Towers Dining Experience is performed by Interactive Theatre, an Australian theatre company based in Brisbane. The production is currently on tour and spent only two brief nights in London. With any luck, they will return for a longer run, as the cast and concept are terrific. Andy Foreman as Manuel, Michael Davoren as Basil, and Alison Pollard- Mansergh as Sybil are each superb impersonators. They do the utmost credit to their original subjects in the scripted moments, and they effortlessly play off each other during improvisation. In particular, Andy Foreman as Manuel is delightful. He crawls under the tables, tosses bread rolls, and escorts guests to the restrooms by hand, never flinching or breaking character for a moment. Indeed, the energy and commitment of the entire cast is infectious.


At £50 per person, this is perhaps a too expensive ticket. However, the price does include two solid hours of entertainment and a three-course meal. The logistics of performing in a restaurant dining room instead of in a theatre also mean that occasionally, some members of the audience miss bits of the action and the pace understandably slows. But this is inevitable, and the cast do their best to include everyone in the more pertinent jokes. Finally, as this is a dining experience, it is important to note that while the entertainment is excellent, the food is far from perfect. However, if you escape without thumbs or false teeth in your soup, consider yourself lucky. After all, you aren’t really there for the food, anyway. 4 Stars.

Playing October 31st and November 1st at Cafe de Amis in Covent Garden. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.