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With a single dessert and just two glasses of wine our bill was kept in check - but the effort of doing so was not much fun
Babbo
Film
This is a film with beautiful performances and a visual style that urges you towards reflection
Bright Star
Theatre
Although the first half of Kwei-Armah’s production is pacy, funny and intelligent, the energy level then drops off
Seize The Day
I loved this film from start to finish. Take the girlfriend, tell your mum - I'd see it again tomorrow and will buy the dvd.
I saw this last night and can't remember the last time I was so moved in the theatre.
I have been to many of London's so-called best Japanese restaurants and none have been as good as the food that I've had at Aqua Kyoto
London,
Critic rating
Reader rating
If ever a band was built to age gracefully it is Saint Etienne. Though born in the creative white heat of post-acid house London, and adept at harnessing contemporary dance sounds, there has always been a studious mining of the past in Pete Wiggs and Bob Stanley's compositions with singer Sarah Cracknell, a wistful nostalgia and belief in the timelessness of great pop that sit well with increasing maturity.
All these qualities were encapsulated in the opening brace of songs. This Is Tomorrow, appropriately enough given the venue, came from the band's own 2007 film about the South Bank complex and was a look back to Britain's post-war optimism and belief in the greater good - all set to a disco beat. 1991's Nothing Can Stop Us, the first Saint Etienne recording to feature Cracknell, perfectly captured the dance scene's sense of possibility, while its northern soul groove gently reminded us of dancefloor dreams further back in history.
Cracknell, though her plaintive, understated vocal style isn't exactly Tina Turner, is one of the most distinctive singers in UK pop, and the sweetness of her voice hasn't been weathered by time. Neither has her subtle but excellent stagecraft: clad in classy trouser suit and feather boa, she gently coaxed the seated 30-and 40-somethings into participating more and more, until, led by three bearded gay "bears", the crowd surged to the front to dance to classics Spring and Only Love Can Break Your Heart.
The stewards weren't happy, but a charm offensive from Cracknell persuaded them to drop their jobsworth attitudes. From then on, to the final encore of He's On The Phone, the show was a joy, and the happily grooving crowd a perfect illustration of the band's lasting appeal.
Details are correct at the time of publication - please check with venue before booking.
