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Category: Reviews

Afternoon Tea at the Balmoral Hotel, Edinburgh: A Review

I visited with two lady-friends on a Sunday afternoon with a plan of spending an afternoon discussing books over tea-time treats – it was our High Tea Book Group session after all. Literature was discussed for a mere 15 minutes, and the rest of our 3-hour stay turned into a social afternoon talking about life and style. We were placed at a corner seat tucked behind some plants near the swinging door of the kitchen. It was supposed to have been a bustling spot but we were hardly bothered by the activity at all. The two waiters for our table were charming, attentive yet discreet. I was not very hungry so one of my friends shared a stand with me. The sandwiches were the classic ones with fresh salmon, honey roast ham, and notably, Scottish beef with red onion marmalade (a winner). The scones sat in the stand from the beginning and were not warm, but I was not very fussed about this; I dove straight for the sweet treats. What a disappointment the mini pavlova was; decorated with whipped cream and raspberries, it looked delicious but black pepper was added within – an experimental dessert by the chef perhaps? The supervisor came over and after I explained the issue, he did not appear to believe me. He took my plate back to the kitchen and returned with the explanation of the chef having tasted it and affirmed it did indeed contain black pepper, and that the meringues were made downstairs and not in their kitchen. What a spiel! He went back and forth to the kitchen a couple more times and then returned with a blueberry muffin which was warm, so presumably made in their premises, but something I did not really want then. The piano, which was situated diagonally to our table sat empty but a harpist played for the whole afternoon. Her music was subtle and created a calm atmosphere in the room. This, along with the sandwiches and company was a highlight, sadly the sweet treats and the staff’s attempts to appease did not suffice.IMG_0152


Elizabeth Blackadder: An Art Exhibition. A Review

Exhibited at the Scottish National Gallery until 2nd January 2012


This exhibition marks Blackadder’s art career, beginning with her intense charcoal drawings in her student days in Italy; to her amazing way with watercolour, producing pictures of nature – birds, fruits, cats, orchids, irises – with the most glowing results.

It is apparent that she has a highly energetic analysis of the world. Her keen attention to the fine details is what I love best. She portrays a harsh, cold scene in her early painting of a winter landscape at Assisi in Italy. I truly admired the subtle way she enhanced the picture with the texture of her oils – the fluff on a cloud, and in a separate painting “Church on Brittany”, the embossed ridges on a chimney.

She is harmonious with her use of colour in “Church at Treguer” and in her various paintings of still life, a theme of which she eventually settles on.  Her contrast of colour and movement is evident within “Grey Table with Easter Eggs”. It is a careful analysis and portrayal of space between objects on a table surface. Just brilliant.

She is bold at times, particularly with her use of colour in certain Japanese paintings, emerging with a striking result in a burst of red. There is a contrast all the time within this radical approach. There is domestic peace and happiness, and a sense of looking in, with the viewer somewhat peering privately into another person’s life. Within “Tulips & Indian Painting”, it is honed with atmosphere and drama. She paints the drabness of the wallpaper and peppers it with life all throughout – an image of a living plant, a burst of bloom and Indian musicians.

Her travels developed and inspired her artistic approach. She collected trinkets during her travels – an ornament, a decorated box – which also found their way into her work.

Notable of all her watercolour paintings were of Orchids (1988-89) which displays her immensely observant eye, her (bearded) Irises and Exotic Fruits. In the latter she portrays the fruits atis (sugar-apple) and mangosteen, native to where I grew up. It was a delight to discover this. Here is an image of only the two fruits:

Photo credits:

First image –

Second image – Royal Academy of Arts

Third image –

Fourth image –


Afternoon Tea at the Montague Hotel, London: A Review

Served 12nn – 6pm, Monday – Sunday

The Montague Hotel prides itself on being a member of The Tea Council Guild and having received a special Award of Excellence from the UK Tea Council. This award recognises outstanding quality and consistently high standards of tea service for 2011.

A very good friend recently treated me to a beautiful Autumn Afternoon Tea. This is what it looked like:

Several elements of the meal itself intrigued us both. Among these was the special selection of teas on offer accompanied with a timer to measure the infusion of our tea. This was a thoughtful part of the tea-drinking that we were both unaccustomed to. It was enlightening and reminded us about the possibilities of over- brewing and under-brewing.

The meal began with an unusual opening of jasmine rice pudding with autumn fruit compote, which was lovely and delicate. The round-shaped corn-fed chicken with celery and almonds was a welcome addition to the finger sandwiches, but sadly disappointed after it emerged the filling tasted bland. I particularly enjoyed the smoked Scottish salmon sandwich as this was flavoursome. The scones (covered in the photograph) were served on the tiered stand from the beginning and the timing of this was overlooked by the kitchen. By the time we had finished with our sandwiches, the scones were stone-cold and the plate had to be sent back to the kitchen for warm ones. The cakes on offer were beautifully presented, and the black forest cup was outstanding. It was very light and the maraschino cherries were not laden with alcohol.

Overall the Montague Hotel’s Autumn Afternoon Tea covers a substantial and varied selection of tea and treats and made a delightful accompaniment to a sociable afternoon. Its tiny faults were easily redeemed by the knowledgeable and attentive waitress who was cheerful and open to suggestions. This helped make our afternoon meeting a memorable experience.

Wayne McGregor’s Random Dance FAR 2011: A Review

Performed on 5th October 2011, 1930, Festival Theatre, Edinburgh

The celebrated choreographer’s show opens with an entrancing setting: a pair of dancers moving in the centre of a barely-lit stage, its four corners brightened up by burning torches. Full of energy and incredible talent, the two dancers set the mood of the entire performance: fluid movements evocative of imagery and subjective interpretation.

McGregor’s dancers were encouraged during rehearsals to invent their own routines. Innovative and passionate, the result is an intimate expression of emotions playing a pivotal part in each scene, rekindling feelings of companionship, deception, isolation, death. Music is refreshing and extreme; the sudden arrival of rock music lends its own textures to a set of dance steps. Technology is an integral element, and compliments the theme of each scene. A board of dancing lights present from the beginning is transformed to a digital clock and appears to measure certain routines.

The dancers are athletes, fulfilling rapid and physically-testing moves. Bringing their individual and harmonious styles to the show contributes greatly to the cutting-edge and futuristic vision of McGregor. The entire production is radical in its approach and makes one consider the immense possibilities in modern dance. It is all at once liberating, a performance expressive of desire and a celebration of being alive.

Degas and the Ballet, Picturing Movement: A Review

Exhibited at Royal Academy of Arts, London until 11th December 2011

Known lovingly in the art world as The Painter of Dancers, Edgar Degas is one of my favourite Impressionists. His paintings of ballerinas in particular are groundbreaking in capturing their grace, movements and form. He has changed the way light is seen and depicted in pictures. The morning sun in the above painting highlights the freshness of the day, the youth and beginning career of the dancers themselves.

This exhibit displays his experiments related to tackling the “figure in motion”. The amount of works displayed is quite astonishing, although there were certain “dance” paintings I expected to see that were not there; I suppose the Royal Academy either could not acquire them, or deemed them irrelevant. There were the different mediums he utilised: oil on canvas, pencil on paper, black chalk heightened with white on blue paper, charcoal heightened with white on green paper, pastel on boards, and in later years, wax and photography. There were images of his subjects with their own props, particularly cords to support their uplift arms, to enable them to remain motionless for hours.

It was enjoyable and refreshing to see Degas recording subtle movements made by dancers away from the stage – resting, bending, adjusting their costumes. He cleverly executes the principle of emphasis in a painting of a dancer posing for a photograph against the backdrop of Paris. He moves the viewer’s gaze away from the dancer herself, and onto the view in the background. In a series of horizontal paintings, he was excellent in depicting a frieze-like view of a scene. In one, the setting is a ballet studio and within it he shows the contrast between the activity of dancers on the left side, and the repose of a teacher on the other side.

He had a fascination with the arabesque and was studious in painting the outstretched arms, diagonal lines and curves of the form. Among his sculptures, the most outstanding for me was Dancer Ready to Dance, Right Foot Forward which I found to be striking, dramatic and captured with exceptional frankness.

It was revealing to learn that in his mature years, Degas also painted the exuberance of Ukrainian dancers: their costumes (lace, ribbons, layered skirts), high kicks and actions. He paints these in stunning vibrant colours, a direct contrast to the muted pastels of his ballet paintings.

Degas was influenced at the time by the works and methods of photographers Felix Nadar, Étienne-Jules Marey and Eadweard Muybridge who were equally fascinated by capturing the several phases of movement of their subjects. There were extensive displays of the works and photographic devices of the 3 artists as well.

Dance is linked to music, and Degas is a master of having recorded its richness – its “rhythm, texture and colour harmonies” in his art. I am grateful for the closing film of director Sacha Guitry who secretly (but not guiltily) filmed Degas, almost blind, as he walked past the camera. Lasting seconds, it is a beautiful, moving finish to this exhibition, which is a brilliant performance in itself.

I leave the Academy with a lingering sense of calm and a feeling of having been in the presence of greatness.

Photo credit:

The Blue Book by A. L. Kennedy: A Review

This is A. L. Kennedy’s new masterpiece. It is also, hands-down, the finest book (aesthetically) I’ve ever owned.

I love reading on my newly-acquired Kindle but I cannot embrace purely reading every book on it just yet; the reason is because books such as this one exist!

Here is an image of the finish of the actual pages:

And another image:

Kennedy employs a stream-of-consciousness technique for most of the story, and it is very apt for her subject matter: fake mediums. We gain an insight of the various thoughts that whiz through the mind of main character and ex-medium Elizabeth on a cruise with her boyfriend Derek, and when she encounters a (fake) medium on-board, named Arthur. The wandering-mind-thoughts of the all-knowing narrator also cleverly exhibit the fake mediums’ mind at work: lying (what they do best), and arranging deliberate “ways-out”: deciding upon themselves what made-up readings must be told to vulnerable people.

Last August I attended the event on Kennedy’s new book at the Edinburgh Book Festival and she confirmed the extensive research she did into mediums for the book. What struck me the most in the course of reading was the mediums’ confidence in being generous and giving to save their clients’ lives. They believe themselves to be healers because they prevent harm from coming onto others. There is a very real self-awareness and a charity element in these deceivers, a sense of helping the troubled. Does this make them less wicked or immoral?

The format of the book is well-thought of: from the colour of the book (lilac or blue? – you decide), the title referring to the main book we create for record-keeping, the page numbers found at the top and bottom of each page, somewhat pertaining to a book of spells. The latter are actually a deception – some pages have different numbers on them to baffle the reader even more. The book itself becomes a character in the course of the reading, and at the very first page, offers explanations for its existence: “It was built to welcome your attention and reciprocate with this: the sound it lifts inside you. It gives you the signs for the shapes of the names of the thoughts in your mouth and in your mind and this is where they sing, here at the point where you both meet.” Her sentences are so powerful and hauntingly beautiful that I found myself savouring certain lines over and over again.

I really enjoy the stream-of-consciousness technique in literature and at one point in this book I became particularly aware of a single, long sentence filling two whole pages. Our thoughts are a continuous, running flow of words and opinions and Kennedy is brilliant at executing this.

She is very entertaining writer (she is also a performer; a comedian) and I could not imagine a more hilarious description of a scene she paints of a set of pensioners and couples with ideological reasons for never consenting to walk – all on a boat during the Passenger Emergency Drill – a huge release of the bewildered. Priceless.

A book makes you a “better everything”, and I can attest to that after the amazing journey I embarked upon with this book. Its parting shot to the reader is beautiful. It offered the truth, and a few secrets. It was playful and memorable. It emphasised how it did not wish to try to deceive.