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I exercise a lot so I feel like I am always battling muscle pains. I will try anything that can make a difference. I don’t like to suffer unless I really have to. I absolutely adore Wildsmith Body Cleansers, £38 each. They clean while also hydrating. I smell gorgeous after and my skin feels soft and smooth.
Introducing the innovative Body Cleansers from Wildsmith, the skincare brand that uses natural ingredients and sustainable practices to craft beautifully botanic products designed to support and transform skin health. The trio of Wildsmith body cleansers are formulated with carefully selected actives, to ensure your body stays clean and refreshed, and there’s something for everyone:
Everyone I know is obsessed with magnesium and I don’t blame them. It helps with sleep and muscle soreness. I have definitely noticed a difference. That said, always check with your doctor before supplementing.
Bare Biology Ready & Rested is brilliant for those with an active lifestyle, with its approved health claims supporting muscle function and recovery. Magnesium replenishes what’s lost through sweat, making it ideal for active lifestyles and post-workout recovery.
Award-winning ready-to-drink cocktail brand The Drinks Bureau has launched a fun and sweet cherry-licious ShirleyTemple (0% ABV) and vodka-based Dirty Shirley (5% ABV) cocktails. If you love, pink, fun, sweet things then we can recommend these fun cocktails and mocktails.
Whether you’re planning a cosy night in or celebrating with friends, The Drinks Bureau’s award-winning Shirley Temple and Dirty Shirley cocktails are the perfect pre-mixed cocktails. The Dirty Shirley, with its delicious blend of vodka, real cherry juice, ginger, lemon and bitters is scrumptiously sweet and zingy. The alcohol-free Shirley Temple provides all the flavour without the spirits – ideal for designated drivers or those looking for a non-alcoholic alternative. Both variants come in Instagram-worthy pink and red cans that capture the spirit of fun. Plus, with no mixing or measuring needed, you can spend less time playing bartender.
Frankie Snobel, The Drinks Bureau Founder, said: “Serving a seriously tasty cocktail couldn’t be easier with our fun and fabulous Shirley Temple and Dirty Shirley canned cocktails – just chill and enjoy! Or if you’re feeling fancy, pour over ice, garnish with a cherry and serve! They are mouth-watering, combining moreish cherry and a ginger zing for a refreshing and cheeky little sipper. ”
The Drinks Bureau’s premium cocktails have gained nationwide recognition with both the Dirty Shirley and Shirley Temple cocktails winning ‘GOLD’ in the 2023 Global RTD Masters. The full portfolio also includes the world-leading Spicy Margarita – crowned best ready-to-drink cocktail in the world last year at the Global RTD Masters in a blind taste test by industry judges – alongside delicious flavours such as Espresso Martini, Passion Fruit Martini, Lychee Martini, and Strawberry Daiquiri.
Let me explain, but first for those of you who haven’t been to Blenheim Palace it is set in over 2,000 acres of ‘Capability’ Brown landscaped parkland and designed by Vanbrugh in the Baroque style, it was financed by Queen Anne, on behalf of a grateful nation, following the first Duke of Marlborough’s triumph over the French in the War of the Spanish Succession. Today it houses one of the most important and extensive collections in Europe, which includes portraits, furniture, sculpture and tapestries.
Frankly, it is stunning. I was fortunate to live fairly close by and loved going and it is worth remembering that Blenheim Palace is also the birthplace of one of Britain’s most famous leaders, Sir Winston Churchill, and it was his father who described the vista on entering the Estate from the village of Woodstock as the ‘finest view in England’.
And the good news is… roll of drums…. Visitors to Blenheim Palace can now enjoy personally tailored tours, thanks to a new state of the art app, ‘Archie – your interactive guide’, named in honour of the Palace’s former Administrator and first Chief Guide, Archie Illingworth, (such a touching tribute) , who worked there from 1950 to 1972, and retired after the death of the 10th Duke.
The new multimedia platform has been created through Culturati, a groundbreaking Horizon Europe RIA project, for which Britain’s Greatest Palace is the UK pilot site.
‘Archie – your interactive guide’ allows visitors to choose exactly what they would like to see and hear, and allows them to delve into over 300 years’ worth of stories – many of which have never been told before – with several of the narratives shared directly by staff members, giving authenticity and depth to the cultural heritage experience.
Some of the fascinating stories contained within the interactive guide include:
Learn how the Long Library was used as a convalescence hospital during World War I, for soldiers recovering from a variety of ailments and injuries, from gunshot and shrapnel wounds, to shock, pneumonia, and dyspepsia. It must have been a touch of heaven after the brutality of the Front.
Hear how the grounds of Blenheim Palace were used during World War II to test Spitfire fighter aircraft guns.
Imagine what it was like as Archie Illingworth shares his own memories of welcoming the House of Dior to Blenheim in 1954, for the first of two fundraising fashion shows organised by the 10th Duchess in aid of the Red Cross
The app not only harnesses cutting-edge digital technologies to deliver personalised content; it also uses sophisticated sensors at Blenheim Palace to monitor and manage visitor flow, helping to optimise the guest experience through strategic crowd management.
David Green, Head of Innovation at Blenheim Palace, who is also Culturati Project Manager, commented: “It is a real honour for Blenheim Palace to be the UK pilot site for this unique collaboration, which retells stories using the latest digital technologies with elements of AI.
“This innovative initiative aims to revolutionise how cultural heritage and arts content is collectively created and shared across Europe. With the more traditional audio guide, our visitors were able to listen to a description of what they saw before their eyes – and that description would be the same for everyone. With ‘Archie – your interactive guide’, every visitor can enjoy a bespoke, unique experience.”
Culturati is a collaboration between 14 European partners, bringing together an interdisciplinary consortium of computer scientists, cultural and creative industries professionals, academics from various disciplines including social sciences, SMEs, public authorities, and non-profit community organisations. The project is funded by the European Commission and coordinated by Bilkent University, with additional UK partner funding through Innovate UK. Blenheim Palace has also been working closely with Oxford Brookes University, which conducts comprehensive user research to enhance the platform’s effectiveness.
To experience ‘Archie – your interactive guide’, and tailor your own visit to Blenheim Palace, go to: culturati.blenheimpalace.com/ You will enjoy it immensely, and return often.
In 1969, in a dark room that smelled mostly, of stale cigarettes and musty papers, Michael Rowan, together with 15 or so other boys, waited for the arrival of the Music Master, Mr Phillips.
In the centre of the room a record player was balanced on some books, which were themselves stacked on a wooden chair. The Music Master arrived and began to explain the story of the Symphonie Fantastique before placing the needle on the vinyl and I became lost in the moment. I wonder if my 13-year-old self, would have ever believed that 50 plus years later, he would be sitting in the Royal Festival Hall, listening to the same piece, but this time without the crackles.
Back to 2025, where the evening began with the World Premier of ‘Sphinx’ written by British Composer David Sawyer, who was present at the concert. Sawyer explained that his inspiration had come from this mythical beast in the Greek, rather than the Egyptian form, that he had once seen in a picture and how he had considered the human head, (often a women) vertically erect moving left and right, up and down; the four legs and the rhythm of running; and finally, the wings giving flight.
The different sections of the orchestra at first heard quite bluntly, then changes, morphs and mixes together. At times sonorous and gentle and then abrupt and discordant this piece had a filmic quality, underscoring the drama. Not my favourite piece of the evening, as it was a little too discordant for my taste, but others in the audience were clearly enjoying it, and it is aways good to experience new things.
The second piece, Benjamin Britten’s Violin Concerto Op. 15 was breathtakingly good, soothing, brooding, and the soloist, Augustin Hadelich is described as one of the great violinists of our time. His playing, so beautiful at times made me well up, and according to the programme, he is renowned for his phenomenal technique, persuasive interpretations and ravishing tone, and based on this performance I wouldn’t argue with that.
If you get the opportunity to hear him, do whatever you must to get a ticket, you can thank me later. He plays a violin made in 1744 on loan from the Tarislo Trust, and you could see just how much he revered his instrument, and how he repays the compliment to the Tarislo Trust. The piece was hauntingly sorrowful, (hence the tears), deliciously soporific followed by a fast movement which was quite simply breathtaking.
At times Hadelich drew heartfelt notes from his violin that I have certainly never heard before. It was how I imagine the Pied Piper must have influenced the children of Hamlin, and at that point Hadelich’s audience would have followed him anywhere, hypnotised by the sound of his violin. At the end of his performance, much of the audience was on its feet and thunderous applause threatened to lift the roof.
Having been called back to the stage by his adoring fans, he performed a welcome encore. If you only take one thing from this review, it is to take any opportunity to hear Augustin Hadelich.
Berlioz’s Symphonie Fantastique was the first piece of classical music I ever heard. Described as the representation of an opium dream, where a young man faces rejection, and in his dream murders his beloved, later to be taken to his execution where he witnesses a Witches’ Sabbath. I don’t recall my music master going into such detail, but I do recall him asking us to imagine a man been taken to his execution, and the terrifying sight of Witches swirling overhead.
This was a performance in 3D, with notes of the flute soaring above the audience, a solo oboe playing from a box somewhere behind, and the haunting sound of bells ringing out. The music in each of the five movements had an intensity that left me wanting to soak up every note, and after each movement the urge to break out into applause grew stronger, but the wonderful conductor, Edward Gardner, was having none of it, driving the orchestra on, to ever greater feats.
The final movement ends in violent uproar, as the witches dance manically, and then abrupt silence, a silence broken only by the unleashed applause, of an impressed and grateful audience. The images conjured up by Gardner were no less vivid for the passing of more than 50 years, thanks to Berlioz, the London Philharmonic, and yes good old Mr Phillips. https://lpo.org.uk/tickets-and-discounts/
Saturday 1 Mar 2025, 7.30pm – Royal Festival Hall. Three very different composers, but in Omer Meir Wellber’s hands, they’re all part of the same unforgettable story. He is joined by another artist who strikes sparks – violinist Nikolaj Szeps-Znaider – for Tchaikovsky’s hugely popular Violin Concerto.
Repertoire
Mahler/Schnittke – Piano Quartet, arranged for piano and strings Haydn – Symphony No. 49 (La Passione) Tchaikovsky – Violin Concerto
Wednesday 5 Mar 2025, 7.30pm – Royal Festival Hall
‘Unforgettable’ was how one critic described Fleming’s 2022 Gala with the LPO, and tonight she returns to sing Richard Strauss’s radiant Four Last Songs. Music that never grows old, sung by one of the supreme voices of our time.
Repertoire
Wagner – Prelude and Liebestod from Tristan und Isolde. R Strauss – Four Last Songs. Wagner – Overture and Venusberg Music from Tannhäuser. Wagner – Prelude to Act I of Lohengrin. Wagner – Overture, Die Meistersinger von Nürnberg
Friday 7 Mar 2025, 6.30pm – St John’s Church, Waterloo
Six LPO players immerse themselves in the contemporary culture of Britain and America; hear them break away, jump for joy and hit the dancefloor in a concert of music by five composers who defy convention and genre to create some of the most original music of the 21st century.
Wednesday 12 Mar 2025, 7.30pm – Queen Elizabeth Hall. Kevin John Edusei presents Zappa, Martinů and a new clarinet concerto with phenomenal Syrian clarinettist Kinan Azmeh.
Repertoire
Zappa – The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornado. Dinuk Wijeratne – Clarinet Concerto (European premiere). Martinů – Symphony No. 6 (Fantaisies symphoniques)
Wednesday 26 Mar 2025, 6.30pm – Royal Festival Hal. In a time of revolution, Prokofiev’s First Violin Concerto wove fairytale magic – and no-one makes it dance like Alina Ibragimova.
Saturday 29 Mar 2025, 7.30pm – Queen Elizabeth Hall
Eva Ollikainen rediscovers two modern classics, and Colin Currie – in the words of one critic, ‘surely the world’s finest and most daring percussionist’ – explores new ways of listening, with the extraordinary, culture-crossing Water Concerto by Crouching Tiger, Hidden Dragon composer Tan Dun.
At time of writing, my book, Where The Light is Hottest, came out yesterday. It has been a long time coming. It took me a long time to figure out how to write a good book. Writing a book is hard, but one that is readable? Really hard. Anyone who is trying to do that now, keep at it. You will get there in the end.
When you are lucky enough to become a writer the amount of time you spend writing can go down. I am busy marketing and doing publicity for the book. I am also on TikTok, Instagram, Threads, X, YouTube, Facebook and Bluesky. Phew! Then there are interviews, podcasts and articles to write for various publications.
While being an author is a lot of work I can say that it never feels like work. I love what I do. I love writing and I also love meeting people. The writing and book community are amazing.
My publisher is busy printing more copies of my book as they ran out of stock. There are only eleven copies left on Amazon. It is also available on kindle unlimited and on ebook. The blurb is below.
Natasha Jones has everything – a successful acting career, an Oscar, a wonderful husband and beautiful kids. But what does she have to go through to get there? From humble beginnings in a small town, Natasha’s path to stardom is paved with setbacks, heartaches and moments of doubt.
In the glittering world of fame and fortune, where dreams are spun from starlight and ambition fuels the relentless pursuit of success, one woman’s journey stands as a testament to the resilience of the human spirit. Beneath the facade of glamour lies a story of unwavering determination and unyielding courage.
Where the Light is the Hottest is a gripping tale of ambition, perseverance and the enduring power of hope. Through Natasha’s journey, we are reminded that the road to success is rarely smooth, but for those who dare to chase their dreams, the rewards are beyond measure.
The London Philharmonic Orchestra with Principal Conductor Edward Gardner ⓒ Mark Allan
Another packed Royal Festival Hall. Classical music is certainly popular – and so it should be when the quality is this high. The Royal Philharmonic Orchestra’s 2024-25 season continues at a pace. This particular evening, under the title Symphonic Dances, presented three composers and challenged the whole orchestra.
Guest conductor Juraj Valčuha led the orchestra with an easy grace from the start, beginning with Alexander Glazunov’s Concert Waltz No.1, Op.47 – this was joyous in its swaying effortlessness, a whimsical jaunt at times like dandelion seeds on a gentle summer breeze, proving music can be ‘fun’ as well as challenging.
Juraj Valčuha ⓒ LPO
Glazunov’s piece was written in 1893, the year of Tchaikovsky’s mysterious premature death. And it was to this composer that perhaps the highlight of the evening belonged. Tchaikovsky’s Piano Concerto No.1 in B flat minor, Op.23 (written in 1874) – perhaps made famous to most people by Victor Borge’s hilarious sketch – has been used in many films and television commercials, yet seldom appreciated in its entirety. Played here by the incredible Boris Giltburg, the piece had power and energy in abundance. The orchestra excelled in the Concerto and Giltburg was absolutely astounding on the piano. For me, the brass was a little harsh, but overall, it was Giltburg’s sensitive and awe-inspiring interpretation that dazzled. After much adoration and cheering, he acknowledged the audience and played a short piano solo – Rachmaninov’s stunning Prelude in C sharp minor, Op.3 No.2. The ultimate party piece!
Boris Giltburg ⓒ Chris Gloag
After the interval, the second half belonged to Rachmaninov – from 1940, his Symphonic Dances, Op.45. The three movements are quite different in feel: the first has a pompous, marching content; the second, a melancholy yearning; the third has the feel of a film soundtrack composition – Rachmaninov did score some music for films. Focus should also be given to Lead Violinist Pieter Schoeman, who had a moment in the first movement as though straight out of a film, akin to John Williams’ Schindler’s List where the violin flies above the orchestra achingly seeking some kind of loving resolution.
The whole evening was led by Valčuha and it was a delight from start to finish. The audience left the Hall buzzing and smiling from yet another glorious LPO presentation.
The London Philharmonic Orchestra has a vast range of events at various venues around the country. Check out their website for details – https://lpo.org.uk/whats-on/ .
Your debut, The Cuckoo Sister, was a top 10 bestseller. Did you expect it to be so successful?
I came to publishing with my eyes fairly wide open, due to having both worked in film and TV (which has crossovers in terms of how it works) and then at Cambridge Literary Festival as the events coordinator. I knew nothing was certain with publishing so the top ten listing for The Cuckoo Sister was amazing! Obviously I wanted it to be a success and had dreamed about it, but making the top ten was fantastic!
You are known for tackling brave subjects and writing complex characters. How do you come up with your characters? Where do you get your ideas?
I read a lot-of everything. From books to magazines, to online forums, chat groups, newspaper articles. and often snippets of ideas or characters will come from these. Everyday people in extraordinary circumstances is what I like to write about and so inspiration for this can come from all sorts of places. I observe people, I listen into conversations (much to my daughters’ embarrassment!) when out and about and it all slots into the jigsaw when I’m putting together an idea. I’m like a magpie, stealing shiny things!
What was your publishing journey like?
It was strange because it happened during Covid. I had just started approaching agents in March 2020, having been longlisted for the Lucy Cavendish Fiction Prize and then my plans to focus on that got somewhat waylaid! I hadn’t sent The Cuckoo Sister to many, when my now agent, Marianne Gunn O’ Connor, responded and wanted to develop the book with me. I liked how she worked and her vision for the book so we worked on various edits before sending it out. I was on submission for about six months and I wrote The Silent Friend at that time as a way to keep sane! Boldwood then picked up both and offered me a three book deal. So it was quiet and fairly uneventful!
Describe your writing routine.
I recently moved to full time writing after juggling working for Cambridge Literary Festival as well as writing and parenting, so now my routine is a little less harried! I work from home and start the day turning the kitchen/diner back into my office! Then I usually work on admin and social media while I turn my brain from mum to writer. I then work from mid-morning to the school run on whatever stage I’m at. At the moment it’s the first draft stage for book five, so I’m aiming for 1000-2000 words a day. Once the children are home I might be able to do a little more work, or it’s back into family life.
Your fourth book, The Man She Married, is out now. What is it about?
The Man She Married is about Beth, who wakes up after a car accident with 5 years of memories missing. She doesn’t remember leaving Australia nor meeting or marrying Rob, the man at her bedside who everyone says is her husband. She goes home to recover but cannot shift the feeling that something isn’t right and that she ought not to trust Rob. But-with her own mind so unreliable, can she trust herself? The book is about strength in adversity and the power to start over again.
Does writing get easier the more books you publish?
Yes and no. The worry of a first draft can be alleviated by knowing that you’ve done it before so you can do it again, and skills and techniques that you’ve learned as you’ve developed as a writer make it easier to some degree. Yet each new book is a new idea, new characters, a new plot and developing these and bringing them to life in a way that readers will connect with, is a new unchartered challenge every time.
What is your favourite thing about being an author?
I love that I get to create all these stories in my head and then share then with the world. I wanted to be a writer from a young age so the fact that I get to do this for a living is still amazing to me!
And your thing you dislike?
The required self-promotion! I am too British, and I find it difficult to overcome the cringe factor!
What books have you read that you love?
Too many to list but the latest advance copies that I’ve loved include The Rush by Beth Lewis, set in the Canadian gold rush of the late 1800s and 59 Minutes by Holly Seddon which is set in the UK when a alarm is sent that a catastrophic nuclear strike is due in 59 minutes. We follow the main characters as they decide what to do with that time. Both brilliant, both out this summer.
What’s next?
I am working on book five for Boldwood, which is about the intensity of female friendship and what happens when it goes wrong.
