Review: The City Restaurant, Doncaster

Chanced upon this gem of a restaurant serving modern European food with a Polish twist and decided to give it a try. I am so glad we did.

…this gem of a restaurant…

https//www.citydoncaster .cim

From the outside it was definitely seeming closed and therefore a lost cause on a Sunday. Fortunately, however, we were spot by the owner who explained they would be open soon. A little stroll through Doncaster’s centre gave us enough time to acquaint ourselves with the main streets and – bonus – work up more of appetite.

Foregoing our watching Novak Djokovic’s date with Nick Kyrgios on a sweltering Wimbledon Centre Court we opted to sit outside in the near corral in front of the restaurant.

We soon felt a new mood come upon us after a tough week and after scanning the menu found ourselves ordering cocktails: namely a Harvey Wallbanger for my companion and a Negroni for myself. Competitively priced they were excellent especially at 2pm on a Sunday.

Our ‘amuse bouche’ was fresh bread with a cured pork dripping – not for me – and Brie – just right for vegetarians everywhere . Delicious.

We shared a starter of Welsh goat’s cheese, accompanied by beetroot slices, mandarin segments and crushed hazelnuts in an inspired mix. Outstanding.

Our mains were: Gressingham Duck in a bison grass vodka jus for my co-conspirator and Farfalle pasta in a creamy spinach sauce for me. These were accompanied by a buttery mash with chopped dill for the duck and a mixed salad for both of us. It was delicious again. Surely, I can hear you say: there must be some negatives? No. Not one.

We were too full for puddings and lingered as we finished the house rose wine we ordered to keep the mood buoyant post cocktails.

This is exactly the kind of fine dining experience the Arts Council of England would enjoy before or after their visit to the soon to be ten years old Cast. In fact, if you tell the restaurant you have a ticket to a performance or screening at either Cast or the Savoy cinema you can enjoy a welcome and whopping 25% discount.

The focused, talented and dynamic team at City Restaurant are more than ready to welcome you.

We paid for a wonderful meal and enjoyed watching the world walk or skate by. Eventually, we ventured inside to check out the tables and surroundings. Elegantly furnished – as you’d expect – City Restaurant is awaiting your visit.

+44 1302 486411

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Escaping Gravity, DocFest 2022, Sheffield

In the newly created Accesses as Space on Sheffield’s Fargate (opposite Marks & Spencer) I am just in time to catch the 3pm screening of a film commissioned by Bedford Creative Arts to celebrate the links with one of the most audacious projects of the early twentieth century – the R101 Airship.

Sat in front of me a group of DocFest visitors are sunk in low deckchairs as this immersive film begins to weave its magic. Through computer generated imagery we are witnessing the future as it unpacks and celebrates the airship wondering how an idea so far ahead of its time could be allowed to die. If anytime was good to revive the airship project it is now and cannily this collaboration begins to suggest what it meant, especially to the men and women who were involved in it. Archive footage is neatly employed to demonstrate the hopes that lay at the heart of the R101’s construction.

Back in the future the boomeranged voice narrates a possibility illustrated by the human moment that connects our past present and future; an almost sinister focus on isolation.

I want to try and communicate the sheer exhilaration I felt watching this film unfold itself across 36 minutes. I don’t want to spoil it for you – all I can say is that it lives up to its billing as an immersive artwork exploring themes of flight and fantasy.

Escaping Gravity is a collaboration between artists: Roland Denning; Roger Illingworth; Dave Lynch; Rob Strachan; Mike Stubbs and Sam Wiehl.

Escaping Gravity was commissioned by Bedford Creative Arts and The Higgins Art Gallery and the Museum of Bedford with support from Arts Council England, National Lottery Heritage Fund, The Airship Heritage Trust and The Harpur Trust.

Escaping Gravity: live still from the 3pm performance on 26 July 2022
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I Am the Reason

I am the reason

You don’t sleep at night

I am the reason

Your future is less bright

I am the reason

You don’t have children

I am the reason

You’re single and scared

I am the reason

You don’t go outside

I am the reason

Your eyes don’t see light

I am the reason

You will drown alone

I am the reason

You will burn in the sun

I am the reason

You never had fun

I am the reason

We missed the last bus

I am the reason

We didn’t make more fuss

I am the reason

We under calculated

I am the reason

You live with undertakers

I am the reason

We only feared nuclear attack

I am the reason

We killed off faith

I am the reason

We stubbornly flew

I am the reason

We burnt fossil fuels

I am the reason

We stopped being mindful

I am the reason

We bought more plastic bags

I am the reason

We drank fresh milk

I am the reason

We didn’t repair ´owt

I am the reason

We didn’t cycle or walk

I am the reason

You don’t breathe fresh air

I am the reason

You don’t see bees

I am the reason

You don’t grow real seed

I am the reason

You bloody your knees

I am the reason

You curse and pretend

I am the reason

You will witness the end

1 November 2021

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Taking an Idea Beyond the Barricades: Sometimes the best thing we can do is ask for help and be open to criticism

Sometimes we trip ourselves up. No matter how innovative we are or how hard we work on our writing projects we leave the door open to the worst of housemates – self-doubt – and it lives rent free. Sometimes the best thing we can do is ask for help and be open to criticism.

You need to trust your writing process to help you improve.Then comes the question: who to ask?

A Couple of Suggestions



A trusted friend or a professional advisor who won’t hold back from presenting you with writing support that helps you find the truth. Whether you pay for this or you’re lucky to have someone who can simply respond to your script with a rare focus, it is important to let the truth sit hard. Sometimes the best thing we can do is ask for help and be open to criticism.

My New Project

Are you wondering what I’ve been working on that has made me want to talk about this? Well, I’ve been beavering away on a brand new project, a middle grade children’s book. Like many writers trying out a new format for the first time, it’s not always easy. I’ve had wonderful advice and writing support along the way but then just as soon as you finish the first draft, which for me is always at least three drafts in, you realise this is the first time you’ve written anything for children. How on earth can you be sure it is doing what you hoped it would.

Ta Da!

So I’m feeling really positive because my call for help was answered – and in spades. Yes there was some positive feedback but the reality is I need to rewrite. It’s not all bad but it demonstrates how, in this instance, I really needed some great advice. My idea is strong and most of the characters too, but the nagging doubt I had has been confirmed: something is missing and if I am to succeed I must find it and add it into the mix.

So that’s why it has been so important to try and find the most appropriate, honest and relevant advice and make sure that finding a writing process to help you improve is not being hampered by ego.

A successful, professional writer

I will.

I can’t wait.

Thank you for your honesty and I know you are waiting to read the next draft. I won’t let you down.

Sometimes the best thing we can do is ask for help and be open to criticism.

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So this is how I write…

I tend to be on the move a lot. It’s critical for me to access really good wi-fi. A cafe, such as Fika in Hastings is perfect for writing, great coffee and a reasonably quiet space to work. But it doesn’t have to be as quiet as an exam room or public library, especially if my writing is re-writing. I do like a bit of hub-hub and sometimes music. I like listening to classical or jazz but occasionally, that’s not right for what I’m working on. So, I will listen to the Clash, the Jam or PJ Harvey or a new band from Brighton called grasshopper. Or perhaps I will seek the company of someone like, Emily Barker, whose music has a really cinematic quality, which is obvious when you think why the theme for the BBC version of Wallander is so loved.

The Blank Page

Ah, yes, the blank page.

This is sometimes the easiest and sometimes the hardest place to be starting. If you’ve literally not got anything to work with, should you be looking at this page? You could, as I do, start a process of speed writing, or think of a character you’ve not met before and start there. It becomes easier, as you accumulate some notes and some images. What do I really want to write about? Who do I want to write for?

Even better is to be already looking at an outline or the beginning of a draft. You’re hungry to let the story flow. And then you stop. If you’re like me, that could be for years. If I’m writing to commission, no chance – I will find a way. I had to pitch the idea and sell it to someone else, so there’s no way I’m going to waste that opportunity. But if it’s an idea that I was so excited about, however, when I started (possibly too early) I did not find a way to get to the heart of why I needed to write it in the first place. Like many other writers I will put it away, and wait. I’ve recently revived a few ideas and conquered my original doubts or found that elusive ‘heart’.

The First Draft

The first draft is critical for me. If I can get there, no matter how rushed, then I have something to hold on to. The reason, those ideas I’ve still got safely stowed in my bottom drawer, remain there, is that I cannot get to that point. If I want to avoid that blank page and make my writing flow and not feel constrained. I write with an outline. I prefer to focus on a story that feels fresh. Which, of course, I am – just working within a framework that will get me using the strongest possible narrative shape.

The Trick

I think I’ve taken longer than most to work this out. Writing is re-writing. This means working on the first draft and producing multiple drafts to achieve my best writing. I know what I need to do to create a satisfying work of fiction or theatre. And in the case of film, a blueprint for a director and production team to follow. My viewpoint is the main focus of the next few drafts. Only then will I open it up to trusted readers – or if I’m under commission, start work on it with the producer. Press on, Write it, then craft it. Craft it again, and again. Writing is re-writing.

Be a collaborator

I love writing for theatre because of the opportunity to collaborate with a team. Film follows the same principle, though commercial film can often feel alienating for a writer. As a screenwriter for hire you’re part of a team. Just not driving the project in the same way a playwright does in the theatre. The ultimate collaboration, though, is the one I can have with readers of my fiction. The act of reading is a creative one. All readers bring their imaginations to help construct the world within a work of fiction. Reading is good for you, I think, because it exercises your imagination. Sometimes, it takes effort to work with a writer, because of your language, characters, themes or style. So if you’re a regular reader of fiction, thank you for reading!

Inside Fika, Kings Road, Hastings.

Stay With Me takes you from the macabre to the fantastic, highlighting the incremental changes in disparate lives. Each character navigates changing worlds, circumstances and memories. Compelling, strange and heartfelt, Stay With Me brings together the best of a darkly humorous mind.

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Why Theatre Matters in 2020

Writing for Theatre changed my life.

Something must be done to help UK theatres survive this crisis. I want to tell you why it is important to me and why doing something now really matters.

Bringing together actors and audiences is one of the most intrinsically creative acts. A play is not the same every performance. Not exactly the same each successive performance – an experience never to be repeated and one, truly shared. And good theatre remains in your consciousness – an incredible play remains in the conscious of communities and societies. It might take time for the effects of this to take hold. The evidence is a powerful reminder of why theatre matters. Our society feels and acts a little different. Think about a play like Jez Butterworth’s Jerusalem or Sarah Kane’s Blasted. They have gone on to reward repeat stagings for audiences around the world.

I remember my own first plays – as a member of the audience: State of Revolution by Robert Bolt; as a playwright, Soft, as part of the North West Playwright’s Workshops at Manchester’s Contact Theatre in 1987.

What theatre means to me

I believe in the contribution theatre makes to our knowledge, wealth and well-being. Good theatre entertains us, great theatre creates a climate for debate. We improve our society and our lives by going to the theatre. There is nothing quite like it, indoors or out: proscenium arch or in the round; thrust stage or end-on in a black box; West End; regional; national; local; rural; international and immersive.

Yes, Theatre helps me to earn a living as a writer and marketer but it also gives me great pleasure and a deeper connection to people and their communities.

It does not matter if you are seeing live theatre for the first or the hundredth time. It is an often a visceral experience. And the buzz just before a performance begins is highly addictive. The play can have successive productions, home or abroad. New directors, performers and technicians will bring their own skills and imaginations to bear.

Why you should care

In 2018 more than 34 million people chose to see a professional theatre performance in the UK. Resulting in a clear demonstration of just how important the industry is to the UK economy. 34 million people have developed a habit that gives them new perspectives, pure joy or simply an escape. People who enjoy live theatre are more likely to have better mental health.

And now, in 2020, live theatre in our many and varied theatre venues will collapse. More steps must be taken to manage the devastating effects of the virus control, many theatres will be lost forever. Already, some of our best known regional venues have already gone into administration or given notice that without an injection of cash they will have to close.

If you’ve never experienced live theatre, you might find some of this over the top. If you’ve had bad experiences or just find the whole idea pointless, dull or perhaps just not for you, you might want to reflect on what theatre does for the UK.

UK Theatre contributes £39 billion to the UK economy. Actors who learn their craft as performers in theatre are likely to go on to perform in television, film and radio productions. It is a vital part of UK society. Please don’t let theatres close forever.

What you can do

Help keep theatres open in the UK by writing to your MP. Ask them to put pressure on the government to create stronger measures to protect an industry that through no fault of its own is now in peril. And not just theatres – music venues too.

Act now, by signing a petition here and help change policy. Something must be done to help UK theatres survive this crisis, and soon.

If you don’t want to do it for yourself maybe think about doing it for others, your own family and friends and for future generations.

Space 1, Contact Theatre, Manchester

Stay With Me takes you from the macabre to the fantastic, highlighting the incremental changes in disparate lives. Each character navigates changing worlds, circumstances and memories. Compelling, strange and heartfelt, Stay With Me brings together the best of a darkly humorous mind.

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Writing a Novel

Just thought I would share with you my own disquiet about actually writing a novel.

Starting out again?

Maybe it’s just me, the satisfaction from writing short stories is infectious. I have attempted one before, a long time ago – before I abandoned it to write plays, having discovered that using plays to improve my ability to write dialogue was itself a call from the siren.

That novel never saw the light of day. I still have it somewhere. Handwritten and loosely tied together, probably with string. A friend read it but didn’t say very much. Very wise.

What is a novel?

So here I am forty years later revisiting the form. What is a novel? Is it dead? I am enjoying finding out. my theme and characters are working their magic, albeit slowly. I’ve already lost half of it once. That lazy, stupid habit of leaving a laptop on and not saving when you should. Or saving the file but foolishly letting the ones and zeros get corrupted. Luckily, I shared some of it and still had the email.

I started again, as you do. I picked up from where I had got to with the story when I shared it with a close friend, some two months before. Still annoyed with myself. All these years of reminding myself to save my work properly and in multiple places wasted.

And, we’re off!

So, at least I have passed the word count where I thought I had got to originally. But it is still confounding me. This long form danceathon. The story bites though, you’ll be glad to hear. Slowly, I am falling down rabbit holes of desire and injustice. What might not have actually been a novel is slowly proving itself to be that rare chiselled beast of narrative puzzle making. I am more like a sculptor, revealing a story somehow lost inside a vast block of unformed rock.

It’s fun too. Fun to find I am recognising stories that resonate with other people. I am pleasantly surprised. My disquiet about writing a novel should be set aside.

What do you think about the novel? If you have been reading my stories or those by another author, let me know what you think. You’l be glad to hear that the novel I am working on is different in every way, except for one – my love for a great story.

How about you?

What else are you reading at the moment? Feel free to share the books and authors you’ve found to help you, entertain you or inspire you through these dark days as we reel from pandemic and racism and the feeling that something has got to give.

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Are you ready for Stay With Me?

Not long to wait until my first collection of short stories is available on Amazon. Check out my author page

Sign up to my mailing list and never miss news about my latest projects and get the occasional free bonus story.

Stay With Me takes you from the macabre to the fantastic, highlighting the incremental changes in disparate lives. Each character navigates changing worlds, circumstances and memories. Compelling, strange and heartfelt, Stay With Me brings together the best of a darkly humorous mind.

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Review: Donx Dialogues, 4 August 2022

Donx Dialogues, created in association with Yorkshire Wildlife Trust as a precursor to ArtBomb 22, welcomed the artist and academic Meena Vari to talk about her Future of Transport project in Bangalore. Meena talked about the pressures on Bangalore as a fast growing Indian city and the opportunities of working in India’s equivalent to Silicon Valley. Her students are given the freedom to just think about and imagine the future as they see it. Unlike Meena and her fellow academics the students are unfettered and allow their imaginations to create futures uninhibited by fear of the end of the world.

Meena Vari

Alongside Meena, Yu-Chen Wang, a British Taiwanese artist exploring cultural identity and Dr. Antony Hall a Manchester based artist currently investigating moss in his cycle drawn laboratory spoke about their inspiration for their projects as part of ArtBomb 22: Alternative Ecologies.

Yu-Chen Wang

Both artists are exploring the strain felt by the landscape and looking to record and describe the results of their enquiries. Wang is launching a new video artwork, Full Circle within the festival, which explores Doncaster’s mining connections.

Chaired by curator and academic Rob la Frenais, Donx Dialogues focused on the concerns that ordinary people might have for stark changes in the landscape and how it was important to discuss these at every opportunity.

Donx Dialogues was co-presented by Yorkshire Wildlife Trust and their chief executive, Mike Winstanley set the scene for the discussion by talking about the creation of Potteric Carr, itself made from the mined landscape.

Donx Dialogues was the perfect precursor to ArtBomb 22 managing to set the context for discussion both globally and locally and managing to weave the art into the science and vice versa.

Antony Hall, Meena Vari and Yu-Chen Wang

ArtBomb 22: Alternative Ecologies, Doncaster 11-14 August

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Review: Steptoe & Son

Steptoe and Son

Doncaster Little Theatre

14-16 July 2022

“These are funny and deserve to be seen”

I’m quite the fan of stage versions of classic sitcoms. There’s something comforting for me in the easy nostalgia and you know the scripts are good – well they used to be, didn’t they? An easy enjoyment of a great script in search of equally great performances and an audience baffled by references to long gone entertainment. These scripts by Ray Galton and Alan Simpson are beautifully eloquent, flitting from Bertrand Russell to Alf Garnett, creating poignant dissections of class and the sense of being trapped in a sordid nightmare.

This production consists of three much loved television scripts for Steptoe and Son: The Bird; Man of Letters and A Star is Born, and it carries all the weight of the television sitcom with the added factor that it is being performed live – as many of the early television shows were to studio audiences. I swear this was going out on some obscure channel.

As an experiment in revival it works really well. Simon Carr directs with assurance to ensure the lines are given the attention they need and deserve and both Graham Newton as Albert and Graham Carpenter as Harold quickly grow into the roles, trusting the lines and shamelessly channeling Wilfred Bramble and Harry H Corbett.

What I particularly loved were the moments when some members of the audience simply hummed along to the theme tune, as if lost in a reverie of comic remembrance.

If you’re curious about whether these scripts still work and simply want to enjoy some finely worded jokes there is much fun to be had. If you are concerned about political correctness then perhaps you should consider the opportunity to watch them performed as part of a bit of research into social history from the 60’s.

These are funny and deserve to be seen. It’s a great idea to revive them and comedy produced this skilfully is a joyful celebration of everything special about British humour. I tried to convince a friend to come along by suggesting they were being performed by The Mighty Boosh. Totally unnecessary, I was happy to let go and laugh without any mediation. It’s funny and beautifully staged with a supporting cast including the director who revel in the stinging pathos.

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When Is An Idea Ready?

What am I dealing with?

Sometimes, an idea for a new piece of writing comes easily. It is not always the case.

More often than not, ideas can take years to work their way through the rounds of denial, rejection and simple unfathomable doubt.

I started out writing for the theatre and to me it always seemed straightforward to say I am writing a play. Now I’m not so sure because it could be a book or a film or even a play for the radio. Of course now it could be a podcast, a game or a web series.

Continue reading “When Is An Idea Ready?”
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Jon Barraclough, I Love You

John Barraclough I love you

You see

What you gifted me back then

Made me

Gave me the taste for the new

For Joy

Division and Dexy’s on


How could I resist your love?


You set something burning

Just like

A brother who passes on


You seemed so precise in your

World worn

Way beyond mere teenage dreams

Who needs

More fucking libretto shit

I thought

Now I know you were the real


At John Taylor’s on Rusper Road

We shared

Poems and readings with

The group

You did not go to Luxford

Like us

But we danced to Funky Town

Just once

John Barraclough I love you


The LPs you gave up I

Took on

Sounds that were the dog’s bollocks

A gift

To the interlocutor


Short back and sides, long coat and

One stud

In a small and perfect ear

In tune

To the piano you played


Reading Fine Art at Goldsmiths


We knew the YBAs, Blur

Et al

Before you made up your mind

That to

Honestly create is to


A life to selfish dogged


To dig down through the crust of


Toil alive happy to be


For the answers in image

And word

Antony Pickthall, 2019

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