logo
Meet the MasterChef star who's head chef at Stove Restaurant

Meet the MasterChef star who's head chef at Stove Restaurant

Yahoo28-05-2025

As part of our Meet the Chef series, we're talking to some of Cumbria's finest about their lives in and out of the kitchen. This week, it's the turn of Stove Restaurant's Radha Kaushal-Bolland
What is your current role and what does it involve? I'm the head chef at Stove Restaurant, located on the Langdale Estate in Ambleside. I lead a talented and growing kitchen team, working alongside estate chef Duncan McKay to deliver a memorable dining experience for every guest. I'm responsible for menu design, ingredient sourcing, kitchen operations, and team development.
How long have you been a chef? I've been working in professional kitchens since 2022, after reaching the final of BBC MasterChef. While my professional journey is relatively recent, my passion for food runs deep, shaped by my dual heritage, and inspired by both my parents and grandparents, who taught me the value of cooking with heart and soul. My paternal great-grandfather was a baker, and remarkably, that skill helped him survive as a prisoner of war during the Second World War, when he became a cook for his captors. That story has always stayed with me.
How did you first get into cooking? I grew up surrounded by the aromas of my mum and grandma cooking homemade Indian food, and that's where my love for flavour and spice was born. For many years, cooking was my creative outlet outside of law. But after applying for BBC MasterChef and reaching the final, I knew this was more than a passion, it was my purpose.
Where did you learn your craft? I'm proudly self-taught, though I've built my professional experience in both fine dining country estate kitchens and bustling city-centre restaurants. I believe in continuous learning, from people, mistakes, and the seasons. I'm also hugely grateful for what MasterChef taught me about cooking under pressure, staying focused, and trusting your instincts.
What was your first job in hospitality? My first role in hospitality was in a busy, modern British restaurant, where I quickly learned to work the line, prep fast, and stay calm under pressure.
(Image: Stove Restaurant)
What is your signature dish? My signature dish has to be a dessert with a cocktail pairing. Whenever I dine out, I always look at the pudding menu first and plan my meal backwards. If you're looking for a savoury option, then I would choose my Rainbow Vegetable Bhaji Burger. It's made with spiced shredded vegetables, served in a brioche bun with mango mayonnaise and a pickled red cabbage and onion slaw. It's colourful, flavourful, and packed with character.
What's been your worst cooking disaster? Early on in my career, I once mixed up sugar and salt in a pastry cream and piped it into tart shells just before service. It was a classic rookie error, and had I tasted the mixture, I would've caught the mistake in time. That moment drilled into me the absolute importance of tasting everything, even the basics.
What are your culinary ambitions? I'm still only 27, and even though I'm young, I already consider this my second career. Law was my first. But I've found my purpose in the kitchen, and I'm fully committed to this new chapter.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Amal Clooney Drips in Pearls at Tony Awards 2025 With White Tamara Ralph Gown, George Clooney Keeps it Classic in Tuxedo
Amal Clooney Drips in Pearls at Tony Awards 2025 With White Tamara Ralph Gown, George Clooney Keeps it Classic in Tuxedo

Yahoo

time2 hours ago

  • Yahoo

Amal Clooney Drips in Pearls at Tony Awards 2025 With White Tamara Ralph Gown, George Clooney Keeps it Classic in Tuxedo

Amal Clooney's pearl-dripping dress commanded attention on Sunday's Tony Awards 2025 red carpet. To accompany her husband, George Clooney, she wore a white strapless gown completely covered in beading that created a textured, shimmering effect from top to bottom. Amal's dress came from Tamara Ralph's spring 2025 couture collection, which featured florals, romantic-inspired looks and pastels, as described by WWD's Rhonda Richford in January. More from WWD Cynthia Erivo Holds Court in Schiaparelli Gown and 3D Floral Nail Art at Tony Awards 2025 Cole Escola Pays Tribute to Bernadette Peters in Custom Wiederhoeft Dress at Tony Awards 2025 The Best Beauty Moments at The Fragrance Foundation Awards 2025: Laverne Cox, Vera Wang, Carolyn Murphy and More Amal paired the gown with Roger Vivier shoes and styled her hair in loose, wavy curls. Amal is known for curating her own outfits for public appearances. The British lawyer and human rights activist has a penchant for classic silhouettes and has worn looks by Dior, Versace, Alexander McQueen, Oscar de la Renta, Chanel and Stella McCartney, among others. When it comes to beauty, she often works with celebrity hairstylist Dimitris Giannetos, who is responsible for many of her recent looks. George Clooney complemented his wife in a traditional black tuxedo with a bow tie and black dress shoes. The actor received a nomination for Best Performance by a Leading Actor in a Play for 'Good Night, and Good Luck.' The play marked Clooney's Broadway debut and was highly praised by critics. The 78th Annual Tony Awards, Broadway's most prestigious honors, took place on Sunday at New York City's iconic Radio City Music Hall. Hosted by Tony and Emmy Award winner Cynthia Erivo, the ceremony recognized outstanding achievements in Broadway productions from the 2024–25 season. View Gallery Launch Gallery: Tony Awards 2025 Red Carpet Arrivals, Live Updates Best of WWD Mia Threapleton's Red Carpet Style Through the Years [PHOTOS] Princess Charlene of Monaco's Grand Prix Style Through the Years: Louis Vuitton, Akris and More, Photos Princess Charlene's Monaco Grand Prix Style Evolution at Full Speed: Shades of Blue in Louis Vuitton, Playful Patterning in Akris and More

Marcel Ophuls, maker of The Sorrow and the Pity, which examined French collaboration with the Nazis
Marcel Ophuls, maker of The Sorrow and the Pity, which examined French collaboration with the Nazis

Yahoo

time10 hours ago

  • Yahoo

Marcel Ophuls, maker of The Sorrow and the Pity, which examined French collaboration with the Nazis

Marcel Ophuls, who has died aged 97, was a German-born documentary-maker who fled his homeland in the 1930s and spent much of his career interrogating the various legacies of the Second World War; his international breakthrough, the landmark The Sorrow and the Pity (Le Chagrin et la Pitié, 1969), revealed the extent to which his adopted France had collaborated with the Nazis. The son of the German-Jewish director Max Ophuls – known for such elaborate melodramas as La Ronde (1950) – Marcel began his career in film drama but achieved greater traction with complex, rigorous, meticulously edited non-fiction work. In documentaries such as The Memory of Justice (1976) and Hôtel Terminus (1988), the filmmaker set multiple testimonies side by side, sometimes corroborating, often contradicting, always inviting the spectator to shake any passivity and judge for themselves. In The Sorrow and the Pity, Ophuls spent four and a half hours of screen time – and many more hours of shooting – staking out the city of Clermont-Ferrand 'to analyse four years of collective destiny'. Patiently hearing from residents of all walks of life, the film picked insistently away at the Gaullist myth of a country united against an occupier, instead revealing two Frances at odds with one another – one resisting, the other collaborating. In France, Sorrow was denounced by conservative politicians as 'a prosecutorial film' and initially rejected for both theatrical and television distribution. After much legal wrangling, it finally opened in 1971, earning an Oscar nomination the following year, but it did not air on French television until 1981; a station director said the film had 'destroyed myths the French people still needed'. Ophuls subsequently made films on Vietnam (The Harvest of My Lai, 1970) and the Irish Troubles (A Sense of Loss, 1972), though the latter was rejected by the BBC. His personal favourite, The Memory of Justice, revisited the Nuremberg trials in the context of more recent conflicts in Algeria and Vietnam, though the project was again beset by lengthy and expensive legal challenges; Ophuls filed for bankruptcy shortly thereafter and spent a decade on the lecture circuit. He made a triumphant return, however, with the Oscar-winning Hôtel Terminus, on the life of the Nazi war criminal Klaus Barbie. As free-roaming as its subject, unearthing material both disturbing and absurd, the film ends in one of documentary cinema's most extraordinary sequences, as Ophuls witnesses a chance encounter between a woman who as a child had seen her father carted away by the Gestapo and an elderly neighbour who had turned a blind eye to the same events. Though Hôtel Terminus sparked violent arguments at Cannes, the critic Roger Ebert admired its tenacity, calling it 'the film of a man who continues the conversation after others would like to move on to more polite subjects'. Yet as a characteristically combative Ophuls countered in 2004: 'I'm not obsessed. I just happen to think that the Holocaust was the worst thing that happened in the 20th century. Think I'm wrong?' He was born Hans Marcel Oppenheimer in Frankfurt on November 1 1927, the son of Max Oppenheimer and his actress wife Hildegard Wall. The family fled Germany for France in 1933, taking French citizenship in 1938, whereupon Max dropped the umlaut from his stage name, Ophüls; after the occupation they fled anew to Los Angeles, where Max began an unhappy spell as a studio filmmaker and Marcel attended Hollywood High and Occidental College. Marcel Ophuls completed military service in Japan before studying at UC Berkeley, taking US citizenship in 1950. Upon graduation he moved to Paris, briefly studying philosophy at the Sorbonne, before dropping out and working as an assistant director (initially under the pseudonym Marcel Wall, to dodge nepotism accusations) on John Huston's Moulin Rouge (1952) and his father's sweeping Lola Montès (1955). He made his directorial debut with a German television adaptation of John Mortimer's The Dock Brief (Das Pflichtmandat, 1958), before being tapped by François Truffaut to contribute to the portmanteau film Love at Twenty (L'amour à vingt ans, 1962). By now he was part of the New Wave set: Jeanne Moreau funded his detective comedy Banana Skin (Peau de Banane, 1963), but his fiction career came to a halt after the flop thriller Place Your Bets, Ladies (Faites vos jeux, mesdames, 1965). Ophuls moved into documentary, taking a job with the French broadcaster ORTF, where he railed against the prevailing state censorship; he was eventually fired in May 1968 after making a film deemed sympathetic to the student rioters, though by then he was well into post-production on The Sorrow and the Pity. After Hôtel Terminus, Ophuls suffered mixed fortunes. November Days (1990), on the subject of German reunification, played as part of the BBC's Inside Story strand, but The Troubles We've Seen (Veillées d'armes, 1994), on wartime journalism and the Bosnian conflict, failed to reach an audience, despite a César nomination in France. He worked more sparingly in the new millennium, completing Max par Marcel (2009), on his father's legacy, and the career overview Ain't Misbehavin' (Un voyageur, 2013), his final completed film; a later project on anti-Semitism and the Middle East, Des vérités désagréables (Unpleasant Truths), ran into financial and legal troubles and remained unfinished at the time of his death. During a visit to Israel in 2007, Ophuls attempted to define his life's work: 'I'm not a preacher, a judge or an adviser. I'm just a filmmaker trying now and then to make sense of crises... Life made me, unwillingly, an expert on 20th-century crises. I would've preferred to direct musicals.' He is survived by his wife Regine, née Ackermann, and three daughters. Marcel Ophuls, born November 1 1927, died May 24 2025 Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.

Festival brings 'big names in intimate spaces'
Festival brings 'big names in intimate spaces'

Yahoo

time11 hours ago

  • Yahoo

Festival brings 'big names in intimate spaces'

In 2022, comedians Charlotte Evans and Will Adamsdale began what was then Exeter's only regular new material comedy gig. Held in a tiny cafe, they said often the only noise in crowd was from a loud refrigerated meat counter. Three years later, Locally Sourced comedy has evolved into a four-day festival with more than 60 acts performing across 15 venues. Ms Evans said: "We never set out to make a festival, we just wanted a regular night to perform comedy. "It makes me so proud to see acts who started in front of the meat counter selling out their solo shows." Tim Key, Bridget Christie and Mark Watson were some of the big names performing alongside strong local acts at the festival which began on Thursday. JoJo Maberly performed her first-ever stand-up gig in Exeter three years ago and returned to the festival with her musical-comedy show Angst & Angstability. "It's so great to see the comedy world come alive in Exeter," she said. The success of the festival was depended on by comedians who said they were becoming increasingly priced out of the well-trodden routes to success. The cost of attending the Edinburgh Fringe, which served as a cheap breakthrough for so many top British comedians, has soared in recent years. In 2024 comics spoke out against "soaring costs" and "pure greed" which had prevented them from performing or making money at the festival. Comedian Greg Winfield, from Barnstaple, decided to go on a solo tour with his show Whatever You Say, attending the Exeter Comedy Festival but not Edinburgh. The comic of eight years said: "I think the old school way of doing comedy, of either moving to London or being on a relentless Edinburgh churn, is probably less important these days. "[Exeter Comedy Festival] the finest comedy festival in the South West - I challenge others to raise themselves to this level." All 15 venues at the Exeter Comedy Festival were independent businesses. They ranged from a cocktail bar, a vegan cafe to a barber shop, which was converted into a performance space. Alongside their shows, a number of comedians submitted pieces of art for a festival exhibition. Curated by Karen Lockhart, it features pieces by Spencer Jones, Emma Hughes, Olaf Falafel and others. Ms Lockhart said: "I wanted to give an outlet for all these comedians who also have something else going on." Festival organiser Georgia Thomas predicted the festival would continue to grow but it would stay true to having "big names in intimate spaces". "We wanted to create a festival similar to the shows you can see in Edinburgh and London without having to travel so far," she said. "Having big names in intimate spaces helps reduce the hierarchy which is good for them, good for local acts and good for us. "We'll keep the intimate vibe but grow the festival to benefit comedians, audiences and local businesses." Exeter Comedy Festival

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store