
Bishop Auckland Kynren attraction plans to open new theme park
She said some of the plans had "already been approved and constructed" while others were under consideration or due to be submitted in the coming months."For the past decade, we have poured passion and expertise into delivering Kynren – An Epic Tale of England, and now we are bringing that same level of scale, innovation, and magic into this new daytime attraction," she said. "You won't just witness history – you'll live it, feel it, and be moved by it."
The focus of The Storied Lands will not be rides but multiple live action shows with storytelling stunts and music.Phase one of the park will feature five shows and immersive experiences, with themes including Neolithic Britain, Viking battles, and the gas-lit streets of Victorian England. The Legend of the Wear performance will use water stunts to retell the Lambton Worm myth.
Councillor Amanda Hopgood said the council welcomed the development plans as a new attraction for the region."As Durham County establishes itself as one of the great UK visitor destinations, this extravaganza will sit at the heart of the county's offering," she said.Kynren said millions of pounds would be invested in the project, which it hopes to open next year.
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Time Out
7 days ago
- Time Out
Neil Perry's new restaurant, brought to life in Song Bird's former nest, serves Italian classics with a side of la dolce vita
If the name 'Gran Torino' rings a bell, you might be thinking of the vintage car or the Clint Eastwood movie by the same name. But now, there's another reason to remember it: Neil Perry's latest restaurant. Taking over the former home of his Cantonese diner Song Bird in the heritage-listed Gaden House in Double Bay – which recently had its final flight less than a year after its shiny big opening – Gran Torino serves up Italian classics with a modern Australian spin and that unmistakable Perry polish. Gran Torino is a one-minute walk from Perry's cream-accented flagship diner Margaret – voted the second-best steak restaurant in the world – as well as his casual outpost Next Door (get the burge r) and excellent bakery, Baker Bleu. The elegant two-storey dining room has been reimagined by long-time collaborators, fashion designer Collette Dinnigan and food photographer Earl Carter. Think bold red accents and striking black-and-white photographs from the 1950s and '60s that adorn the walls and add a touch of la dolce vita The menu, crafted by Perry with executive chef Richard Purdue (Margaret, ex- Rockpool, ex- Rosetta) and Margaret's current head chef Ervin Mumajesi, champions seasonal produce from Perry's trusted local suppliers. Dishes are kept authentic to highlight the freshest seafood and prime cuts of meat. Perry says: 'The basis of all Italian cooking is to work with the seasons, so Gran Torino's menu will reflect what's available at the market each day. Antipasti and pasta to begin, followed by seafood and meat for mains. To be cooking these dishes in this beautiful dining room just feels right.' Go with Perry's rec and kick things off with antipasti – the bresaola using thinly sliced Mishima beef topped with Reggiano, or the shaved raw artichokes and fennel, are our picks. Move on to house-made pasta like the pumpkin tortelli with burnt butter, the tagliolini with blue swimmer crab, or the agnolotti del plin that's stuffed with veal and guinea fowl (plin means 'pinch' and refers to the way the pasta is sealed). For mains, how about a mighty 1kg bistecca alla Fiorentina, or a grilled swordfish steak? Make sure you have a separate 'dessert stomach' for classic tiramisu and bomboloni filled with vanilla cream and raspberry conserve. The drinks list is just as enticing, with Bellinis, Martinis, Italian vermouths and Campari, plus drops from Australia to Italy and across to the Americas. And there's more to come. In September, Neil and Samantha Perry will launch Bar Torino in the space that Bobbie's occupied. It will be a more casual Italian spot for spuntini, antipasti, pasta and larger plates, served from midday 'til late. Got a celebratory dinner coming up? Give Gran Torino a try.


The Herald Scotland
07-08-2025
- The Herald Scotland
'I cook with an ancient Orkney grain dating back to the Neolithic'
(Read more: A new take on Scottish produce at Michelin Guide Edinburgh restaurant) On the menu, you'll find dishes such as gooseberry mackerel ceviche with pumpkin seed milk and smoked creme fraiche, smoked venison, white carrot and Douglas fir pyu-re, and bere 'risotto' with chicken of the woods and clava. The restaurant was recently added to the Michelin Guide, with inspectors praising the team's "pure, natural dishes that chime with the dining room's pared-back aesthetic". This week, Pinder answers our newly revamped Chef's Q&A. When did you realise that you wanted to be a chef? From when I was 10 years old. When my dad ran the kitchen in the Dorchester, I used to love popping in. I was mesmerised by the whole thing; from the military style to the search for perfection and most of all, the buzz. What was your first kitchen job like? I was a kitchen porter and I learned a lot. I pushed hard at my tasks and learned to cook as well. It helped shape my entire career. What does 'good food' mean to you? Food cooked with love and a built-in respect for ingredients. Seasonality and locality are equally important. Can you share a memory of your worst kitchen disaster? I accidentally dropped 20 whole pigeons when I worked at Le Manoir aux Quat'Saisons. They had just been seared in the oven, and I slipped. That meant we had no pigeons to serve at the PDR event we were hosting. I had to go and apologise, then rapidly help break down some ducks… Where is your favourite place to eat out? There are so many at the moment, but The Little Chartroom has always been a favourite of mine. Great price for the quality. It just gets better every time. What is the best thing you've cooked recently? Beremeal. It seems like a crazy choice, but as Scottish ingredients go, it is unbelievable. I have always loved barley, but this is on another level. A fantastic product from Orkney, and it dates back to the Neolithic period. What do you think is the biggest misconception people have about working in a professional kitchen? People think that kitchens are aggressive or hot and sweaty all the time. They also think it is long hours and non-stop. These things can be true, but if done correctly, this is not the case. If you weren't a chef, what do you think you'd be doing with your life? I would be a dog trainer. I actually have some qualifications, and I have had experience in it. What is one ingredient or kitchen tool that you think everyone should have handy at home? Katy Rodgers crème fraîche. A fantastic Scottish product that will rival even the best in France, in my opinion. What has been the one highlight that stands out in your career so far? Helping to open Moss and seeing our customers leave happy. A lot of blood, sweat and tears, but we have a passionate team and we are off to a great start.


Spectator
06-08-2025
- Spectator
Why has the Royal Ballet and Opera cancelled its Tel Aviv show?
Popular opinion has always been able to make or break a production but until the 21st century that was generally a verdict delivered through the box office. Nowadays, people power can kill off a production before it has even made it to rehearsal, let alone sold a ticket. This modern phenomenon appeared to have claimed another victim with the recent news that the Royal Ballet and Opera has cancelled performances of its new production of Tosca, planned for the Israel Opera in Tel Aviv, next year. Intriguingly, the people exercising power in this instance are not the public but staff within the Royal Opera and Ballet itself. The genesis of the staff pressure seems to have arisen after Daniel Perry, a backstage extra incongruously dressed in what seemed like spotted pyjamas and a Viking helmet, unfurled a Palestinian flag during an onstage curtain call, following the last-night performance of Verdi's Il Trovatore, on 19 July. Video of this incident shows an Opera House official, subsequently identified as the opera director, Oliver Mears, trying unsuccessfully to grab the flag and pull it off stage. The Opera House released a statement after the event saying that Perry's isolated protest was 'a spontaneous and unauthorised action' that was 'completely inappropriate for a curtain call,' and undermined its position of political impartiality. Opera lover Stephen Ratcliffe wrote on X, '…bet he won't be working there again,' and Perry – a freelancer – has indeed subsequently alleged they will not have further work at the Opera House (their pronouns identify as they/them). Whether viewed as selfless or selfish, such an act by a non-descript extra detracted attention from the people that really mattered in that moment: the performers in front of them. It now appears that this solitary protest has escalated to include almost 200 of the Royal Ballet and Opera House staff, who have signed an open letter to the House's supremo, Sir Alex Beard, calling for the cancellation of Tosca in Tel Aviv. This staff cohort demanded that the Royal Ballet and Opera 'withholds our productions from institutions that legitimise and economically support a state engaged in the mass killing of civilians.' Initially Beard is reported as having said 'I am appalled by the crisis in Gaza and recognise the deep emotional impact this has had across our community and wider society. On this issue, we acknowledge and respect the full range of views held by our staff, artists and audiences'. The decision not to take Tosca to Tel Aviv is already having consequences. Mandy Kent – a supporter of the Royal Ballet for more than 20 years – told me, 'The Royal Opera is demonising Israel. I've just cancelled my Friends membership, and I've told them why.' Judging by the plethora of similar comments on social media, it seems she is not alone in this counter-protest. There is nothing in Puccini's Tosca (or in this new production) that could be associated with Israel or the Gazan situation, although perhaps the idea of the Kingdom of Naples controlling the city of Rome might have some indirect parallels. So, it is not the production but where it is to be performed that is at issue. The UK is still actively trading with Israel and although the amount of trade has substantially decreased since the atrocities of 7 October 2023 and the subsequent brutal reprisals by Israel, it still amounts to around £6 billion annually (with a balance of trade of nearly £1 billion in favour of the UK). Despite government advice against all but essential travel to Israel, according to the plethora of advertisements on the internet it still seems to be a popular destination for British holidaymakers. So, why cancel the export of an Italian opera, made it Britain? If I take dance as an example, Israel has a rich culture, which is regularly enjoyed here in the UK. The Israeli choreographer and performer, Stav Struz Boutrous won this year's Bloom Prize at Sadler's Wells. Jerusalem-born choreographers, Sharon Eyal and Hofesh Shechter are both former members of Israel's pre-eminent contemporary dance company, Batsheva, and are now Associate Artists of Sadler's Wells. We should enjoy their work for what it is and certainly not seek to associate it negatively with the country of their birth. Asked for a statement to explain the decision to cancel the production of Tosca in Tel Aviv, the House distanced itself from the idea that it had yielded to pro-Palestine pressure from within, saying 'In light of the deteriorating humanitarian crisis in the region and the associated risks to the safety of our company members, we have made the decision not to proceed with the Royal Opera's new production of Tosca at the Israeli Opera. This decision was reached prior to the recent staff open letter.' Other companies are facing similar dilemmas. The National Theatre of Brno in the Czech Republic was also scheduling performances in Israel but its International Manager, Radim Dolansky told me, 'The safety of our team is our top priority. A final decision regarding the planned guest performance in Israel will be made in early September, based on the current security situation and in agreement with the participants.' So, the official line is that the cancelled performances in Tel Aviv were for the safety of the company and not caving in to pressure from staff. On the surface, this seems a reasonable precaution. I doubt that the Royal Opera and Ballet would sanction performances in Kyiv in current circumstances for similar reasons, and this is in a country with which we have every sympathy for its present plight.