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Three new theatre books

Shakespeare on Page & Stage: Selected Essays by Stanley Wells (Oxford)

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Stanley Wells is the UK’s foremost Shakespeare scholar. He is also one of our most accessible writers and anything he produces is reliably readable as well as informative and penetrating. This new volume is a selection of essays (introduced and edited by Paul Edmondson, Head of Research and Knowledge at Shakespeare Birthplace Trust) whose original publication dates range from 1963 to 2015. Thus you can share Wells’s journey of thought development over more than 50 years. I especially enjoyed and learned from the very detailed Staging Shakespeare’s Ghosts (1991) which examines how Banquo, Caesar, Hamlet’s father and so on might have been staged and perceived in Shakespeare’s day. The text is revealing. So is Wells’s immense knowledge of contemporary practice. Other highlights include an enlightening essay about Juliet’s nurse, an examination of critical response by, for example Hazlitt and Beerbohm along with Wells own thoughts about being a general editor – for both Penguin Books and OUP.

Joan’s Book: the autobiography of Joan Littlewood (Bloomsbury)

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To read this book is to plunge – literary total immersion – into the graphic world of Joan Littlewood from the very first page when she describes her unwanted, illegitimate birth in 1914 to a desperate, poor young SE London mother through to becoming a one-off theatre revolutionary who changed the way theatre works for ever and who upset as many people as she delighted. Her company, Theatre Workshop, developed and premiered shows such as Oh What a Lovely War!, Taste of Honey and The Quare Fellow. Her 500 page book which is as gritty and tradition-rejecting as her shows, and about as far as you could get from maudlin memoir, was first published in 1994, eight years before her death. This new edition aims to introduce her works, ideas, views, personality and background to a new generation of readers with introduction by Philip Headley who was assistant director to Littlewood at Stratford East.

50 Best Plays for Young Audiences by Vicky Ireland and Paul Harman (Aurora Metro)

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This useful book is likely to help anyone who wants to stage young audience work. Two people who really know (Ireland is a former director of Polka Theatre and Harrison of Cleveland Theatre Company) provide the practical lowdown on plays ranging from David Wood’s The Gingerbread Man to Nick Wood’s Warrior Square and Peter Rumney’s Cosmos. What is the play about? How many actors does it need? Who premiered it? What do they say about it? Where can you get the script from? It’s all here along with advice about festivals, resources, sources of advice and a list of companies specialising in plays for young audiences.

Adder amongst heather

‘You spotted snakes with double tongues’ Shakespeare called adders in A Midsummer Night’s Dream with their ‘enamelled skin, weed enough to wrap a fairy in.’ Clearly the Bard of Stratford  thought they were alluring  exotic creatures and had seen plenty of them in the Warwickshire countryside. They often come out to hunt by scent on warm summer nights so perhaps he’d noticed them during his alleged boyhood poaching excursions?

Alas the adder (viperus berus) is now much less common than it was in Shakespeare’s 16th and early 17th century. Pesticides and pollution have done their worst. And the poor beast doesn’t enjoy a very friendly public image, so for a long time many people killed any adder they saw.  Even so, the adder is our commonest reptile. There are thought to be about half a million adders in Britain from Scotland to Cornwall, although not in Ireland.  The story about 5th century St Patrick having cast the snakes out of Ireland is nice but scientifically it’s more likely that The Emerald Isle is just too wet to sustain them.

I waited over forty years for my first glimpse of a live adder in its natural habitat.  And then, as luck would have it I saw two within a few weeks of each other – although they were at opposite ends of England.  The first was at Keilder Water in the Northumberland National Park on a cool August day. It was about two o’clock in the afternoon and there was a bit a watery sunshine as I walked along a streamside path. And there stretched out in front of me as straight as ruler was Mr  – or more probably Mrs – Adder.  They’re famously deaf (‘the deaf adder that stoppeth up her ears’ as Psalm 58 elegantly puts it) so it didn’t hear me coming. About eighteen inches long it was reddish brown in colour with a bright zigzag line running dramatically along its back.

It was in no hurry to move – they are sluggish creatures by nature – so it allowed my husband to move in with a camera about two feet above its head before turning with slow reluctance and sliding off into the undergrowth and making us feel guilty for disturbing its sunbathing. For that’s what it was doing.  Reptiles have variable body temperature. Unlike mammals they have no inbuilt ‘thermostat’. So they are very inactive until they’ve absorbed enough warmth from the sun to get them going. Only then are they able to hunt the small mammals, lizards, birds and eggs that they live on.

My second adder was at Bedgebury Pinetum, near Tonbridge in Kent in very different weather.  It was as blisteringly hot as Sicily and the adder had gone into the lake for a cooling swim.  Reptiles need warmth but they can’t afford to overheat.  It was swimming happily along, its tiny delicate head held aloft and its muscular  body spiralling along behind to provide the forward momentum. It was a lovely sight.

Adders are viviparous, which means that, instead of depositing them, the female retains her eggs inside the body until they are ready to hatch. Because the eggs are protected the adder can live and breed in northern climates which have only a short summer season.   Mating takes place in May or June. Then an average of ten young are ‘born’ to each female in midsummer. For centuries people mistakenly thought the adder ate her young in time of danger – which added to the animal’s bad press. This myth probably arose because living young had been found inside the bodies of recently killed female adders.

So what about the danger? The truth is there isn’t much.  Only 14 people died of adder bite in Britain during the entire 20th century which means you’re about as likely to die a Cleopatra-esque death as you are to be hit by a meteorite. No adder goes looking for human beings to bite and it will attack only if you’re silly enough to pick it  up or provoke it.  There have been cases of people being bitten after accidentally stepping or sitting on an adder while out in the countryside, and of course if this happens it will hurt a lot and the victim must be taken to hospital for treatment immediately. Children, the elderly and the already sick are more likely to be dangerously affected by the venom, which works on the nervous system, rather than adults in reasonable health.

Actually, the mechanism of the bite is interesting.  Two hollow fangs are fixed to a pair of rotating jaw bones and levered instantly into position as the animal strikes. Muscular contraction squeezes the poison along ducts into the fangs. It all goes into the victim or enemy as neatly as a jab at the doctor’s. Not a drop is wasted.

Fortunately I have  no personal experience of this, although a teacher friend in Kent tells a chilling story of something that happened during a very hot summer a few year ago. . ‘An innocent little boy in my class brought me a live adder in the brown paper bag he’d brought his packed lunch to school in,‘ she recalls.  He’d found the snake on the edge of the school site in the long grass during the dinner hour.  So he picked it up, popped it in the paper bag and brought it into school to show me.  It was a miracle that neither he nor I were stung.’ After that all the children in all the schools in the borough were warned that, although this is a every interesting creature, on no account must it be touched. Just fetch your teacher and show him or her where you saw the animal, they were told.

Interfering with adders is obviously foolish.  It’s also illegal.  The Wildlife and Countryside Act of 1981 gave legal protection to a wide range of animals and plants.  Under Section 9 and Schedule 5 of the Act it is against the law  to kill, injure, take, possess or sell an adder.  Neither may you damage or destroy its place of shelter or protection.

So enjoy ‘your’ adder if you’re lucky enough to spot one, but treat it with respect.  ‘It is the bright day that brings forth the adder,’ Shakespeare makes Brutus say in Julius Caesar. Absolutely.

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The Secret Garden continues at the Ambassadors Theatre, London until 31 August.

Star rating: four stars ★ ★ ★ ★ ☆

If you want charm and highly moral, traditional clean entertainment you can’t go far wrong with The Secret Garden.

Marsha Norman’s version (based on Frances Hodgson Burnett’s novel), pared down here to 75 mins for young performers and audiences, is linear and nippy. There are tuneful songs by Lucy Simon to drive the action forward and some ghosts that don’t appear in the original novel to make it clear that we’re in a house consumed by grief in a way that works on stage.

The British Theatre Academy works with …

Published by Musical Theatre Review. Read the rest of this article http://musicaltheatrereview.com/the-secret-garden-ambassadors-theatre/

Drama Studio London (photograph: Martin Richardson)

They’re on the home straight. Thousands of school leavers, post-gappers and post-grads are heading for drama school or drama course in universities next month. All that tense worry about auditions, recalls and nail biting anxiety while awaiting that letter offering a coveted place (or not) are behind you. A level and other results are due next week but for many they won’t affect anything much. The place is in the bag.

For a week or two it must have felt like the culmination of a long process. I’ve talked to students who have persevered with applications over several years before finally securing an offer. One student at Manchester School of Theatre told me cheerfully that she could probably have sustained a mortgage on what she’d spent on drama school audition fees.

In fact, of course, getting a place is the beginning and not the end at all. It means you’re heading for training which is so rigorous, intensive and different from anything – absolutely anything – you’ve done before that you and your life are about to change irrevocably and permanently. Even if (heaven forfend!) you never get a single professional job as an actor you will be a transformed person, both mentally and physically, after this far-reaching training.

For a start there’s the hard work and discipline that you’re about to experience. Most colleges have zero tolerance policies on punctuality. A 9 am start means just that and if you get there at 9.05 the doors will probably be shut which means you are letting down everyone in your group. And, typically you’ll be hard at work until 6.00pm or maybe longer if there’s a show in preparation. You’ll have to do homework too. Three years of that and you’ll never have any problems with the work ethic – which is one of the reasons that I would employ a trained actor to do almost any job.

Actors in training also learn to collaborate with each other – all day every day. Trust and mutual support underpin everything they do. Then there are the more obvious transferable skills like being able to communicate with clarity and confidence. Oh yes, three years at drama school will make you employable, all right and let no one tell you otherwise. I hope very much you’ll find acting work, obviously, but even if you don’t, then with your talents and training the world is your oyster anyway

But none of this comes without tremendous single-minded commitment so you’d be well advised (when you’re not busy earning money to help fund it all) to spend some time with your family and friends now because you won’t see much of them next term. Get as fit as you can too – regular healthy meals, exercise and enough sleep – because the training can be a bit of a shock to the system especially if you’re feeling sluggish before you start. And if you have time to read some novels and plays then that will stand you in good stead too.

Drama Studio London Acting Class (photo Martin Richardson)Starting to train vocationally at what you’ve wanted to do for so long is probably the most exciting thing which has happened to you so far. Make the very most of it. And I’ll try to contain my envy.

 

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This two hander version of Macbeth is set entirely in the Macbeths’ bedroom where the most of Shakespeare’s plot, in the original language is presented. The script – which is by David Fairs who also plays Macbeth – condenses the play to 75 minutes and rearranges the text very ingeniously. It uses the dialogue between the Macbeths and most of their soliloquies although often not in quite the order Shakespeare intended. Occasionally they speak lines which were originally spoken by others and putting them in the mouths of the Macbeths adds insightful new nuances.

Here, for example, it is Lady Macbeth who speaks some of Banquo’s assassin’s lines. The first witches’ prophecy and the appearance of Banquo’s ghost become nightmares and the visit to the witches in Act 4 is presented as a sort of bedroom séance with Lady Macbeth in a trance. It all works very smoothly until the final five minutes when we get the unlikely and rather jarring arrival of a third actor. Macduff is hardly likely to appear in the marital chamber, speaking the lines which belong in the English scene and then watch Macbeth die lying across his wife’s body.

Sarah Lambie as Lady Macbeth has unusually expressive legs and quite a way with sobbing. Whether she is tossing and turning in bed, tensing in the horror of a terrifying dream or being raped by a furious, troubled adrenaline-fuelled husband, her legs tell their own story. And her anguished crying is deeply, movingly convincing. Hers is a very strong performance and her sleepwalking (where better to set it than in a bedroom?) is one of the best I’ve seen.

David Fairs is terrific too especially at the end when he is brittle, troubled, tearful, poignant – and of course, insane – as he addresses and cradles his wife’s dead body. The transition from relatively carefree young love to evil, horror and tragedy is well managed by both actors but what really distinguishes this show is the quality of listening and rapport between the two of them. It is very intelligent, reactive acting by two people who know, really know, how to play off each other effectively.

 Originally published by Sardines http://sardinesmagazine.co.uk/reviews/review.php?REVIEW-West End & Fringe-Macbeths&reviewsID=2502
 
 

2500_1469805163A group of 15 young people, mostly teenagers, sit on the floor with six actors. They form a circle around the island painted on the floor (designer: Anthony Lamble) in the studio space which is the Blue Room at the South Bank Centre. Adults – parents, carers, journalists and so on – sit in an outer circle on chairs. Some of these youngsters use little or no speech, are seriously disturbed by the unfamiliar and clearly need very skilled support. Director Kelly Hunter gently, smilingly coaxes them in, holding and stroking hands as needed, She is an enormously reassuring presence as, eventually she begins some simple drama games in which everyone in the room joins, having impressed me by effortlessly learning every child’s name. She must have a well-practised memory technique which doesn’t show at all.

Yes, this show loosely tells the story of The Tempest, mostly in Shakespeare’s words. It isn’t a so much a show, however, as collaborative guided play and it made me think quite hard about the linked dual meaning of the word “play” because Kelly Hunter’s The Tempest is a play in every sense of the word. Sifiso Mazibuku as a powerful Prospero stands from his position in the circle and tells the twitching, mercurial Andrew Trimmer as Ariel to “Take this shape”. Gradually the children are brought in in twos and threes to take a turn at acting out that moment in the play. And that sets the pattern – again and again actors play with a line, make its meaning utterly clear so that young participants skilfully guided by the actors can “do it on their feet” as the RSC Education’s Manifesto advocates. The lines hang together enough to provide a narrative of sorts from Prospero’s first commanding Ariel to start a storm though to his setting him free.

All six professionals are fine, adaptable, sensitive actors totally attuned to the delicate needs, reluctances and enthusiasms of the young people they’re working with. And they make it look such infectious fun (especially Eva Lily Tausig and Chris Macdonald as Miranda and Ferdinand falling in love at first sight) that eventually even the most anxious audience members are actively wanting to be included. One boy in particular – probably with profound and multiple learning difficulties – whose parents had to take him out for a break eventually came into the ring and took part three times. Tas Embiata as Caliban danced with him very gently as the whole room chanted “Ban, ban c-Caliban”. Embiata unobtrusively adjusted his footwork and rhythm for each participant as he or she came forward to join in. For me it was the most moving aspect of the whole performance.
There’s a lot of humour in this show. Investigating “the monster of the isle” which ended up with six head, gave us Tricia Gannon, an engaging Trinculo lying down beside Caliban to hide as more and more participants joined in.

One boy, highly articulate, evidently an experienced actor and without language difficulties said joyfully at the end “The was the best two hours of my life!” Cast and creatives couldn’t ask for a better reaction.

Originally published by Sardines http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-The%20Tempest&reviewsID=2500

 

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Rose Bruford College

Have you signed up to the performing arts industry’s mental health charter?

I have crummy, pronating bunion-beset feet and terrible teeth given to crumbling, decaying, chipping and falling out. All a bit of a nuisance but fortunately a good podiatrist and a brilliant dentist look after me and keep me walking and chomping. That’s what you do if you a have a health problem. You seek help and get it sorted out. You don’t suffer in silence and shame – why ever should you?

And of course, that should apply as much as it does to mental health as to physical. Sadly that’s not how many people see it. There is still a stigma attached to mental illness – whether it’s depression, anxiety, bipolar, eating disorders. OCD or whatever.

The performing arts industries have a much higher incidence of mental illness than many other professions. Life in the public eye where you are constantly putting yourself on the line being judged has a lot to answer for. Perhaps our industries attract people who already have problems which they seek to hide by performing. The work load – or worry about the uncertainty – often impedes mental well being. The estimate is that one performing arts professional in three will, at some point, suffer from mental illness.

So what are we doing about it? Not enough is the answer. We need to take every possible action to prevent the development of these illnesses in the first place as well as helping  performers and other professionals who have already have problems. Above all we need to move heaven and earth to get rid of the stigma so that people feel able to ask for and accept help. And that means conversations.

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No one has done more to address these issues than Annemarie Lewis Thomas, who founded the MTA in 2009 and her colleague Angie Peake (www.counsellingforperformers.co.uk) who works as the school’s counsellor. Peake is a dual registered (adult and mental health) nurse with an extensive background in working with young people.  Together, supported initially by just a handful of others, they have introduced #Time4Change. It’s a mental health charter for performing arts organisations aimed at ensuring that there are proper informed procedures in place so that anyone with a mental health issue gets appropriate and immediate help. Or better still is in an aware, caring environment which aims to prevent the issues from developing.

The charter is, at last.  beginning to take off. There have been some very high profile incidents of mental illness in the industry and at least one such Household Name has agreed to support the initiative. And that is excellent news. At the time of writing, nearly 50 organisations have signed up. Most of these are agents/agencies and theatre companies plus one theatre – Stratford East. The country’s leading 21 Drama Schools – with the honourable exception of the redoubtable Rose Bruford College – have, so far, been reluctant to get involved.

This is very worrying and I do hope they see sense very soon because while heels are dragged amongst the teaching and managerial staff, young people in desperate need of help are slipping through the net. One counsellor for, say, a thousand students – who might be able to offer an appointment in three week’s time on a remote bit of the campus largely unknown to the students – is simply not an adequate mental health policy. The charter puts the onus firmly on the college proactively to spot early signs of mental illness rather than waiting until the problem has escalated too. Prevention, as ever, is much better than cure.

Contact [email protected] for more information or go to www.themta.co.uk and follow the link to #Time4Change. Signing up to #Time4Change is very simple and it costs nothing. This initiative is about student and actor welfare, not profits.

Brazil nuts are tasty, nutritious, versatile and quite modestly priced.  Like all nuts they’re a good source of protein and they contain plenty of fibre, iron, calcium and linoleic acid too.

What’s more, a report published in the British Medical Journal concluded that Brazil nuts are a rich source of vital trace elements zinc and, at least where the trees have grown in selenium-rich soil, of the all-important selenium too.  Selenium in the diet seems to be  able to prevent the symptoms of vitamin E deficiency, probably scientists think, because it has a fundamental role in cell maintenance.  And a few scientists have tentatively suggested that low selenium intake may pre-dispose some people to cancer.

The most up-to-date report concludes that Brazil nuts have hitherto been an undervalued food which can help to keep you youthful and healthy. That is why almost every newspaper and magazine article published about diet and health in the last couple of years has advocated the consumption of more Brazil nuts. What a good idea. Much nicer than swallowing a selenium supplement.

The Brazil nut, with its dark brown three-sided shell, is a single seed of the huge fruit of Bertholletia excelsa, native to the Amazonian rain forest.  The tree is 150 feet tall and the trunk can be six feet in diameter. There are no branches on the last 50 feet or so of trunk and you need grappling irons to climb it.

Each fruit contains up to two dozen seeds packed tightly, like chocolates in a box, into a hard case the size of a rugby ball and which weighs about 2kg. Fruits fall with the force of cannon balls when ripe and are generally gathered from the ground by collectors who need protective head gear.  A mature tree yields about 250-500kg  of Brazil nuts in a season. Native Brazilians have gathered them for centuries for their food value and for their oil.

Of course, you can buy Brazils to grace the fireside nut bowl alongside the traditional nutcrackers at Christmas in the time-honoured Victorian manner. They’ve been popular in Britain, in fact, since they were first imported in 1633, after when knowledge of them – and samples – quickly spread to other parts of the world on trading ships.  What began as a South American food soon became an internationally known commodity.

The best way, however, to buy Brazils today for use in recipes is not in their shells so you have the time-consuming and clumsy job of attacking them with nut-crackers, but ready-shelled in bags from health or wholefood shops. (Avoid the smaller supermarket packets which are generally more expensive.)  The broken nuts are fine for cooking – and cheaper – although, because of their high fat content, Brazils do go rancid fairly quickly, especially if they’re not whole.  Use them up within a couple of months or keep an eye on the ‘best by’ date.

Notwithstanding their South American origins Brazils blend well with the flavours of most world cuisines.  You can put them in spicy Asian dishes or pop a few into delicate Chinese recipes. They mix happily with the garlicky tomato flavours of the Mediterranean or the grain based dishes of Africa too.

Add them to muesli just as they are.  Use them grated, chopped or ground in low-fat cake, biscuit and dessert recipes.  Brazils are quite sweet-tasting and including them may mean you can cut down the amount of sugar you use in a sweet recipe.

For savoury use Brazils are often nicer toasted and, if you wish, very lightly salted.  It really brings out their lovely flavour.  Spread the nuts onto a metal tray and put under a moderate grill for a few moments, shaking from time to time.  Let them brown lightly.  Sprinkle with a little seasalt while still hot.

Toasted Brazil nuts are a useful protein addition to rice dishes such as pilaffs and risottos. They give an interesting flavour and texture too. You can add them to salads or just eat a pile of them with vegetables to add protein and flavour to a meal.

They make, moreover, a good peanut-butter type of spread if you grind the toasted Brazils with a little oil and a dab of crushed garlic until you get a spreadable consistency.  Try it in a sandwich made of fresh wholemeal bread and sliced tomato.  For a change the same spread is good on a jacket potato as an alternative to margarine or butter too.

These main meal ideas are some of my favourite, tasty ways of increasing family Brazil nut consumption.  Each recipe will feed 2-4 people.  Happy and healthy dining!

Brazil stuffed peppers

1 large pepper – any colour – per person

250g Brazil nuts, ground or finely chopped

125g vegetable suet

125g wholemeal breadcrumbs

60g sun-dried tomatoes, broken into small pieces

1 teaspoonful  mixed herbs

1 small onion, peeled and grated

seasalt and freshly ground black pepper

1 egg beaten

150ml  boiling water or vegetable stock

Slice each pepper laterally into two halves from stalk down.  Discard seeds and pith.  Drop halves into a large pan of salted boiling water and cook for five minutes.  Lift out with tongs, shake drips off and arrange par-cooked pepper ‘shells’ in a flat, greased, oven-proof dish.

Put Brazil nuts, suet, crumbs, herbs tomatoes, onion and seasoning into a bowl and mix well.  Add hot stock or water and mix.  Stir in beaten egg.

Divide stuffing evenly amongst the pepper halves.  Bake for about 30 minutes in a moderate oven until stuffing is slightly crisp.

Serve with tomato or creamy cheese sauce and plenty of colourful vegetables.

Brazil burgers

I medium onion,  peeled and finely chopped

30ml sunflower oil

I  rounded tablespoonful  of packet soup mix (vegetable, celery or mushroom)

1 level teaspoonful dried thyme

2 level tablespoonful milk powder or soya flour

1 egg, beaten

50g desiccated coconut

2 level teaspoonful yeast extract

150ml  water

250g Brazil nuts, ground or finely chopped

125g wholemeal soft bread crumbs

seasalt and freshly ground black pepper

sunflower oil for frying

In a saucepan, soften onions in oil.  Add soup mix, yeast extract and water. Stir over heat to make thick sauce.  Add all other ingredients except desiccated coconut.  Mix thoroughly to form a paste which can be handled. Leave it to stand for a few minutes.  Add a little flour if it’s too soft or more egg if it’s too stiff.

Mould into burger shapes with wet hands.  Roll burgers in desiccated coconut. Fry gently in oil until brown on both sides.

Serve with a green vegetable such as broccoli, new potatoes or pasta and a good gravy or tomato sauce.

Brazil Bolognese

250g chopped Brazil nuts

400g jar of a good quality tomato-based pasta sauce or:

1kg fresh ripe tomatoes, skinned and chopped

1 large onion, peeled and finely chopped

1 clove garlic, crushed

1 tablespoonful olive oil

2 level teaspoonsful dried oregano

seasalt and freshly ground black pepper

wholewheat spaghetti for serving.

To make your own sauce, soften the onions in the olive oil in a large saucepan.  Add the tomatoes, herbs and seasoning.  Cook for about 3/4 hour over a low heat until slushy and thick.  Stir in the Brazil nuts and reheat.

If you’re using bought sauce simply stir the Brazil nuts into it and heat through gently in a saucepan or microwave.

Serve Brazil Bolognese piled onto cooked spaghetti with Parmesan cheese to hand.  A big green salad is a good accompaniment.

Brazil nut roast with peach stuffing

250g Brazil nuts, ground

125g wholemeal bread crumbs

1 medium onion, peeled and finely chopped

150ml  water

4 tomatoes, skinned and chopped

1 tablespoonful sunflower oil

2 eggs beaten

1 level teaspoonful dried herbs

seasalt and freshly ground black pepper

175g ready-to-eat dried peaches, finely chopped

175g oz soft white breadcrumbs

1/4 teaspoonful mixed spice

dash fresh lemon juice

25g sunflower margarine

Make the stuffing first.  Mix peaches with white crumbs, spice, margarine, lemon juice and seasoning.  Add enough beaten egg to bind.  Set aside.

 

Sauté onion and tomatoes in oil until soft. Add nuts, crumbs, herbs and seasoning with the water.  Mix well and add remains of egg.

Place half of nut ‘meat’ in the bottom of a well greased and lined loaf tin. Spread the stuffing mixture on top and finish with remains of nut mixture.

Bake for about 45 minutes in a moderate oven until top feels firm.

Serve turned out as the centre piece on a platter surrounded by roast potatoes and parsnips.  A good gravy and selection of other hot vegetables go well with it too.

Tagliatelli with Brazils

Enough tagliatielli  – wholemeal, verdi or plain –  for number of diners, cooked for five minutes in lightly salted boiling water, drained and rinsed.

I large onion, sliced

100 g  mushrooms, sliced

200g Brazil nuts

Small jar of green pesto sauce

50g best olive oil

Heat oil in a large saucepan. Fry the onion gently until softening. Add mushroom and nuts.  Fry together for a few more minutes until beginning to brown. Add pesto.  Add cooked tagliatelli and heat through, stirring to mix everything thoroughly together.  Serve with grated parmesan and a large green salad.

Dahl with fried onions and Brazils

200g spilt red lentils

1 litre water

good pinch ground turmeric

8 ml ground cumin

2 tomatoes, skinned and chopped

pinch salt

2-3 green chillies

25ml chopped coriander leaves

50ml vegetable oil

3 cloves garlic, crushed

2 large onions finely sliced

140 g  broken Brazil nuts

Bring lentils to boil in measured volume of water – this is important because the best dahl is quite runny in consistency. Skim off any scum that forms during cooking.  Add spices with tomatoes and cook gently in pan for about 40 minutes.  Add  salt, chillies and coriander leaves.  Meanwhile fry the onions and garlic with the Brazils in hot oil in a frying pan.  Stir cooked onion mixture into lentils and serve hot with rice or Indian bread such as nan.

Brazil nut couscous

250g wholewheat couscous

50g best Australian sultanas

I medium size aubergine, diced

2 large onions, roughly chopped

3 cloves garlic, crushed

I red pepper, deseeded and sliced

2 tablespoonsful sunflower oil

150g button mushrooms

1 teaspoonful grated fresh ginger

I teaspoonful coriander seed, lightly crushed

2 tomatoes. skinned and rough chopped

seasalt  and freshly ground black pepper

175g broken Brazil nuts and a few whole ones, all  pre-toasted

Soak the couscous with salt and sultanas in enough boiling water to cover with a head space of about 2cm.  Leave to stand for a few minutes until all the water is absorbed.

Meanwhile fry onion and garlic in the oil in a large frying pan for about five minutes.  Add the spices, pepper, mushrooms, diced aubergines with ginger and coriander seed.  Fry until everything is tender, stirring frequently to prevent it sticking.  Add the chopped Brazil nuts with the couscous, chopped tomatoes and black pepper to taste.  Stir over heat until thoroughly mixed and hot.  Serve straight from pan with whole Brazil nuts arranged on top.

Seasoned yogurt – just stir some favourite herbs and spices and/or a bit of chopped cucumber into plain yoghurt – goes well with this.

Mixed grain and Brazil nut pudding

30ml sunflower oil

100g finely chopped onion

clove garlic, crushed

100g carrot, diced

I rib celery, chopped

75g long grain brown rice

about 850ml vegetable stock

75g red lentils

50g flaked millet

25g cornmeal

1 teaspoonful dried sage

1 teaspoonful celery seeds

15ml soya sauce

100g finely chopped Brazil nuts

50g soft wholewheat breadcrumbs

seasalt and freshly ground black pepper

Sauté onion, garlic, carrot and celery in oil in a large saucepan until onion is transparent.  Add rice and half the stock. Simmer for 15 minutes.  Add lentils and half the remaining stock.  Cook for a further 15 minutes.  Then add millet, cornmeal, sage, celery seeds and soya sauce with all the remaining stock and simmer gently for a further 30 minutes, stirring frequently.  Remove from heat. Add all the remaining ingredients.  Mix thoroughly and season.

Pack into a greased pudding basin.  Cover.  Cook for 5 minutes in microwave on full power or steam in a pan of water on stove for about an hour.

Serve with a rich vegetarian gravy and a green vegetable such as broccoli or  Brussels  sprouts.

Brazil stirfry

1 large onion, sliced

12 baby sweet corn

250g beansprouts, rinsed over the sink in a colander with boiling  water

1 medium courgette, finely sliced

1 medium carrot, finely sliced

3 or 4 mushrooms, wiped and sliced

250g white cabbage, finely shredded

150g Brazil nut pieces

75ml  sesame oil

Heat the oil in the base of a large frying pan or wok, keeping the heat up fairly high and stirring continuously.   Cook the onions alone for a few minutes first. Then add all other ingredients except the beansprouts.  Sir and fry for 5 -10 minutes until vegetables are softening but still crisp.  Add beansprouts and  stir briefly over heat just until everything is hot.

Serve straight from pan with noodles and Chinese sweet and sour sauce.