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Salon du Chocolat

WHAT: Salon du Chocolat
WHERE: Olympia National Hall, Hammersmith Road, W14 8UX
WHEN: 18-20th October, 2013 (Internationally Touring)
PRICE: £12-18

OUR RATING: Skip It! (Unless a chocolate professional)

Salon du Chocolat, serving as the grand finale of Chocolate Week UK, has been wowing crowds since 1994, when it was inaugurated in Paris as the central trade show of the chocolate industry. Supported by the French Ministry of Foreign Affairs, the Salon has been held in many world centres, including New York, Tokyo and Moscow. This time it was London’s turn, but for such a renowned show we were left with a somewhat bittersweet experience.

Adam: I am not an expert on chocolate. Don’t get me wrong, I love it – especially in its extremely dark varieties – but in terms of my culinary education, it was always relegated to the desserts, which meant preparation rather than content was key. That being said, I am an expert in showmanship and how events should be organised and, unfortunately, for an internationally important trade show, Salon du Chocolat London lacked the spirit which such an affair should certainly have in abundance.

Vendors seemed spread rather thin on the ground and most were less than enthused to be there. I wasn’t sure whether this was because of snobbery or their own boredom, but generally my experience of trade shows includes vendors hustling to gain your attention and educating you about their wares. Unfortunately, not many people seemed interested in talking with us, nor did they want us to try their chocolate – which is quite frankly bizarre, considering we were emblazoned as press.

That being said, I did manage to sample enough chocolates to give you the following delicious little factoids. Enjoy!

House of Dorchester

House of Dorchester

House of Dorchester
House of Dorchester are a British chocolatier based in Dorset. Founded in 1963, their focus appears to be mints – great for after dinner, as always! Their Milk Mint actually tasted quite similar to an Andes brand mint, a little more subtle on the chocolate, perhaps, but an Andes mint all the same. Dark Mint consisted of a hard white shell filled with dark chocolate, while the White Mint was a dark chocolate shell filled with white peppermint. Honestly, the major failing of all these chocolates in the preponderance of mint. The White Mint especially, these might as well have been labelled mints for all the chocolate in them.

Benoit ChocolatesBenoit Chocolats
Benoit Chocolats, founded 1975, are typically French, with a twist. Their speciality is caramandes: chocolate roasted almonds and caramel. Like a luxurious version of a Heath bar, but far more crunchy – a definite winner.

Valhrona ChocolatesValrhona: Lait Bahibe
Valrhona is a chocolate that you can pick up most anywhere in the world, yet its luxury should not be under-appreciated. Founded in 1922 in France, it has been using chocolate sourced from the best locations throughout its illustrious history. This 46% cacao milk chocolate is from the Dominican Republic, thus allowing for the single estate flavour to permeate through the entire product. But, let’s be clear: when you open a Valrhona, you already feel like you’ve won a golden ticket – beautiful packaging, interesting bar design and containing one of the best milk chocolates out there, Valrhona Lait Bahibe is a special treat.

Fudge KitchenFudge Kitchen
OK, it might not be chocolate, but fudge was a culinary delight on offer at the Salon. Fudge Kitchen has outposts throughout England and Scotland and even delivers from their website. I tried their vanilla fudge, which was extremely creamy and deliciously sensual – not your average hard fudge!

Chocololo: Pink Dusting
This dark chocolate enrobed bitter salty caramel is produced by Chef Laurent Rossi and is, honestly, just alright. The name is quite catchy though, so he wins points for marketing, but you’ve got to make your product stand up the scrutiny after its purchase as well as before.

Alicia: Unfortunately, Adam and I did not have to opportunity to partake in some of the bigger showpieces of the Salon, including their hands-on workshops and London’s first ever Chocolate Fashion show. What’s unique about the show is that because of the materials in use (uh, chocolate!) and the transit difficulties, each fashion show features the work of local designers and chocolatiers, making each show unique. Fortunately, they had several of the garments on display prior to the show, so we did get a few glimpses. Yet while some were interesting conceptually, I have to admit I was ultimately pretty let down by most of them.

Fortunately, despite this and the awkwardness of the convention as a whole, and with quite a bit of elbow work, we were able to sample from quite a few chocolatiers, with a few mentioned by Adam above. In addition to these, I thought I’d give my own feedback on a few others that graced our palettes.

=+ Cocoa Runners
Mini Chocolate Bears: 70% dark chocolate from Peru, made by The Chocolate Tree. The chocolate has a deep roasted flavor with some black tea notes. Despite their milk chocolate-esque aesthetic, the chocolate was actually deliciously very bitter.

2013-10-18 17.27.47Demarquette
House Chocolate Squares: 71.1% cocoa. Just plain ol’ regular chocolate, nothing unique really.

ChocoPassion's Paintbrush

ChocoPassion
Dozens upon dozens of different shapes and works of art in chocolate. We sampled their Paintbrush shape – you could even feel the bristles! Great dark chocolate.

Divine Chocolates

Divine Chocolates

Divine Chocolate
Owned by the Kuapa Kocoo cocoa farmers’ co-operative, our favorites over at Divine Chocolate was one of their newer flavored bars, 70% Dark Chocolate with Chilli and Orange, and their 70% Dark Chocolate with Ginger and Orange. Yum!

Iain Barnett: The Highland Chocolatier
We sample a few of their intricately and beautifully designed truffles. We started with their strawberry truffles (pure fruit coulis ganache infused with star anise) which wasn’t very strawberry-ish and actually tasted more like cherry. We then went onto an unnamed chocolate, which we thought to be dark chocolate and chilli, which was bitter and rich. Their lime truffle was my favorite (tangy lime crushed over white chocolate with a hint of chilli), the only thing was we couldn’t really taste the chilli. And finally there was Adam’s favorite, a chai truffle (creamy infusion of Assam tea and green cardamom), a really interesting tea chocolate that left a wonderful spiciness.

Final Thoughts: Salon du Chocolat hits New York in November 2014, and we suggest that if you are a chocolate professional, this may be one of the best ways to not only taste and buy artisan and specialty chocolate, but to also meet and learn from industry professionals, locally, nationally and internationally. But if you’re a simply a chocolate lover, it is just not worth it to pay admission and then have to pay for basically everything else provided, unless you want to spend hours upon hours listening to marketing demonstrations on the stages. Your money would be better spent sampling at some of your local hidden gem chocolate shops. Every city has one, and the ambience of any of those have to be better than the stale and pretentious atmosphere of this convention.

P.S.: For an excellent chocolate experience in Dublin, check out our recent post about Butlers Chocolates over at Storefront City Destinations.

Ghosts

Screen Shot 2013-10-08 at 9.54.22 PMWHAT: Ghosts
WHEN: September 26 – November 23, 2013 (schedule)
WHERE: Almeida Theatre (Almeida St., N1 1TA)
RUNTIME: 90 minutes, no intermission
WHO: Almeida Theatre
PRICE: £8-32

OUR RATING: Do It!


Screen Shot 2013-10-08 at 9.54.39 PMMorality, malady, deviance…such is the world constructed before us by Richard Eyre, Britain’s foremost director, in his shiningly brilliant production of Henrik Ibsen’s Ghosts. Appropriately titled for this autumn season, Ghosts doesn’t fail to shock, question and lead its audience through a fallen beauty that is dazzling and yet somehow extremely pertinent to our times.

Lesley Manville (Helene) and Jack Lowden (Oswald)

Lesley Manville (Helene) and Jack Lowden (Oswald)

Widow Helene Alving (Lesley Manville) lives in a skeletal mansion that at once seems to brighten and dim with her emotion. She harbours a dreadful secret, the repression of which has brought Helene to the brink. Now, with the return of her artist son Oswald (Jack Lowden), she must finally unshroud the truth and present its hideous form, no matter what the cost.

Will Keen (Manders) and Lesley Manville (Helene)

Will Keen (Manders) and Lesley Manville (Helene)

Adam: Entering the theatre, I thought I knew what I was in for. The framework of Ibsen reminds one of an ever-encroaching black night, readying itself to engulf the audience in a cloud of depressive defiance. And yet, upon taking my seat, I could not help feel that this production cast Ghosts in a whole new light. An airy feel that led me to believe that liberation was within reach, a tantalising figment that might just be snatched up.

Charlene McKenna (Regina)

Charlene McKenna (Regina)

In essence, Ghosts is a work on 19th century morality – the ever present tug between the upright and moral (or the stuffy and oppressive), and the carefree and creative (or irresponsible and selfish). While one might think these debates were laid to rest along with all the dead religiosity that corseted Victorian society, it seems that we were mistaken. Organised religion (and ideologies in general) still preach to us, whether it is preventing women from wearing the hijab, extolling us to marry traditionally or even telling us what not to eat. In society, there are always those who wish to restrict (or is it protect?) the freedoms of others, as much today as in Ibsen’s time. Ghosts wrestles with extremes, and through this we are left wondering how we can travel a moderate path that avoids oppression AND unrestricted hedonism.

Will Keen (Manders) and Lesley Manville (Helene)

Will Keen (Manders) and Lesley Manville (Helene)

For each type of indulgence, religious or libertine, results in a destruction, as we see in the tragically upsetting undoing of Helene’s son. Lowden’s portrayal lends itself to the Bridesheadian epitome of the disaffected, bored and damaged scion returning home after his revels in Europe. Through a sensitive and considered performance, Lowden explains to us the pain of bitter fruits bestowed to him from the past – like all the characters, and arguable people, the mental shadows that inhabit the corners of his mind plague his every excruciating word.

Charlene McKenna (Regina) and Brian McCardie (Jacob)

Charlene McKenna (Regina) and Brian McCardie (Jacob)

However, Ibsen is quite aware that presenting this work entirely as one of woe would not do, and as such provides us with a spot of comic relief in the form of Jacob Engstrand (Brian McCardie), the lowly father of the maid Regina. Using pity, wily tactics and other such methods, Engstrand lives off others while justifying his own parasitic position. However, McCardie’s bawdy fun can seem quite disturbing at times, creating the impression of devilish clowning with a definite malignant twist. His display of this character trait is magnificent and leaves one with a sense of double mind about the character.

Will Keen (Manders) and Jack Lowden (Oswald)

Will Keen (Manders) and Jack Lowden (Oswald)

Alicia: Upon setting foot in the theatre, one is immediately arrested by Tim Hatley’s set design. There is your usual beautiful Victorian-esque drawing and dining rooms, but Hatley places a semi-transparent and murky wall between the two. While rapt by the dialogue on stage in the drawing room, one is also audience to the shadowed world of the dining room beyond and its inhabitants, like haunted ghosts of another time.

Lesley Manville (Helene)

Lesley Manville (Helene)

Unfortunately, John Leonard’s sound design does not match the quality of other designs on the stage. While the ambient sound in the first couple of scenes help create a believable world, certain effects later on took me out of the scene entirely, providing a rather silly attempt at realism. And then, worst of all, the final and passionate scene between mother and son at the end of the play is ruined by an odd design/directorial decision to play really loud classical music while turning the entire scene orange and red. The design entirely took over the acting moment, just at the point when Manville and Lowden are giving their all.

Lesley Manville (Helene) and Jack Lowden (Oswald)

Lesley Manville (Helene) and Jack Lowden (Oswald)

Yet, to be perfectly honest I am being very hard on these few moments, as I ultimately felt riveted during the entire performance. As mentioned by Adam, Lowden performs stunningingly. I have always felt that Ibsen’s male characters are relatively weak in comparison to their female counterparts, and thus on stage I usually waive them off as merely supports for their leading lady. However, Lowden performed his part amazingly, with just the perfect amount of weakness and support as to keep in line with Ibsen’s character while also retaining a sense of strength and independence that I found refreshing. Performances by the snake-like pastor Manders (Will Keen) and the feisty maid Regine (Charlene McKenna) are also stunning in their portrayals.

Lesley Manville (Helene)

Lesley Manville (Helene)

And then there is Lesley Manville, who goes between fiery determination and shocking grief, bringing both love and pain to the forefront. One is completed exhausted at the end of the play having watched her on a rollercoaster of feeling. She is a wonderful force to be reckoned with.

Final Thoughts: Top class performances from well-known stars directed by a master of the art makes Ghosts a must-see. A powerful production with many angles, this is 90 minutes of sheer psychology that will leave you fascinated, disturbed and touched.

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