The format is simple: Four new 15-minute plays are commissioned to reflect a specific theme and the actors and director are given just 12 hours of rehearsal time to hone their production. All plays are performed in one night, with the audience voting for their favourite via on-stage ballot boxes.

Pressure has been an instant hit since launching professionally two years ago and has sold-out all its four shows. The Chelsea Citizen attended two events last year in Hackney and was struck by the quality of the writing, the depth of the performances and by the all-round buzz that was generated amongst the audience. This is why we have worked with Campbell and Roach and their team at 2nd Quarter Productions to bring Pressure to the Chelsea Theatre as part of this year’s Arts Festival.

For one night only, the winners of the previous shows will compete in an All-Stars play-off on 18th September. In the run up to the big night, The Citizen sat down to chat with the men feeling the pressure…

Pressure producers Gregor Roach, left, and Arthur Campbell.

Tell us about the Pressure format and what people can expect…

Gregor Roach: Pressure is first and foremost a competitive theatre event showcasing new writing. We get writers to submit a 15-minute play based around a specific theme, and then select four to put on as part of our night. We then attach a director and cast of actors to each one and give them 12 hours of rehearsal to bring the play to life. 

Arthur Campbell: After each performance, the audience votes for their favourite play. We tally up the votes and after the final performance the winner gets free drinks and a trophy – and the coveted Golden Skull. For All-Stars, we have taken the winning play from each of our last four nights, and they will go up against each other to be crowned “Best of the Best’!

Why the Chelsea Arts Festival and what does it mean for you to be putting your show on in Chelsea?

GR: It means a hell of a lot for us to be putting on Pressure in Chelsea. We’re honoured to join the Chelsea Arts Festival and be part of a line-up that includes Indhu Rubasingham of the National Theatre and stars like Asa Butterfield and Tamsin Greig. Both of us know Chelsea well, having spent a lot of time there in our adolescence. Although we’re both now North London dwellers, it’s fantastic to be bringing our show West to reach an entirely new audience.

What do you think of the Chelsea Theatre stage and set up?

AC: We love the Chelsea Theatre stage. Earlier this year, we went to one of the Nice n’ Spiky comedy nights and it was a blast. The stage set-up perfectly suits our show, so it’s an exciting prospect. Playhouse East, which we have used before, is very pared back. The Chelsea Theatre has a lot more to offer, especially with its tech rig. It will be fascinating to see how Chelsea can elevate the shows. 

Talk us through the making of the Pressure format…

GR: I believe Arthur came up with the specifics, including the name and the competitive aspect. It’s a common thing to put on a scratch night with lots of different writers, directors and actors, when you are just starting out in the industry, but we wanted to create a format that was more polished and thrilling in its own right.

This meant carving out the same amount of rehearsal time for all the shows, so they had parity. We also assign a theme for each show night, to help give the audiences something to focus on and make it all feel more cohesive. Limiting each play to 15-minutes gives a decent amount of time to get into the meat of a story, but it is also snappy enough to give plenty of variety within an hour. The competitive edge creates an added buzz.

Why is it so successful, what does it bring that is different?

GR: A big part of it is bringing the audience into the world of theatre, especially people who don’t feel historically like theatre is a big interest for them. I think theatre can feel like a very gate-kept, exclusive industry – so many of our friends who work in the corporate world are excited about what we do, but don’t really engage with it too often. Give the audience the chance to have their voice heard by voting for which play they like best really makes them engage with theatre. 

AC: We have a bit of a logline that expresses our philosophy around our productions:  We make theatre for those who love it – and for those who think they don’t!

We’ve had so many people, sometimes even first-time theatre goers, tell us that they didn’t know plays could be this much fun! We’ve generally found in our generation that uninitiated theatre-goers often have a preconception of theatre as boring, uncomfortable, expensive nights out. Pressure shows that theatre can be snappy, sexy and thrilling – without breaking the bank.

Tell me a bit about your backgrounds…

GR: Funnily enough, both of us have remarkably similar backgrounds, which we only discovered after we set up Pressure together! I was born in Boston to an American dad and English mum, but grew up in Surrey. I was an avid member of my local youth theatre as a teenager. I loved history so much that I decided to study it at university. I was lucky enough to get into Oxford, where I continued doing plenty of student theatre. That’s where I first met Arthur. After university, I moved to New York for a year, training as an actor there, then back to Oxford to complete a master’s at Oxford School of Drama.

AC: My dad is also American and it’s a nice coincidence that both Gregor and I have close ties to the North-East of the US. We share a dream to ultimately take our theatre there at some point. My journey towards theatre was a little more meandering than Gregor’s. I only started acting in my second year of university. I spent most of my school years locked into music, which I went on to study at Oxford. I was a chorister at Westminster Cathedral as a kid and continued singing in choirs pretty much daily until I left my choral scholarship at New College to pursue acting. I still teach piano and music remains an enormous part of my life, but since leaving university my career-focus has been on acting and producing.

What work have you done and want to do going forward?

GR: We’re currently working on our first full-length play as a production company, with one of the writers who won Pressure. A quick shout out to Ollie Woolf – he’s a legend! Our plan is to do a run in London next Spring. We have a producer friend based in Amsterdam who is going to help us bring it there for a week as well. It will be our first foray into international theatre making.

How do you work as a team?

GR: Funnily enough, Arthur and I spent a long time delegating the responsibilities at the beginning of our work together. I naturally gravitate towards the logistics and operations side of things – making spreadsheets, ordering all the submissions and self-tapes, and arranging the rehearsal slots. Arthur, on the other hand, is the head of marketing, coming up with ideas for promo videos on socials, video editing and graphic design. It’s a difficult job for a man addicted to Instagram, but he makes it work!

AC: Gregor is a mastermind of logistics, and his stamina for admin is something to behold. I find the creative, problem-solving and people management element of producing really fulfilling. It does amaze me that despite our separate work and life commitments we have established the well-oiled machine that is Second Quarter Productions. I think we’ve landed in our roles quite nicely. It should be said that we are very comfortable leaning on each other to step-in when the other is overloaded – even if that unfortunately means I have to write a few emails here and there. 

Even though you are committed North-Londoners – Booo – do you have any memories or associations of Chelsea?

AC: There is one big one! In my late teens, I may or may not have been kicked out of Club 151 [now The Rex Rooms] on the King’s Road because an unnamed ex-girlfriend reached over the counter of the bar to steal a bottle of vodka. Let’s just say that I have not been back since!

GR: As a Liverpool fan, my first experience of watching them play was at Stamford Bridge on 31st October 2015. A friend who had Chelsea season tickets brought me along. I was sat in the Home end, and when Liverpool scored I instinctively jumped out of my seat, only to be dragged back down by my friend to save me from being beaten up by some Chelsea hooligans. 

What is the big dream for Pressure?

AC: Our dream for Pressure is to turn it into a touring, scalable production that serves as a franchise platform for emerging artists nationwide. Audiences will come because they will know that we consistently put on great work. We want to be known and respected for taking on early-career playwrights, directors and actors and for giving them their first credit out of drama school. This in turn will bring together a whole community of artists who will hopefully go on to collaborate in future on projects. We want Pressure to be an all-round accelerator for talent and theatre!

Tell me your dream casting for a Pressure play – sky’s the limit – and who would direct?

GR: Oooh, that’s a good one! I think we’d stick it on at The Globe, for that amphitheatrical atmosphere. I’d want Sam Mendes directing a farcical comedy caper about three men (Daniel Rigby, Oliver Chris and Hammed Animashaun) trying to win the hand of a fair maiden (Rosie Sheehy). 

AC: Tough to top that, but here goes! A hush-hush, one night performance in the basement bar of the Ye Olde Cheshire Cheese. Alexander Zeldin to direct and Gary Oldman to star in a play about a man who can’t escape the devastating familial and professional consequences of his penchant for authentic, English cask-ales.

Crikey, what amazing ideas! I hope that The Chelsea Citizen will be the promoter for both those shows. Here’s to a stunning night on the 18th…

All average photos © Rob McGibbon

The Chelsea Citizen presents Pressure at The Chelsea Theatre. 7.30pm, Friday 18th September. Book HERE

The Chelsea Theatre at World’s End Place

For long the preserve of English Heritage there are now many other commemorative plaque schemes across London. Individuals too can join in the fun, researching and memorialising the history of their own home, place of work or street.  

And now a striking new blue plaque has appeared on Glebe House, in Glebe Place SW3, to mark a story of defiance, deception and an escape worthy of a first-rate thriller.

The plaque, installed by homeowner Sandra de Laszlo, honours the formidable Emmeline Pankhurst and a little-known clash that unfolded outside the house more than a century ago.

“I put it up about nine months ago,” said Sandra, “but it’s something I’d been thinking about for a long time — inspired by the extraordinary bravery and commitment of the suffragettes.”

Glebe House is the scene of what came to be called the Battle of Glebe Place.

It is just before 5pm on a cold February evening in 1914. A crowd of around 1,000 people has gathered, filled with anticipation. They have come to see Emmeline Pankhurst — then the most wanted woman in Britain — challenge the establishment to let women have the vote. 

Emmeline moves on to the balcony to address the crowd: poised, defiant, dressed in black. But she is living on borrowed time. Though free on licence, she is banned from speaking in public — and the police are in the crowd waiting for the right moment to pounce. 

As the meeting ends, a group of women emerges from the house, shielding a veiled figure the police are meant to believe is Emmeline. Officers move in. Then chaos erupts.

Police later claimed they were attacked with clubs as the women fought to protect the decoy. A full-scale scuffle breaks out as officers force their way through the crowd. In the mêlée, uncertainty reigns: where is Emmeline?

For hours, the police keep watch, unsure if their target is still inside. They have been outmanoeuvred.

The house where Pankhurst sought sanctuary

It is not until the following day that the real escape unfolds. As a car pulls up outside, Emmeline’s bodyguards launch a sudden diversion, rushing the police line. In that split second of confusion, she makes her move — climbing into the vehicle and disappearing down the King’s Road, free for now. But her freedom does not last.

Just two weeks later, speaking in Glasgow, she is brutally beaten by police before being dragged back to Holloway Prison. There, she immediately goes on hunger strike — one of many acts of resistance that would define her life.

Emmeline Pankhurst (1858-1928) was no ordinary campaigner. Founder of the Women’s Social and Political Union in 1903, she helped turn the fight for women’s suffrage into a national and international crusade. 

After years of frustration at political indifference Emmeline and her daughter Christabel 

pushed the movement into more militant action — from protests to window-smashing and arson — tactics that divided the suffrage movement as some feared it was turning public opinion against them.

The government’s response was brutal. Hundreds of women were arrested, assaulted, and subjected to force-feeding; the ‘horrible outrage of the gag and feeding tube’ — a practice widely condemned at the time as barbaric.

Emmeline had many connections to Chelsea. A network of local supporters provided funds and places to hide when she was on the run. Glebe House itself became one such refuge, thanks to former owners Gladys Schütze and her husband, who opened their doors to the cause.

Emmeline’s youngest daughter Sylvia also a leading activist and the artist whose designs influenced much of the Suffragette’s campaign material, lived for a time at 43 Park Walk and has a plaque at 120 Cheyne Walk, the most important of her addresses to survive in London. Emmeline is buried in Brompton Cemetery, Chelsea.

Emmeline Pankhurst’s grave in Brompton Cemetery

Historian Dr Emelyne Godfrey later pieced together the dramatic events at Glebe House while researching the bodyguards who protected suffragette leaders in her book “Mrs Pankhurst’s Bodyguards”— women trained to fight and when required to take on the police.

Now, more than a century on, that moment of resistance is at last commemorated.

Thanks to Sandra’s determination, passers-by can stop outside Glebe House and glimpse a story that might otherwise have been lost — a story of courage, confrontation and a fight that played a part in changing the course of history.

As Emmeline Pankhurst put it at the time, they were fighting so that “every little girl born into the world will have an equal chance with her brothers”.

And on this quiet Chelsea street, that fight still echoes.

From 1st-4th October the Chelsea History Festival celebrates its eighth year with more than 100 different events across three major heritage institutions – Royal Hospital Chelsea, the National Army Museum, and the Physic Garden. 

As part of the festival, guide Emily Laurence Baker will be leading a number of walks including one that uncovers the lives and legacies of women who helped shape Chelsea. Depending on the route she takes, the plaque to the Battle of Glebe Place may be visited.

The Chelsea Citizen is proud to be the media partner for this year’s history festival

The Citizen – a humble, self-funded news operation – has been given the nod by judges for Website of the Year (Regional/Local) and is up against some of the best-resourced and biggest hitters in the regional press.

Shortlisted in the category are Kent Online, Birmingham Live, So Glos, Belfast Telegraph and the Andover Advertiser – all of which are owned by long-established and large media groups, such as Reach and Mediaquest. The winner will be announced at a modestly glittering night at the London Hilton Bankside on 10th September.

The Chelsea Citizen was founded and funded by freelance journalist Rob McGibbon and launched in February 2025 – despite a failed crowdfunding campaign. The news title covers Chelsea, as well as its border neighbourhoods in the Royal Borough of Kensington and Chelsea, and has become known for breaking headline stories.

Many Citizen exclusives have been followed by the national press, including The Sunday Times, Daily Mail, Daily Telegraph, The Sun and Private Eye. It was this ability to consistently break news that was highlighted in the awards judges’ citation. It was also commended for turning “an arid news desert” into an “oasis of news and stories”.

The judges were also impressed by The Citizen’s determined campaigning, not least for leading a two year battle against Rockwell Property building a tower of luxury flats by Battersea Bridge – a campaign that culminated with a famous victory in June.

Editor Rob McGibbon, who started out as a local reporter on the Wimbledon News in 1985, said: “I am delighted that The Citizen has been acknowledged with this nomination. We have been punching way above our weight since Day One and we have proved that, with the right level of determination and a decent news sense, you can find news stories in an area that really matter to the community.

“This entire project has been the most arduous and exhausting vertical ascent of my career, but it has also been the most fulfilling. Going back to my roots as a local reporter and seeing how important local news is to my community has reaffirmed my absolute belief in the vital necessity for local newspapers. I hope that The Citizen can become a template for how hyper local news should be done – and how it can thrive.”

The Citizen’s awards citation on Press Gazette

Rob McGibbon with a 1985 copy of The Wimbledon News – showing his first splash story. Photo: June Torrance

Some of the important stories The Citizen has broken 

For more than a century Stanley Studios in Park Walk has provided creative workspace for generations of artists, including celebrated sculptor Dame Elizabeth Frink. Now neighbours fear one of the borough’s important reminders of its artistic heritage could disappear forever.

Residents living in Stanley Mansions in Park Walk and The Sandhills in Limerston Street that flank the studios have launched a determined fight against the scheme, arguing it would destroy valuable artists’ workspace, overshadow neighbouring homes and erode their privacy while doing little to preserve Chelsea’s unique character.

They are urging Kensington and Chelsea Council to reject what they describe as a “ruinous development” in favour of a heritage-led scheme that would protect the studios while allowing sensitive redevelopment.

Stanley Studios now

The proposal by Squire & Partners would convert the Victorian complex into two three-bedroom and three four-bedroom houses. The architects say it would preserve the historic façade and carry Stanley Studios “into the next century with renewed purpose”.

Resident Philip Challinor said: “This is not intended to be a ‘not in my back yard’ campaign. Chelsea has to evolve and new homes are needed. The real question is whether we can find a more responsible way of shaping change.”

How the studios would look if they developed into five townhouses

One of the biggest flashpoints is the proposal to create five new rear doors opening onto The Sandhills estate is that they back directly into the studios. Residents there say that little, if any, consideration has been given to how the new scheme negatively impacts upon their homes.

Residents say the doors, described in the plans as fire exits, would destroy long-established communal planting beds whilst also destroying their privacy and creating serious security concerns.

One resident told The Citizen: “Those beds were put in by the council years ago so residents could grow vegetables and flowers. Now they will be destroyed to make way for what are described as fire exits.

“We believe they are really back doors to the new houses. They will invade what little quiet garden space we have left. It is a terrible and thoughtless plan.”

The entrance in Park Walk

Leaseholder Mussie Mulugheta said: “My lease specifically gives us the right to use the communal garden, but this application completely ignores that.

“They are not building social housing or a major community development. They are building five private houses that will affect a great many people without providing any real benefit.”

Mr Mulugheta also criticised the consultation process. “My biggest concern is security. Removing the existing wall to create access at the rear would leave residents feeling far more vulnerable.

“We also received very little notification about the application and have had to work hard to make sure our neighbours even knew what was being proposed.”

Plans are to create an exit through the side wall to the rear of the houses

Residents argue the council’s statutory consultation failed to reach many of those most affected because the planning notice was displayed in Park Walk while the main entrances to The Sandhills are in Limerston Street and Winterton Place.

They also argue the scheme would remove protected creative workspace and are urging the council to back an alternative that would retain artists’ studios alongside new homes.

Squire & Partners say the plans have been shaped by community feedback and would preserve key features of the Victorian complex, including its original 1890s façade and distinctive double-height studio spaces, while avoiding the need for a basement excavation.

A Kensington and Chelsea Council spokesperson told The Citizen: “As with all planning applications, we have followed a defined consultation process to ensure that anyone interested in the proposal for Stanley Studios can comment and that all relevant considerations are taken into account.

“This includes publishing site and press notices. We have received 86 comments regarding the application, which gives us confidence that local people are aware of the plans and have been able to make their views known. Each of the comments received will be carefully considered before any decision is made, including any concerns raised about the information submitted with the application.”

The Chelsea Citizen approached both the landlord and Squire & Partners for comment but had received no response by the time of publication.

The future of one of Chelsea’s last purpose-built artists’ studio complexes will now rest with Kensington and Chelsea’s planning committee.

View the planning application HERE

A few of the many Objection letters to the council

Running from 1 to 4 October 2026, the eighth edition of the festival will explore the theme of World History, examining the people, events and ideas that have shaped societies across the globe.

The Chelsea Citizen is proud to be supporting the festival as its official media partner, helping bring the stories, speakers and events of the four-day celebration to audiences across the borough.

Rob McGibbon, Editor of The Chelsea Citizen, said: “The Chelsea Citizen exists to document the people, places and stories that shape life in Chelsea every day.

“Local journalism is, in many ways, the first draft of history, which is why we’re delighted to support the Chelsea History Festival as a media partner. By connecting residents with the stories of the past while recording the stories of today, we’re helping to build a richer picture of Chelsea for future generations.”

Organised by Chelsea Heritage Quarter and sponsored by Lord Cadogan and his team at Cadogan Estates, this year’s festival will expand into an even wider network of historic and cultural venues across Chelsea. 

Alongside established festival locations including Chelsea Physic Garden, the National Army Museum and Royal Hospital Chelsea, the 2026 programme will also feature events at Chelsea Old Church, Chelsea Theatre, the Royal Court Theatre and Garrison Chapel at Chelsea Barracks.

John Simpson, one of Britain’s most respected foreign correspondents and a long-time Chelsea resident, has been announced as Guest Curator for 2026. The veteran broadcaster, who has spent more than five decades reporting from around the world, will help shape this year’s programme and offer his own perspective on the festival’s World History theme.

The programme includes talks, performances, exhibitions, walking tours and family activities, with highlights including:

• John Simpson reflecting on world history through the lens of a lifetime spent reporting on major global events.

• Bestselling historian Andrew Roberts exploring the rise and fall of Napoleon and the generals who shaped his legacy.

• Explorer and broadcaster Monty Halls examining the pioneering military academy that inspired modern Special Forces training.

• Historian Anna Whitelock discussing James I and the emergence of a global Britain.

• Professor Jonathan Fennell telling the global story of the Second World War through newly uncovered sources.

• Author Paul French exploring the extraordinary life of Puyi, the last Emperor of China.

• General Sir Adrian Bradshaw discussing the defence and security challenges facing the UK and NATO.

• Professor Matthew Worley marking 50 years of punk as a cultural and social movement.

• A special performance of Dido and Aeneas at Chelsea Old Church.

• Hex in the Garden: Healers, Harmers and the Witch Craze, an after-dark exploration of folklore, herbalism and the witch trials.

• The premiere of Five Soldiers, a dance documentary examining the human cost of military service.

• Family-friendly trails, workshops, performances and walking tours taking place throughout the weekend.

John Simpson, Chelsea History Festival Guest Curator, said: “The Chelsea History Festival is an essential part of the Chelsea calendar, and I’m delighted to support this year’s Festival as Guest Curator. It’s often said news is the first draft of history so I’m looking forward to exploring the Festival’s World History theme and sharing my top tips of what to see from the Festival programme.”

Gill Webber, Director of Chelsea Heritage Quarter, said: “Chelsea History Festival continues to grow each year, bringing together exceptional speakers, performers and storytellers to explore the people and events that have shaped our world.

“We are particularly delighted to welcome John Simpson as Guest Curator for 2026 and to expand the Festival into new venues across Chelsea. Whether your interests lie in global conflict, royal history, the fascinating history of plants and gardens, literature, music or local stories, there is something for everyone in this year’s programme.”

Hugh Seaborn, CEO of Cadogan, commented: “The Chelsea History Festival captures something quintessential about our neighbourhood, a deep appreciation of heritage alongside a constant spirit of curiosity and reinvention. With Cadogan’s 300-year stewardship of Chelsea, we’re delighted to support a festival that brings together world-class voices and opens up new ways of seeing the past.”

Tickets for the Chelsea History Festival are on sale now. Visitors booking three or more eligible events in a single transaction can receive a 20 per cent discount. For more information and tickets, visit the Chelsea Heritage Quarter website.

Festival Dates: 1-4 October 2026

Box office: 0131 226 0014

www.chelseaheritagequarter.co.uk

]]> https://thechelseacitizen.com/i-was-resentful-at-the-time-but-as-time-goes-on-the-less-i-feel-that-way-war-is-hell-stories-of-heroism-at-the-national-army-museum/ Mon, 15 Jun 2026 09:40:37 +0000 https://thechelseacitizen.com/?p=8058 Three men who faced bullets, bombs and terrorists — and lived to tell the tale — gathered in Chelsea as the National Army Museum celebrated becoming the new home of a world-famous collection of Victoria and George Crosses. Reporter John Cookson joined an audience captivated by extraordinary stories of courage, fear and survival.

You could have heard a pin drop. A room of a hundred or so guests sat transfixed as three of Britain’s most decorated living heroes recounted moments that changed their lives forever.

The event marked the National Army Museum becoming the permanent home of businessman and philanthropist Lord Michael Ashcroft’s collection of Victoria and George Crosses — the largest private collection of gallantry medals ever assembled.

Private. Johnson Beharry VC, told of how he earned the Victoria Cross for two separate acts of extraordinary bravery during ambushes in southern Iraq in May and June 2004. On both occasions he was driving a Warrior armoured vehicle under intense enemy fire.

Private Johnson Beharry

During the second attack, a rocket-propelled grenade exploded just inches from his head, leaving him with devastating injuries. Despite this, he continued driving his badly damaged vehicle to safety before finally collapsing. More than two decades later, Beharry remains in the Army and continues to undergo rehabilitation treatment.

Chris Finney GC. received the George Cross following a notorious friendly-fire incident near the Shatt al-Arab waterway, north of Basra, Iraq  on 28 March 2003 when American A-10 aircraft mistakenly attacked British armoured vehicles.

Chris Finney

Although wounded himself, Finney, who was only 18, repeatedly ran into burning vehicles to rescue trapped comrades. Because the danger came from allied aircraft rather than enemy forces, he didn’t qualify for a Victoria Cross. Instead he received the George Cross — the civilian equivalent of the VC and Britain’s highest award for gallantry when the enemy is not directly involved.

The third panellist was Dominic Troulan GC, QGM, who earned the George Cross after Al-Qaeda-linked terrorists stormed Nairobi’s Westgate shopping centre in September 2013, killing 67 people. A resident of Kenya at the time, Troulan repeatedly entered the besieged shopping complex to rescue civilians trapped by the attackers.

For hours he coordinated evacuations, guided frightened families to safety and exposed himself to extreme danger while gunfire echoed through the building. Already a holder of the Queen’s Gallantry Medal, Troulan became the first civilian recipient of the George Cross for 25 years.

But behind the medals and public admiration lies a less visible battle. In a question and answer session it quickly became apparent that the mens’ memories of those traumatic experiences have never entirely faded.

Beharry, Britain’s most decorated serving soldier, spoke movingly about the mental scars left by war and revealed that at one point he tried to take his own life after being tormented for years by nightmares and depression linked to his experiences in Iraq.

Chris Finney was characteristically modest when asked by The Citizen how he viewed the actions that earned him the George Cross.

“Honestly, it does feel like a different lifetime. What I did was instinctive,” he said. “As for the medal, there are recipients from World War Two and the Korean War who went much further than I ever did.

“I think about the men and women who’ve gone before me and try to live up to what the medal represents.”

What did he think of the American pilots whose attack triggered the incident?

“I was resentful at the time,” Chris said. “But as time goes on, the less I feel that way — war is hell and all that!”

Dom Troulan admitted to The Citizen that memories of the Westgate attack still return unexpectedly. “You never forget it. Images get triggered during the day and come back to haunt me during the night.

“But I just sort of tolerate it, go and have a cup of tea, and then go back to bed! My wife thinks I’m bonkers and my kids say: ‘really dad!’ I manage it in my own way and, you know – it is what it is.”

For more than 40 years Lord Ashcroft has assembled what is widely regarded as the world’s greatest collection of gallantry medals. It contains almost 250 Victoria Crosses — roughly one in every six ever awarded — together with a significant collection of George Crosses. In total their estimated worth: £70 million. The entire collection is currently being prepared to transfer for its permanent display at the National Army Museum on Royal Hospital Road. A date for opening will be announced in the future

If Chelsea has acquired a crown jewel, it is not made of gold. It consists of a few hundred pieces of bronze and silver suspended from crimson ribbons — each one commemorating the moment an ordinary man or woman performed an extraordinary act of courage.

Photos by John Cookson and the National Army Museum

National Army Museum  

For more details about Lord Ashcroft’s medal collection visit HERE 

I encountered Alan (OK, I stopped him like a fan) on the stairs after the curtain fell on the opening night of this wondrous production. We had never met before, but I needed to tell him that I was parachuted in to Harper Collins in 2007 to discuss me ghosting his autobiography.

The job never went beyond that first meeting because it soon became clear that Alan was easily the best person to write his story. The endearing and funny book that emerged a year later – Look who it is: My Story – became something of a sensation. We laughed that at least he was spared me cocking up his book. Then I ask what he thought of High Society.

“Oh, I loved it. I was singing along and moving in my seat. Everything is so miserable in the world right now – it’s just what the doctor ordered!”

Hmm. And there you have it. As far as summaries go, that spontaneous soundbite from the arch Traitor himself is hard to beat, not least when it comes with a toothy smile and a friendly glare through over-sized specs.

The Citizen braved the Circle Line from Sloane Square – 14 brutal stops – to the brutalism of the Barbican Centre ostensibly to cheer on an up-coming local actress, Felicity Kendal. It was fabulous to see her triumph as Mother Lord, delivering pithy one liners with perfect comic timing and evergreen stage aplomb. She even stole the headline in the Telegraph’s review.

Alongside Felicity is a cast of glorious range. Helen George is commanding and brilliant in the lead and is ably joined by Julian Ovenden, Nigel Lindsay and Carly Mercedes Dyer. Add all that talent to a super stage set, colourful costumes, slick choreography and a full orchestra playing Cole Porter’s timeless songbook, what’s not to like?

For me, the stand out turn of the night came from Freddie Fox as Mike Connor (well, he does play a dejected gutter press reporter who wants to be a serious writer). He brings warmth and pizazz to the role. Unbelievably, this is Fox’s first performance in a large scale musical. Goodness. A star is born.

Local girl steals the Telegraph headline

Felicity Kendal takes her curtain call to rapturous applause

The grand summer musical has become something of an annual feature at the Barbican.  Many comparisons have been made between High Society and Anything Goes from 2021 (both are made by Trafalgar Theatre Productions). I saw that show and vividly recall the spontaneous standing ovation to an outrageously brilliant rendition of the title track. That was in post-covid times, when everyone needed the frivolous joy of that show.

When it comes to energy and pure dazzle, High Society does not quite reach the same heights of Anything Goes (it could do with a bigger, stand-out all-singing thriller in the first Act), but it is certainly a fabulous night out and the perfect tincture for these unsettling times.

I saw Alan again later, in the underpass as he waited for a taxi.  “Got an interview for a poor reporter?” I asked in my weakest beggar’s voice.

“Get that man home and give ‘im a sedative,” he told my wife.

I looked back from distance and called out: “We LIKE you!”

“I love you!”, he screeched.

Gotta be True Love.

The Citizen Review: 4 Stars.   Meeting Alan Carr: 5 Stars

High Society is on at the Barbican until 11th July and then on tour until 14th November. Visit High Society.com

BOOK HERE

The new venue – to be known simply as Curzon Chelsea – will be inside the redeveloped The Gaumont building and is scheduled to open as early as October.

The original cinema, which had been in place since 1983, closed in 2018. Since then, the £235m redevelopment by Cadogan Estates has transformed this slice of the King’s Road into cultural and retail hub, with entertainment spaces and apartments. The Citizen attended the opening celebrations last July.

Within The Gaumont is a vast space that Curzon describes as a “multi-purpose environment” for film, art and live culture. At more than 20,000 sq ft, the flagship is intended to be far more than a traditional cinema.

Alongside a 300-seat Dolby Atmos auditorium, designed for premieres and large-scale screenings, the venue will include podcast and recording studios, flexible screening rooms, event spaces, a gallery café and bar, and dedicated production facilities.

CGI impression of the new Curzon’s main screen auditorium

Curzon Executive Chairman Philip Knatchbull – a long-term resident of Chelsea – said the project represented “everything we have been envisioning for the future of Curzon”.

“Curzon Chelsea reflects a rethinking of the role that Curzon holds at the cutting edge of the industry by creating a multi-purpose environment for the wider creative community,” he said.

“Our flagship location will span film, art, storytelling, content creation, podcasting, live performance and conversation-led events.”

Philip Knatchbull, Executive Chairman of Curzon                           PHOTO: ©Curzon

For many locals the announcement will carry a strong sense of nostalgia. The Curzon Chelsea was long considered part of the cultural fabric of the King’s Road before its closure. Its return, albeit in a dramatically expanded form, represents both a revival of a familiar Chelsea institution and a bet on the future of communal cultural spaces in an increasingly digital world.

The old Curzon alongside Habitat – where the frontage has been immaculately restored for The Gaumont

The project also signals a notable cultural addition to the rapidly evolving central section of the King’s Road, where a growing cluster of creative, hospitality and independent businesses has emerged in recent years.

Curzon says the new venue reflects changing audience habits and the increasingly blurred lines between film, digital media, live experiences and creator-led content. Screening rooms, studios, production facilities and hospitality spaces will operate simultaneously across the site, creating what it hopes will become an all-day cultural destination for Chelsea.

Hugh Seaborn, chief executive of Cadogan, said Curzon’s return would reinforce Chelsea’s long-standing cultural identity.

“Curzon has long been part of the Chelsea community and we look forward to their reopening as part of The Gaumont, a landmark development designed to celebrate Chelsea’s cultural heritage and enhance its thriving creative scene,” he said.

Cadogan CEO Hugh Seaborn at the 2025 opening of The Gaumont

Architects Takero Shimazaki described the building as being conceived as a “continuous public forum”, featuring flexible spaces designed to support film, videography and wellbeing.

The venue will also feature a large-scale immersive projection scheme created by CT London, the studio behind Frameless London, as well as a specially commissioned art installation embedded into the building from launch.

For a company born in arthouse cinema, the new Chelsea flagship represents something much larger, reflecting how cinemas are evolving into broader spaces for events, conversation and creative work, something Curzon is betting will resonate with the increasingly culture-led atmosphere emerging along the King’s Road.

A dramatic late-night inferno sparked a major emergency response as 80 firefighters in 12 engines raced to Kensington High Street, battling the blaze for more than two and a half hours after the alarm was raised at 12.57am on Monday.

At one point, witnesses said the fire lit up the night sky above one of London’s glitziest postcodes. By first light, fire investigators were still on site probing the cause — which has not yet been disclosed.

But on Monday night the club moved swiftly to calm fears, issuing a statement confirming the all-clear from the London Fire Brigade.

“The London Fire Brigade has confirmed the incident is closed and that there are no safety concerns to prevent the club from reopening this week,” the statement said. “This was an isolated incident in an external area while the club was closed. No one was hurt.”

The blaze struck just two years after a multi-million-pound refurbishment, prompting an outpouring of support from past and present members.

Among them was Bridget Jones author Helen Fielding, who quipped online: “Oh no. It’s such a lovely space and club. Get well soon. Maybe there should be a club repainting session?”

Now Sue Walter, CEO of The Roof Gardens, has responded with a heartfelt note:

“Our team and community are our number one priority, and we are just relieved that everyone is safe and well. It’s moments like these that remind us how unique our community is — and we look forward to welcoming everyone back.”

For decades, the venue has been the place to be seen — a glittering playground for royalty, rock stars and red-carpet royalty. Guests have included Princess Diana, King Charles, the Princess of Wales, and a roll-call of global stars from Madonna and Kate Moss to Freddie Mercury, Mick Jagger, David Beckham and Idris Elba.

The Grade II-listed rooftop — completed in 1938 — was inspired by Spain’s Alhambra and once boasted flamingos, ducks, mature trees and a running stream high above London.

That era ended when the 65,000 sq ft site was sold by Richard Branson in 2021. It is now owned by Stephen Fitzpatrick, founder of OVO Energy, and reopened as a private members’ club.

Recent accounts show losses of £26 million — but bosses insist the show will go on.

And in Kensington, the party looks set to resume.

Helen Fielding’s message to TRG on Insta

The Roof Gardens – Latest Statement on Instagram

The British army didn’t want short men. They had to be at least 5’3’’ to sign up in 1914. That changed however when one angry miner, standing just 5’2’’ tall, was rejected by the Birkenhead recruitment office. Not content to leave quietly, he took off his jacket and declared, ‘I’ll fight any man here who says I cannot do my duty!’

Legend has it that it took six men to remove him from the recruiting station.

Sir Alfred Bigland, MP for Birkenhead, heard about this miner and was impressed and intrigued. He believed that short strong men could be just as effective as taller men and that they too should be given the chance to serve their country. The War Office permitted him to raise a battalion of soldiers who failed to meet the official army standard. These men, between 5’-5’3’’ would be called ‘bantams’ after the small aggressive rooster. 

Inspired by posters saying ‘Pluck can make up for inches!’ and ‘Little men have made history’, Bantam battalions sprang up all over Britain. There were 27 in all, plus two made up of Canadian men.

These battalions, based on the ‘Pals Battalions’ model, were feted by their local communities. Songs were sung, poems written about them and newspapers lapped up the story. These battalions were formed into the 35^th and 40^th Bantam Divisions, and they participated in some of the bloodiest battles on the Western front, from the battle of the Somme in 1916, all the way through to the Armistice in 1918. Many died in battle and never came home.  

Ironically, the thing that distinguished the Bantams – their height – was also their undoing. They were very hard to replace. The strong, fit miners, bakers and shipyard workers who formed the original Bantam battalions were being replaced with smaller, weaker men the army labelled ‘degenerates’. 

Many of the original Bantams were also redeployed to the newly founded Tank Corps and tunnelling units where their smaller stature was an advantage. By winter 1916, the writing was on the wall. The 35^th and 40^th Divisions had to accept men of regular height to keep up their numbers.

My connection…

I learned about the Bantams when I came across an online discussion debating the best size for a soldier. The general consensus was that bigger was better, bigger soldiers being stronger and more intimidating. Then someone asked, ‘What about the Japanese?’. Someone else asked ‘What about the Viet Cong?’, and someone else, ‘What about the Gurkhas?’ And then the question that piqued my interest, ‘What about the Bantams?’ 

I had never heard of the Bantams, but I looked into it. I bought Sidney Allinson’s seminal work The Bantams: The Untold  Story of World War One and became totally engrossed in their story.

I am 5ft tall in my stocking feet, so I could immediately relate to the prejudice these men encountered. I have had a few problems about height over the years and I distinctly remember being stood up against a wall and measured when I applied to nurse training in 1991. I made the cut, but I never forgot how unfair it seemed to have my future decided by a tape measure. I knew exactly how that miner felt in 1914!

The character I play, Patrick Michael Wolfe, is an Irishman. I’m Irish myself and I wanted my play to acknowledge the 200,000 Irishmen who served in the Great War. While their service is celebrated by the Unionist community the rest of Ireland long ago chose to forget about them. It’s time to remember both the Bantams and the Irishmen who fought.  

The Last Bantam is a play about patriotism, prejudice, courage and betrayal. Inspired by real events.  

The Chelsea connection…

There are several links to the Bantams in Kensington and Chelsea.  A rather infamous one is Brigadier General Frank Percy Crozier. He commanded the 119th Welsh Bantam Brigade in the Battle of Bourlon Wood, November 1917. While technically too tall to be a Bantam (he stood a mighty 5’3 and a half inches) he was given command of the 119th.

Crozier was a resident of Kensington who attended military training at Chelsea Barracks. He was physically daring and was mentioned in dispatches and decorated multiple times for gallantry in the 14-18 war.

Crozier was a controversial character who came with a lot of baggage. An alcoholic and a bankrupt, the army didn’t want him after the war. He became Inspector General of the Lithuanian army and then commanded the Black & Tans in Ireland during the War of Independence. He resigned (he claimed) over their brutality.

He ran for parliament as an MP twice (and failed) and became embroiled in a series of court cases, claiming damages for slander and injuries sustained in Ireland. He wrote several books, in one of which (‘The Men I Killed’), he describes and justifies his shooting some of his own men to hold the line. He became a pacifist in the lead up to the Second World War and toured the country advocating for disarmament right up until his death in 1937.   

A further local connection is Sir Alfred Bigland, who founded the Birkenhead Bantams, and had his portrait painted by his brother, artist Percy Bigland, at his studio at 32 – and later 29 – Tite Street. 

Then there was the comedian Arthur Askey (1900 – 1982), who served in the 19^th Bantam Battalion, Royal Welch Fusiliers during WW1. In the 1950s, Askey moved into Campden Hill Gate, off Kensington Church Street, and later lived in St. Mary Abbots Terrace.  

As part of its national tour, The Last Bantam is on at Drayton Arms Theatre, 153 Old Brompton Road, SW5 0LJ, on 25th January at 5pm and on 26th January at 7:30 pm

Book tickets HERE

 Watch a YouTube trailer HERE