Beer blogger PAUL White tries out a local beer inspired by a poet.
It’s nice to learn something new, especially if it’s about your own part of the world.
I hadn’t been to the Toronto Lodge, just outside of Bishop Auckland, since a revamp a couple of years back, but decided to drop in for a bite to eat. I’d also heard it was home to some real ales, as well.
It turns out that it offers a range of ales from Sonnet 43, a brewery from nearby Coxhoe, which is where the learning begins.
I hadn’t been aware of this particular brewery, but it has an ale for all tastes. Personally, I decided to go for the bourbon milk stout, The Raven. After all, this last week did feature Stout Day.
Now, the brewery name and that of the beer itself are no coincidence, as I also learned that Coxhoe was home to a rather famous poet – most of you will at least be familiar with one of her lines.
For it was Elizabeth Barrett Browning who, in her Sonnet 43, wrote “How do I love thee? Let me count the ways…”.
I’ve driven past Coxhoe thousands of times, but I had no idea that it was home to Browning, or that she had inspired a brewery.
The beer is likewise poetically-inspired, taking its name from Edgar Allan Poe’s gothic classic.
Likewise, I have driven past the Toronto Lodge countless times since the revamp and it has been remiss of me not to have called in before now. What a great place with reasonably priced, but very good, food and drink.
But what of the beer itself?
Well, it’s a pleasant discovery, with a full flavour that is at once bitter and also smooth; a proper milk stout. It’s not an overly heavy drink, so could easily be one to settle into for an evening, should the opportunity arise.
With a lot of my beer reviews, I’ve highlighted those ales that are a natural progression for a lager drinker coming into the realms of beer. This is not one, but Sonnet 43 have plenty that would fit that bill.
Overall, it was an outing of discovery for the brain and the taste buds and I will be returning to sample more of the food and drink in the very near future.
Bees play a critical role in plant pollination, making them a crucially important part of our ecosystem. JONATHAN JONES visits a County Durham business that could make beekeepers of us all with the help of 21st century technology.
A COUNTY Durham environmental business hopes to take the sting out of beekeeping, and encourage more people to become beekeepers, with a 21st century bee hive, monitored through a smart phone app.
Long seen as a specialist industry, traditional beekeeping requires sometimes expensive equipment, can be time consuming, and land intensive.
But new business BuzzCloud buzzcloud.global, in Tantobie, County Durham, hopes to change all that, with the development of a bee hive, linked to the ‘internet-of-things’, which will enable anybody to become a beekeeper, and more importantly protect a species that is fundamental to life on this planet.
The ‘internet of things’ is a development of the world wide web, which gives everyday objects, such as vehicles and buildings, Internet connectivity, by embedding them with electronics, such as sensors and actuators, which can be monitored using a mobile phone.
Roger Lewis, director of BuzzCloud, and his colleague, Fraser Lindsley, are seeking funding to manufacture the first hives for public testing. They already have a number of hives at beta test sites across the UK, including locations on North Tyneside and in Leicestershire.
And they’re hoping to use crowdfunding, against bank lending or venture capital, to fund the production of the first hives available to the general public.
Crowdfunding works by asking thousands of people, not necessarily in the UK, for small amounts of money to fund the projects they are interested in.
BuzzCloud is seeking an initial $20,000 (approximately £15,500) on the Indiegogo site www.indiegogo.com, one of the largest crowdfunding sites in the world. The official launch takes place on July 15.
Mr Lewis explains: “We chose crowdfunding as it allows us to raise the relatively small amount of money required for the initial project, through people who have an interest in helping bees. We chose Indiegogo as it’s one of the largest crowdfunding sites in the world.
“If this initial crowdfunding phase raises the money required for the test hives, we’ll then look at future crowdfunding when we are ready to go into production of hives that will be available to the general public. Starting small like this also provides real market validation.”
The public launch will follow analysis of the initial information collected from ten beta test hives.
Mr Lewis, originally from South Africa, and who also lived in Malawi (in central Africa), plus other parts of Europe, before settling in Tantobie, is an electronics and IT professional who wants to put his skills to good use protecting bees.
He believes there is no other beehive around that can monitor the life of the bees within it so effectively, although hives have been developed in Australia to make the process of harvesting the honey easier.
As well as being able to monitor the hive remotely, using the BuzzCloud mobile phone app, users will also be able to change settings, such as raising the temperature of the hive, in particularly cold periods, or to help deal with pest infections, such as the Varroa Destructor mite, which can destroy entire hive populations, typically 40,000 – 60,000 bees.
BuzzCloud will use 3D printing and cutting technology to create the hives, using sources of recycled cellulose.
Once further funding is secured, it is hoped the first bee hives available to the public will be produced in a specialist, automated industrial unit, in County Durham.
And hives will be produced in a variety of sizes to meet the requirements of the urban beekeeper.
Mr Lewis said: “We’ll be looking to develop smaller hives, which can be put on a balcony, or in a confined space, in urban locations.
“Larger hives will be capable of producing 25kg or more of honey, with the smaller hives, half that amount.”
And as for those people put off beekeeping by the prospect of being stung, Mr Lewis said: “Perhaps the best thing about this new approach to beekeeping is that you don’t have to be a beekeeper!
“It’s no longer necessary to get suited up in a clumsy beekeeping suit and gloves just to monitor your beehive – we make it possible to do almost all the monitoring needed using your mobile phone or tablet. This does not mean that remote monitoring can eliminate all manual inspections, it does however sharply reduce the number of times the hives need to be manually inspected.”
DAVID SIMPSON attends the opening night of the much-lauded Kynren and is astounded by its truly epic scale
The Saturday evening sunlight softly illuminates the glorious Gothic splendour of Auckland Castle as it awaits the unfolding of a great event from its lofty vantage point amidst the neatly manicured trees of the ancient bishops’ park. Close by, the ornate spire of the Franco-Flemish town hall peers above the treeline adding another beautiful backdrop to the verdant setting of an almost fairytale landscape.
Only the occasional chill of a July evening breeze sweeping across thousands of knees and the stark outline of a 1970s office block high above the valley (far enough away not to intrude) keep you grounded with a sense of reality in the present time and place. Yet even the office block seems like some extravagant addition to this extraordinary setting in which an epic two-thousand year tale of England is to be told.
Welcome to Kynren – an epic tale of England.
We wait, not quite sure what to expect, comfortable in the back row of the tribune. It’s the grand name for an auditorium of some 8,000 people but this is after all a daringly grand event. The wooden facade looms like some grand medieval citadel as you walk the winding yellow road to reach the setting, leaving your car behind, at the bottom of the hill – in Toronto. It’s just the beginning of a wonderfully implausible adventure.
It’s nearly 9.30pm. The moment approaches and an announcement is made: there will be a delay of ten minutes. A rumble of polite laughter rolls across the crowd. They know that this is the very first night for the volunteer performers, drawn from across the local community, children and adults alike. The expectant crowd is prepared, perhaps, to forgive the occasional glitch. They need not worry for despite the delay we soon see that the show, the spectacle, whatever we may call it, is in very safe hands.
“What’s this thing called again?” my eleven-year-old daughter asks, in slightly half-hearted fashion before it begins. She was looking forward to a friend’s birthday the following morning so this “history thing” had received little interest up until now. “KYNREN” I say, spelling it out not once but twice as she texts friends to explain where she is with a rather puzzled look on her face.
Kynren is Anglo-Saxon for ‘generation’, kindred, family’ and this epic show is designed to tell the story of generations of England’s history over two millennia, with much local flavour thrown in to taste. It’s an extraordinary challenge if ever there was one but we would not be disappointed.
And so the dream commences and a dream it surely is. The Kynren concept had all begun with the visionary dream of a City of London investor and philanthropist, Jonathan Ruffer, now the owner of Auckland castle, whose plan was to recreate the spectacular French outdoor shows of Puy du Fou, right here in the North East of England.
Ruffer, born in Stokesley in North Yorkshire, just a little outside Middlesbrough, hopes to bring regeneration and a new sense of pride to Bishop Auckland and the surrounding area and in this he will surely succeed. ‘Bishop’ as it is affectionately known, is the focal point for much of what was once the coalfield of south west Durham and was a place much affected by the rise and fall of coal mining. It is also a place with much potential and like many towns across the region, has seen something of a rebirth.
It is a town with quite obvious medieval roots just like its medieval neighbours at Durham and Barnard Castle and it lies in beautiful surroundings too with a history stretching back to Roman times. Sadly, it is too often overlooked by visitors who mistakenly believe it to be just another mining town as they head out towards Bishop’s historic neighbours. With millions of pounds invested, this is Bishop’s chance to shine.
In both the execution and storyline, Kynren is something of a dream in itself. Perhaps it is even a dream within a dream – a spectacular stream of multicoloured consciousness, where the amazing events of twenty centuries, both local and national, flow swiftly from one into another at a captivating chronological pace. Let’s be clear, though, this is no history lesson, it’s much more magical than that.
Surprisingly, the River Wear is the setting for much of the story and in often unexpected ways. It serves as the sea in several scenes and when it comes to technical effects has a major starring role in the show. It’s a role that it comfortably fulfils along with the grand castle that overlooks its river banks. It’s not the real river, though, but a magical man-made lake and it’s not the real castle either. Yet dreamily, the whole of the Kynren site is set within a broad loop of the real-life River Wear itself overlooked by the real-life castle. Don’t be confused and you won’t be. As I said, this is virtually a dream within a dream.
When the show finally kicks off, in football fashion, the audience is instantly captivated. I’m delighted to see my daughter immediately relates. She is enthralled. It’s a story told through the dream of a young Bishop Auckland boy, a miner’s son during the inter war years of the last century. Befriended by Hensley Henson, the Bishop of Durham, after accidentally breaking the window of the bishop’s lodge, the boy’s fascination for history is quickly kindled by the bishop’s passionate knowledge. The boy’s name is Arthur, the first hint that Kynren is to be as much a tale of legend, mystery and magic as it is a one of history.
As a historian and father to a girl who says she finds history disappointingly dull, I am rather relieved. There’s no need for me to constantly assess the accuracy of the facts – though most prove to be broadly true – and I don’t feel I have to inspire, or bore, with my insights or quiet narration as events unfold. This is a dream after all. It is theatre not a lecture. And yet the questions fall one by one: “who’s going to win this battle?” or more often “who are the bad guys? who are the good ones?” I explain, pragmatically that it’s usually the good ones that win or so history often tells us.
So how much should I reveal about this truly wonderful spectacle? Well, firstly you simply must go and see it for yourself and hope that it does not rain – though it would take much to dampen the spirit of Kynren. What I can say though is that you should expect the unexpected and also expect, with so much happening, to miss almost as much as you will see. In fact you may want to watch it all over again. There will be bangs and the flashes of fireworks too, so you’ve been warned.
Romans, Angles, Vikings, Normans, Tudors and a whole assortment of kings, queens and common people of many different eras will come and go in scene after scene as whole epochs flash past your very eyes. Scores upon scores of colourful, costumed characters, children, armies, live goats, sheep, geese, slaves, soldiers, peasants, knights, show-stealing horses, carriages, carts, ships and even a steam train will appear and disappear from nowhere and into nowhere as you count down the years and move closer to the present.
Distracted by colourful events in one corner of this splendid seven and a half acre stage, you may turn to see that you have missed the appearance of a whole building in another corner or perhaps a ship or an army. It is really quite something, like an epic Hollywood movie set, with a wonderful technicolor cast of some 1,000 souls.
You will see live battles, fabulous fireworks, water effects, magnificent creative lighting of a kind with which Durham is now so familiar and you will soon take for granted the magic of people walking on water – Dynamo style – or a whole ship emerging from the water complete with its Norman crew. “How did they do that?” you will wonder and you will surely ask yourself “am I really in Bishop Auckland?” Often you will utter to yourself “this is just plain mad”.
The amplified stories of the past are spoken by actors of all ages but this story as it is told is almost incidental to the whole visual effect and the accompanying, specially composed music. It is unashamedly and rousingly patriotic in places but never in a jingoistic way. It will leave you feeling good and is perhaps just the tonic if you wish to escape from the weary world of present day politics.
If you love the costume character magic of Beamish, or the lighting effects of Durham’s Lumiere, or the atmosphere of open air theatre and especially if you enjoyed the wonderful absurdity of the opening ceremony of the London 2012 Olympics, then you are in for a very special treat here. It’s not just me that thought this though. The standing ovation that brought the show to a close is a great testament to the many months of planning and work that have gone into this magnificent event.
As we drove back home towards the midnight hour, my daughter confessed with brutal honesty that history was her most boring subject at school and apparently even the way I explain it is rather boring too. “This was amazing though”, she declared, “it made history so exciting and so real” she then continued listing her favourite parts of the show one by one by one in yet another stream of flowing dreamy consciousness. For such inspiration, Kynren, I am eternally grateful.
This year there are a total of fourteen performances of Kynren – An epic tale of England on selected weekend days from July 2 to September 17. For booking and more details, contact the organisers, Eleven Arches at elevenarches.org