Gusto, Manchester

Relatively unaccustomed as I am to the culinary scene of the vibrant, bustling metropolis that is Manchester, I am fairly confident in saying that I know a good restaurant when I see, and eat in it.

Today when lunching for the first time at Gusto, I was pretty sure from the off that the place was one of some quality. It is therefore I feel, such a shame that one singular issue can negatively taint an otherwise positive experience.

From the moment you walk in, Gusto strives to impress, in a swift, sleek and quietly confident fashion. From the central location, to the stylized and sophisticated modern decor, to the confident and clinical presentation of the menu - I would even go as far as to say that Gusto ranks pretty high up within the culinary zeitgeist of Manchester today.

So the quality and finish was clearly there in abundance, but a glaringly simple and apparently catastrophic error was to be the undoing of Gusto for me this time. We were duly and directly informed by staff that the gas system in the kitchen had malfunctioned, thus delaying and stunting the delivery of not only our orders, but everyone else's. 

This is an issue, yet of course as I am sure you would agree, it needn't have been fatal. What was required at this point, was the staff to step up and step in at every juncture to insure that customers who were paying good money did not feel the negative effects of such a negative development. Whilst the staff were rightly very humble and apologetic, they did not do nearly enough to mask the evident chaos and confusion that was happening in the kitchen, and as such the food at our table was delivered sporadically, and in some cases poorly cooked. 

This was a major factor and flaw of the afternoon, and whilst it did not sour the entire experience, it was an issued that sadly would just not go away.

That being said, the food that did arrive, as well as reading well on the menu, in my case certainly looked and tasted superb in practice too. My initial starter of a chicken Romesco salad was delicious, and so too was my Rigatoni Primavera, all of which was followed by an interesting and delectable sticky toffee pudding.

If anything was to prove true to the obvious quality that is present at Gusto, then it is that despite everything else, their food is capable of being great. Yes it is a shame the lack of staff organisation in the face of adversity did cause issues, but I still enjoyed my lunch at Gusto, I credit my lovely godparents for introducing me to the place, and I would be happy to visit again.

The Musketeers - Series 2

Last year, following the end of the first series of BBC One's new swashbuckling action drama, I said on this blog that whilst, as a whole I thought The Musketeers to be entertaining, there were quite a few areas where the standard was not good enough or distinctly lacking; not resulting in a show that blew me away in any real shape or form sadly. One year on, and whilst the general format of the show hasn't changed that much I feel, in making quite a few minor adjustments, The Musketeers has grown slightly in quality, and consistency in terms of its ability to please week-on-week.

We start however, with quite a radical change compared to the first series; the dramatic lack of Peter Capaldi's villainous Cardinal. I praised Capaldi as being one of the few stand out stars of the show, and I said that they would need him to progress with series two. Whilst I stand by my praise of his performance, it turns out I was wrong; they did not need him to make series two a hit. Of course, Whovians amongst you will know that Capaldi has left the Musketeers to achieve interstellar praise and fame in a certain blue box (and long may his tenure there continue!) and whilst his Cardinal's presence and lasting impression is a low key but constant theme of the second Musketeer outing, his loss seems to have galvanized them for the better.
Indeed, in having to drastically alter proceedings due to the lack of the Cardinal, the minds behind The Musketeers seem to have sharpened, honed and focused a lot of other show elements just a tiny bit, resulting in a show which is that much more concise, and slick and confident in what it delivers.

Naturally, first thing being first, with one major casting change in the lack of cardinal, another was needed in finding a new villain of the piece. Enter Marc Warren, an acting quality staple and reputed talent in his own right, as Rochefort. A big change maybe, but one that soon paid off fantastically in my view. From the off, Warren's natural chilling charisma vaulted him into proceedings in the Musketeer world. He simply grew from strength to obsessive villainous strength before our eyes, simmering and smoldering into a superb arc from beginning to end.

In terms of new casting - big plus then, but in terms of old casting, again like series one - I feel this was a mixed bag. In many ways, the aforementioned small adjustments paid off in terms of characterization we were familiar with. The continuing arcs of Athos and Aramis, whilst perhaps a tad predictable, were acted solidly and were able to carry both the characters and the series strongly. Tamla Kari as Constance was again deliciously watchable, and even her on screen other half Luke Pasqualino was a little dialed down and slightly more tolerable to watch (though marginal, this is a big improvement from last year!). Porthos is still the Musketeer character with the weakest link I feel. Yes, again his character has been honed and focused, and the actor's delivery has improved, I just feel that there is not much room for maneuver or development here, or at least his is the character with the least amount of potential. That may not necessarily be a bad thing, as a little stability did not hurt anyone, and if there was a musketeer who was predictably stable in story line - it is Porthos. Hugo Speer as Treville again just about delivers, Alexandra Dowling's Queen Anne of France is still captivating, but again sadly Ryan Gage's King Louis is just as foppish and dull as in series one (though frankly and thankfully he gets a bit more caught up in proceedings this time so we don't notice as much).

The score is still superb, the locations still great, and Dumas' original novel still generally done relative justice. I do feel that inch by inch, The Musketeers is steadily improving, and much to the delight of everyone involved and everyone watching I'm sure. Last year I watched week on week with a slight half-reluctance; as if dreading it may fall apart any minute. That did not happen this time, and the fact that each episode could instill confidence can only be seen as a good sign of blossoming consistency and an increase in quality. Series three has been announced, and I for one will welcome it with open arms.

Only Lovers Left Alive

Forget everything you know, and every pre-conception you may have about "the vampire film" genre. Only Lovers Left Alive will tear them all up and instantly render them inert; it is I feel a truly remarkable, beautiful film, and easily the greatest "vampire film" ever made.

Jim Jarmusch's raw, focused, intimate, noir vampiric feature depicts the lives of vampires in the modern world, and of two vampires in love. Sounds like pretty much any other film with vampires, right? Wrong. What we are treated to with the tale of Adam and Eve (played by Tom Hiddleston and Tilda Swinton) is a luscious, incredibly grounded and incredibly powerful dual performance. The two central characters instantly come across as very old, and very world-weary, and also still very much in love. Add to this coursing central story added appearences from the likes of the young, beautiful Mia Wasikowska, and the mature but legendary John Hurt, and on sheer acting talent alone you have a winner here.  

Just as the vampiric lovers find reasons to wake every night, so to do you find constant vigor and delight in watching their story. Again unlike most vampire films, you do not need origins or background stories, as this film slaps you right into the middle of a relationship that has been going on for centuries, and Hiddleston and Swinton are so insanely great in this, that they make their characters instantly believable and still incredibly fresh and nuanced.

Tom Hiddleston (in this film getting a break from the massively epic nature of Loki and the Marvel universe) gets to prove here once again how much of an evolving, hard-hitting talent he is. Full of dry wit, cut off drama and intense emotion all at the same time as Adam; his bloodsucking leading man is superb. Equally matching him in brilliance is the sublime Tilda Swinton who captures a great mix of ethereal beauty and intelligent grit as Eve. Together these two not only make the most stunning vampire couple ever captured on film (Twilight?! PAH!) but also one of the most beautiful and captivating on screen couples of all time, in my view.

You may say that Mia Wasikowska as Ava has quite a fleeting time in Only Lovers Left Alive. However I think Jarmusch has got this just right. In getting Ava in and out of the film in a whirlwind, of excitement, youthful passion, quite a bit of blood spilling and ultimately chaotic consequences, the director has added another interesting string to this film's bow, without detracting too much from the a fore mentioned brilliance of Hiddleston and Swinton. We also get another brief encounter with Wasikowska and Anton Yelchin who, whilst having a fairly minor part, still deserves credit too. Finally, to add yet another and an overwhelming dose of sheer class, quality and acting brilliance - we have the flawless Sir John Hurt as Christopher Marlowe. Again, in keeping with not only the emotive greatness but the intriguing historic depth of this vampire tale, Hurt as the Christopher Marlowe, the vampire (who also in this version apparently faked his own death and was responsible for the penning of most of Shakespeare's works) might have been seen as a step too far in terms of quirky, but instead it was genius! John Hurt yet again brings the necessary amounts of gravitas and soothing presence that we know and love him for, plus his interplay with Swinton and Hiddleston is joyous to watch.

As you can guess, I quite like this film. Vampire films in the past have always been a bit 'meh' for me; I could take them or leave them. If you insist on taking Only Lovers Left Alive as strictly another "vampire film" then you must see that it is a fantastically unique interpretation of such. And if like me you see it as a genre-less film that happens to be about vampires, then you must also see like me that it is truly unique again too. For me, Only Lovers Left Alive is a terrific, understated, beautifully envisioned piece of modern cinema, vampires or not.

The Casual Vacancy

When I read J.K Rowling's novel The Casual Vacancy (which was her first major work since Harry Potter) I loved it. Sheer genius amounts of story telling with an intrinsic and abundant level of style, character and panache that only she could produce.

Naturally I was excited when I heard it was coming to the BBC as a three part drama. And whilst elements of Rowling's remarkable work were transferred well on screen, and whilst I do feel the series was executed well enough, there were not nearly enough stand out star moments and factors to blow me away, as the book did.

Initially from the off I had high hopes; there were a few promising signs to start with. The location was stunningly picturesque - instantly capturing Pagford, and so too in a different sort of stunning was Fields equally captured. The music too was greatly suited, and the cinematography brilliantly set up the idea of traditional village values being challenged in a modern world.

A lot of positives came too from some of the great ensemble of cast assembled. A good deal of the script focused on Krystal, played by fresh newcomer Abigail Lawrie. I though her performance was stunning. Instantly she captured the unique mix of driving forces and character traits of Krystal Weedon; from her raw savage attitude to the world, to her fragile state of mind, to her up front sensuality, to her buried naivety, to her scarred but shining and endearing light. If any spark of brilliance can be definitively taken from the TV version of The Casual Vacancy, it is the discovery of this superb young actress, who deserves to go far. 

Other bastions of brilliance were present too. Rory Kinnear's character may have been written off quickly, but he was still used well as an ever present presence throughout the plot, and his gritty swagger came into great effect in playing the pivotal role of Barry Fairbrother. Keeley Hawes is another British acting treasure who brought tons of quality and watchability to the table as Samantha Mollinson. Sassy, sexy, charming and charismatic; she was another triumph. Though not unique as such, but Keeley Forsyth's dedication and execution to the character of Terry Weedon was very impressive too.

However there were other major casting and acting elements that did not turn out nearly so bright. Richard Glover as Simon Price was horribly over played and clichéd to a tee, and his on screen son Joe Hurst, whilst clearly attempting for subtle underplay, just came off as a boring half attempt at depth. Small and big screen staple Simon McBurney was disappointingly two dimensional, and his on screen wife Monica Dolan, whilst endearing on some levels, definitely came off as a blunt instrument to me when it came to any moments of sincerity. 

Even mature and iconic acting staples Sir Michael Gambon and Julia McKenzie, whilst being well crafted and believable enough in terms of character, were never at all as fluid and as powerful as they needed to be to really hit home as Howard and Shirley Mollinson.

It is here I think in the distinct lack of power, progression and direction for a great chunk of the cast, where we can start to see the problem with this adaptation of The Casual Vacancy. You see, if you compare the series with the book (often fatal I know) you will see that a massive amount has been left out. I know that J.K. Rowling is notorious for sticking to the original text when it comes to adaptations of her work, and of course I also know that in any adaptation of a book some things must be sacrificed. I just think that Rowling should have written the screenplay, instead of or even alongside Executive Producing. At least then she may have stood a better fighting chance of keeping what needed to be kept in order for the TV story to progress as it should have, and as the book did.

The whole idea, and the whole reason the book's plot worked so well in my view, was it featured such a vast array of characters with a vast and beautifully detailed array of character flaws, traits, plots and sub plots, all tethered and tied together sublimely by Rowling. Yes this TV version had a big ensemble cast but not nearly big enough, and with not nearly enough oomph. 

Quite a substantial amount of characters have been left out of the TV series altogether, and those who do make the cut have not been given nearly enough of their original plot and subject matter. Yes we can feel we know these characters on face value on TV, but compare them to their original novel counterparts and you will see that they are found severely wanting.

It is almost as if the producers of the series wanted to scatter just enough intrigue and plot development amongst the characters to hold viewing, and to move from beginning to middle to end as soon as possible. The result is interesting enough, and still a fine watch on its own if you knew nothing about the background to the story. But if you investigate, and dare I say even compare the series to the original book, then I feel that you like me will be glad they gave The Casual Vacancy a good go, but also feel sad and a little empty when you consider that it was unfortunately not what it had the potential to be.

Edge of Tomorrow

Another summer blockbuster I missed out on last year and one I have finally got around to seeing; the smart, slick and steely sci-fi action romp Edge of Tomorrow.

The indomitable Tom Cruise strolls right into yet another action flick again, but straight away there's a difference, as this time he plays a character who starts out as a completely inept solider, thrust into a futuristic war against savage and tactically brilliant aliens. Another twist? He is quickly given the ability to "reset the day", living out the same massacre over and over, and tasked with ending the war and saving humanity.

It was fairly obvious that this was not going to be a sci-fi version of Ethan Hunt for Cruise. But he is still more than capable of holding is own leading an action film. In Edge of Tomorrow he brings ample amount of his signature flair and grit when it comes to action, and charm and charisma when it does not. It has been known for decades that Tom Cruise is one of the most bankable movie stars of all time, and this film does not detract from that; merely adding another feather to his already well stocked cap.

Emily Blunt plays opposite him as a feisty yet war-weary battlefield hero who has to take Cruise and train him into as much of an ass kicker as she is.

Once again I am happy to say I enjoyed a strong performance. This was Emily Blunt's first real foray into sci-fi action and she came out of it very well. Avoiding most clichés, and delivering her own unique brand of action, deliverance and watchability.

Whilst Blunt, like Cruise gave a very solid performance, the chemistry between the two of them whilst there, was played down and often played out very lightly. This benefited and fitted well with the feel of the film, because I think if anything more was inferred or looked at then the light dusting of chemistry may have turned into no chemistry at all. Still, as it is it still worked, and the leading twosome provided great watching.

We even had welcome supporting performances from the likes of Brendan Gleeson and Bill Paxton.

There have of course been legions of alien invasion films in the past (a couple of them even starring Mr. Cruise too) but this one I think has the potential to stand out within the canon. It was near future, but that was not spelled out immediately, and the fantastical and supernatural elements were threaded into a world we might recognize with seamless and often beautiful results.  The material, action and scenery were all visceral and powerfully used to support the cast, and whilst we had to watch a bit of a lengthy set up initially, this was needed and indeed appreciated as it meant there was no real problem in terms of the film's believability. Add to that the slick, and ingeniously and regularly revitalized time looming element and you are on to a winner.

My only major complaint is the film's ending. I wont spoil it but suffice ed to say that, after all the living and dying and repeating, we were finally given a conclusion but an incredibly ambiguous one. They may have done it to possibly set up a sequel, or just to keep in touch with the light hearted undercurrent of the whole film, but the lack of concrete resolution right at the end was quite shocking indeed.

Nevertheless - original, well conceived and well executed. Edge of Tomorrow really does keep you on the edge of your seat, and in the end just plainly and simply delivers two hours of raw, epic and intrinsic action, with just enough heart to keep things interesting.

The Great Comic Relief Bake Off 2015

Another year gone by, and its that time again - yes the majesty, hilarity and heart warming moments have been piling up thick and fast for Comic Relief 2015. And as part of proceedings, we were treated to another celebrity influx of the now iconic BBC show - Bake Off.

As we all can plainly see, this is not normal Bake Off. We know it is all in aid of fun; all in aid of charity; all in aid of Comic Relief. We do not get that many instances of "tent politics", scandal or heated competition. Just a bunch of celebs larking about whilst attempting to bake.

Like other celeb Bake Offs (including last year's Sport Relief - see my BLOG ARCHIVE) the caliber of the show greatly depends on the caliber of the people on it.

For some reason, though some of the names were recognizably big, there seemed to be a distinct run-of-the-mill feel in which they all trouped in turn to the famed tent. Whether or not this is indicative of the spirit of Comic Relief or that we are simply getting so used to Bake Off as a nation, I don't know. This time around there just was not that same sense of occasion for me.

Lets start with the baking peeps that got on my wick. Abbey Clancy was her usual airheaded, smile-and-the-crap-that-comes-out-of-me-mouth-will-be fine self. Gok Wan's style of being terribly aloof, falsely modest and horribly cavalier has never sat well with me, and Bake Off did not change that. And finally the "actor" Kayvan Novak struck me as the most terrible, smarmy, arrogant little jump start I have seen on TV for a while.

Happily however, there were oodles of familiar, fresh and fabulously funny faces to enjoy too. Highlights for me included the indomitable Dame Edna, the wry and witty David Mitchell, the sublime and superb Jennifer Saunders, the delicious and dotty Joanna Lumley, the magnificent Michael Sheen and the brilliant Victoria Wood.

Aside from the celeb bakers, the fact that they seem to need to alter the format radically for special Bake Offs has begun to irk me. Mel and Sue are simply stunningly superb presenters, as a pairing, together and united on normal Bake Off. So why they feel the need to split them up and also occasionally write them out all together for Comic Relief is a mystery to me. Keep Jo Brand on Extra Slice and get Mel & Sue back in! Also the fact that they announced "the grand winner" on a lame, drawn-out Extra Slice show and not in the tent like all the others was a bit disappointing too.

In the end however, whatever quibbles, however many pros and cons - we cannot get away that the Comic Relief Bake Off is a noble hearted and very entertaining programme and a great extension of a great British TV institution, and for that we can only be grateful.

RIP Sir Terry Pratchett

1948-2015

Pompidou

Let me be clear; I am well aware that Matt Lucas is capable of comedic greatness. We all know of Little Britain, though my favourite of his (and David Walliams) is resoundingly Come Fly With Me. Say what you like about his back catalog, Matt Lucas has been part of, written and starred in some legendary pieces of modern comedy.

Thus when I stumbled, quite by accident, on his new series Pompidou, I was severely dissapointed.

One of Lucas' first BBC solo projects since apparently parting ways with Walliams (a big mistake in my humble opinion) Pompidou is in theory supposed to reinvent the idea of silent comedy for the twenty first century, in the form of a show all the family can enjoy at 6:00 PM on a Sunday.

The thing is, it is not silent. OK there is no true dialogue, and every aspect of the plot (such as it is) is very exaggerated and flamboyantly physical. Yet there are a series of noises emanating from the characters, Lucas' Pompidou in particular. 

There are discernible words, but they often come out in either sporadic and ludicrous succession, or else with horribly grating grunts, mannerisms and facial expressions; almost like Pompidou is constantly suffering from piles.

I admit the occasional posh sound that escapes Pompidou gives me cause for the odd titter, but as an actual piece of comedy for everyone to enjoy? No. Definitely no. Maybe if Lucas marketed it to children specifically things could be different. If we saw Pompidou on CBBC in the afternoons instead than the very particular, sledge hammer hit-and-miss idea of comedy might just appeal to young children. But as far as comedy that adults can appreciate goes; Pompidou is sadly falling with a distinct plop.

A noble effort perhaps, if slightly misguided and arrogant. What I would say to Matt Lucas is simply this: make up with David Walliams and return to doing what you do best (second series of Come Fly with Me anyone?). 

Death in Paradise - Series 4

I freely confess, I have not always been an avid fan of Death in Paradise. My interest was initially peaked when stuffy English copper Ben Miller rocked up on a beautiful Caribbean beach back in 2011, yet for the following couple of years my interest wavered. Even when Kris Marshall took over last year it took a while for me to get back into it, but now with Series 4 having just finished, I am happy to say I am now a regular watcher, and I am feeling mostly positive about what I have seen. So, this is a look at the most recent fourth series, but also my pros and cons regarding whether one can actually enjoy Death in Paradise.

Firstly, the concept whilst not being the strongest of them all, is appealing. Four series in and critics have criticized the very repetitive nature of each episode plot; a round about murder mystery, always over and done with in an hour, initially pondered on but eventually solved by a quirky Englishman, aided by his native team in a fantastically exotic location. Fine, this is one opinion, and it may even be a valid one, but that is not to say Death in Paradise is not done with plenty of wit and charm.

Yes the location is important in terms of audience appeal, perhaps more so than almost every other BBC show, but it adds to the healthy amount of character and pleasant outcome that is almost always served up week on week.

Talking of character, let us look at a couple of those now.

Yes Ben Miller was a great lead, and sound choice to introduce us to the series, but I personally find Kris Marshall to be infinitely better. His DI Humphrey Goodman leads the charge with oodles of likability. Marshall's natural affable nature translates effortlessly on screen, and add this to a charming sense of wit, humour, and ability to dish out his own edge and you have a very creditable series lead.

I understand why the writers have seen off (though possibly temporarily) the delicious and brilliant Sara Martins half way through this series, but I do lament the loss of her character. The chemistry she has with every other character (especially that of Kris Marshall) is fantastic, and the moment she looked like leaving I found myself willing her to return. New female Josephine Jobert is a good addition, but I feel she would have been much better off working in tandem with Marshall and Martins, and not as an alternative. 

As I say, I am no Death in Paradise aficionado, but it seems to me that if all you want is a feisty, exotic, witty, just edgy enough hour's worth of quality BBC entertainment, than you like me must surely come round to the Caribbean crime caper. You will have your chance as happily - it is returning for a fifth series next year which I am sure will be just as sublime as the last. 

Eateries revisited: A Trilogy

It was not my intention to present three reviews of three different Lancashire pubs in this manner, yet given the relatively small time frame of the visits, plus the variation of their most recent rating, I thought it might be interesting. So, what follows is a few short words on three different places, again revisited (accompanied by the same two people incidentally - my father and grandmother). Each of which I have frequented on numerous occasions and each I have reviewed before on this blog (for the first pieces - see my BLOG ARCHIVE) but as we shall see, times and indeed impressions certainly can change...

THE WADDINGTON ARMS

The Waddington Arms was one of the first reviews I ever did, way back in 2013. At that time I loved it - charming setting, atmosphere, food and general all round experience. I praised it as being the best of pure essence of what a rural pub should be.

Why then do I rate it so low this time I hear you ask? Simple - this time they were about as welcoming as a rabid riled up attack dog. 

At this point - a note of clarification, I do not begrudge establishments such as this a full house. It can only be a good sign I suppose, when a place is bustling and newcomers cannot be seated straight away. However, as is surely common sense and as we shall see slightly later on, this is no excuse whatsoever for being aloof, arrogant and unwelcoming. Upon our arrival we were pretty much ignored by the general waiting staff, standing at the entrance for a good few minutes, and then when I managed to corner the head of front of house (who I also suspect was the owner/manager) and asked him if he had a table - I was told flatly and coarsely 'no'. He vaguely waved toward the bar hinting that we could have a drink there if we wanted and 'wait to see if something cropped up'. And that is it. Maybe I am making too much of this, in fact I know he and the experience do not deserve this many words on this blog. I just personally feel that such an overly obtuse, arrogant, abrupt, inattentive and generally rude manner can hardly do the Waddington Arms any favors. I do feel it a shame, but this has tarnished my view of the place and I would simply proffer the experience as a warning; do not always be fooled by a packed place; all those bodies could potentially be hiding staff who are simply profit-minded and who see service as something of an optional extra, perhaps even as a vague and minor nuisance.

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THE EAGLE AT BARROW

Naturally and perhaps predictably, we immediately left the Waddington Arms, and were thus forced to consider other options. Happily, help was quickly at hand, in the form of a regular staple not too far away - in the form of the Eagle at Barrow. I have actually lost count of the amount of times we have frequented here, and whilst there have been some wobbles, the service and quality have been dependably pleasant at a minimum.

By the time we arrived, time was getting on, and upon arriving we were swiftly told that lunch time service was due to end soon, However, they lost no time in sitting us down, making us as welcome as possible, taking our orders and delivering. I have to praise the Eagle staff here, who though they were clearly very busy and pressured, still managed to attend to us with a satisfactory level of warmness and cheeriness. Not to mention a degree of swiftness also, and soon we were fed and feeling better about the afternoon, our Waddington debacle behind us. 

In not too much time at all, those at the Eagle at Barrow had managed to accommodate us, and sufficiently feed and water us (which in my case included a delicious chicken club sandwich).

Yes there were faults, or rather things that could have been done better, but once again I have to thank the Eagle at Barrow for yet another positive visit and experience.

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THE PACK HORSE AT AFFETSIDE

Fast forward a fortnight and we have another visit to a relatively new find for me, in that I have only been there a handful of times thus far, yet the Pack Horse at Affetside has always delivered readily and with oodles of warmth and quality. This Saturday gone we wandered in and, though the time of day was not irregular, once again we were met with a very bustling and buzzing atmosphere; the place was packed to the rafters and once again we had neglected to pre-book anything.

Initially I was a tad worried as the level of attentiveness and consideration was slightly teetering toward Waddington Arms than Eagle at Barrow (for instance we were simply told to find a table 'if we could' and that if it was spare it was free). However seated ourselves we did and we were then able, if slightly awkwardly, to soak up the Pack Horse atmos. 

Though we were warned that food waiting times could be excessive, the wait did not seem that long. Whilst I might question the motives and determination of waiting staff who were prepared to concede defeat right at the off, I can and will praise the Pack Horse staff for still being attentive, readily cheery and resolute in their resolve to give us as swift and stylish a service as possible.

Once again the food read well and when it arrived tasted great (this time for me a hearty cheese burger). As I say the service was superb given the circumstances and most importantly of all, the Pack Horse served as a prime example of an eating establishment that is doing well enough to be full to bursting, and yet whose staff still go that extra mile in doing their up most to provide a great experience for everyone involved.