New Secret Theatre Brings Street Art to London’s SW7

London, as we all know, is heaving with secret little gems – La Bodega Negra in the basement of a Soho building with a sex shop façade; breakfast in former Victorian public toilets like The Attendant; the Secret Cinema, prohibitions parties and all sorts of entertainment – and now, The Street.


I may be biased because this new theatre space which was just built inside the study abroad center, CAPA International Education, where I work full time has seven large canvas prints of my London photography on the walls.

street steph

But it’s genuinely an awesome space for both exhibitions and performance with its fancy sprung floors, thick black box style curtain, lush velvety red curtains at the back and special lighting.


In fact, it uses new LED technology that’s supposed to revolutionise the theatre industry over the next decade and this is the first installation of its kind in the UK. They even have a fun disco setting where the lights switch colours in response to sound.

RUN at WorkRUN at work

And my favourite part about it? It contains some original street art from the fabulous British paste up artist D7606 who created a special traditional London phone box at the entrance to the theatre (first photo) and a freshly-painted mural by London-based Italian street artist RUN. (Speaking of RUN, his new Village Underground piece is now finished as well!)

RUN in progressRUN’s mural before the lights and floor were installed

I had the pleasure of meeting both D7606 and RUN as they worked on these new pieces, creating a bit of street art in West London where it’s seldom found outside of the little Ladbroke Grove bubble near Portobello Market. This is on Cromwell Road, SW7, where you would definitely least expect it.


The space was built for a new Theatre Studies program for American study abroad students who come to CAPA London, but it will also be open for public events like exhibitions, open mic evenings, storytelling events, etc for the London community as well. Watch this space for upcoming events.


The name of the theatre came from a student who said his academic program here was great but he learned so much out there on “the street”. And it’s true – as much as you can learn in a classroom, what you learn on the street is much more raw, gritty, the stuff of real life.


We launched the space earlier this week with a street theme. We had international street food catered by Incredibly Fed.

street food

Garry Hunter was there to sign his book, “Street Art of the World” which was a giveaway gift to each of the 50 or so guests.


Clementine Lovell and her Pop Up Opera came in for an energetic performance of two one-act operas – Donizetti’s Rita and Pergolesi’s La Serva Padrona.


I interviewed Clem about the Pop Up Opera which was on LLO on Monday and worth a read. She started the group with the idea of making the art form more accessible based on her experience with the more down to earth approach to opera in small Italian villages during her operatic training.


They sing in Italian with modern English subtitles, translated in a way that makes it funny rather than directly from its original language.


They use all sorts of props – from Nutella to a morph suit with balloon muscles to strands of rope.

Morph Suit

They ran among the audience quite a bit, chasing each other, rolling around the floor, singing directly to people.


My front row knee was used quite a few times as a random place to leave props from these claws to a Muscle Men magazine.


It was all very entertaining.


Before, during intermission, and after the show, there was plenty of mingling.

capa staff 1

And a few celebratory drinks.

capa staff 2

My photos, below, are hanging out on the walls of the theatre with the captions beneath them.

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It’s an exciting new space both for the students and the London community who will also have access to this hidden gem of a creative space for a variety of interesting events coming soon!

London Art Spot: Clementine Lovell

Clementine Lovell

We’re launching a new theatre tomorrow at CAPA International Education, where I work on Cromwell Road. I can’t tell you the name or the theme yet, but it will become one of London’s hidden gems. More on that later. Now, meet Clementine Lovell. She’s performing for our launch party with her company the Pop Up Opera. As you can probably gather from the photos here, she’s a lot of fun to be around and that carries through her performances. The Pop Up Opera isn’t your traditional stuffy opera performance. They use venues like caves, old boats and tunnels and get their audience in fits of giggles. They’re trying to make opera accessible for anyone. Below, I’ve talked to Clem about how they aim to reach a wider audience than your typical opera, how travel inspires her work and some of the quirkiest venues they’ve played.

L'elisir at Broome Farm photos courtesy of Bob AndersonPhoto: L’elisir at Broome Farm by Bob Anderson

LLO: Tell us a bit about yourself, your background and your interests outside of opera.
CL: My first experience of performing was singing folk songs in bars in Ireland. We went on holiday there every year and there were always live music sessions going on. Anyone was welcome to take part, and at 12 I taught myself to play piano accordion and joined in. My education until the age of 14 was at a Rudolf Steiner school, where music was a normal part of everyday life, and art was incorporated into almost every subject.

I grew up in a small village in Herefordshire, near the border of South Wales. We didn’t live anywhere near an opera house, and I didn’t see an opera until I was 21, when I was taken to see La Boheme. I’d just come out of a painful break up; the depiction of love and loss was so exquisite and real to me, and the music completely blew me away. I blubbed my way through the 2nd and 3rd acts, and was totally hooked. We always listened to folk music and blues at home, but my grandfather, the late astronomer Bernard Lovell, was passionate about classical music, and took me to concerts from the age of 8. I vividly remember seeing Elgar’s ‘Dream of Gerontius’ and being gripped by the drama of the piece. I think it was the drama and the raw emotions that we all experience that drew me to opera.

L'elisir d'amore at The Good Ship Verda photos courtesy of Richard Lakos 3Photo: L’elisir d’amore at The Good Ship Verda  by Richard Lakos

At 18 I didn’t feel ready to go to music college, although one of my singing teachers encouraged it; instead I took up a place at Cambridge University to study Archaeology and Anthropology. After my degree I worked as an archaeologist for a couple of years. I particularly enjoyed a post as Community Archaeologist, which involved a lot of outreach work like training volunteers on
excavations, and doing sessions with children in local schools.

I kept up my singing lessons, however, and as my voice started to change and develop I thought, it’s now or never. I gave up my job and moved to London, spending a depressing year temping, auditioning for music colleges and missing my old job. London initially felt like a bewildering crowded and yet isolating place. I feel very differently about it now. I got a place at the Guildhall School of Music & Drama, and began opera training full time in 2006.

L'elisir d'amore in the Brunel Museum Thames Tunnel Shaft photos courtesy of Richard Lakos 3Photo: L’elisir d’amore in the Brunel Museum Thames Tunnel Shaft by Richard Lakos

LLO: You’re the company founder and director of the Pop Up Opera. What exactly is Pop Up Opera and where do you perform?
CL: We aim to bring opera to a broader audience by performing in unusual and intimate venues. The singers are all young professional opera singers at the start of promising careers. The productions are fully staged, but then adapted to each new space we go into. Our venues include barns, bars, boats and caves.

L'elisir d'amore at The Good Ship Verda photos courtesy of Richard Lakos 2Photo: L’elisir d’amore at The Good Ship Verda byRichard Lakos

LLO: Tell us a bit about your team. 
CL: I am lucky to have a superb team on board. My stage director Darren Royston got involved right at the start and really understood what I was trying to achieve with the company. His background is in choreography and dance, and he draws on a commedia dell’arte style of acting and use of props to bring the story alive and make it clear and engaging. He is also a gifted performer and has been involved in the productions in a series of hilarious cameo roles. Darren also acts as narrator, inviting the audience to take part for example in a ‘teacup orchestra’, breaking the ice at the start of the show.

My musical director James Henshaw does fantastic work with the singers, bringing together the ensemble numbers, shaping the phrasing, setting the tempi, and working creatively with the piano reduction. I could not have got the company to this point of expansion without my amazing assistant producer and stage manager Fiona Johnston. The singers are talented young professionals, but they are also a delight to work with. They have to be able to adapt to different spaces and situations, and there is a feeling of everyone mucking in and getting involved with setting up. It’s about going out and making it happen, overcoming obstacles and being creative; there a sense that we are all part of this, and it bonds us together as a group as we get through various challenges. There’s a lot of laughter on the tour bus!

L'elisir d'amore at Lyde Court Herefordshire photos courtesy of Cameron Swan 1Photo: L’elisir d’amore at Lyde Court Herefordshire by Cameron Swan

LLO: What were some of the highlights over the last year?
The last year has been an exciting time for the company. We have gone from doing one production a year, to three seasons (four productions in 2013), and we have been getting amazing reviews and feedback from critics and audiences alike. We’ve performed in some incredible places, 100 ft underground in Clearwell Caves in the Forest of Dean. We were also featured on the BBC London news performing in the Brunel Museum Thames Tunnel Shaft. For me it is always a highlight when I have audience members write to me saying how much they enjoyed it, when they had been apprehensive about what to expect. One guy wrote to me saying his mates had to feed him loads of beer to persuade him along, he had sat near the exit just in case, but it was in fact ‘the best thing I’ve done all year… the hidden door to opera has been opened’.

LLO: One of your goals is to alter the reputation of opera and make it accessible for everyone, fun and inviting, right? How do you accomplish this?
CL: It’s a totally different way of experiencing opera. For a start the singers are just feet away from the audience, at times in amongst them and interacting with them. In an intimate space you can’t just ignore the audience, you have to draw them into the action. It also ‘breaks the ice’ and makes them feel more relaxed and involved in the story. We adapt the production to each venue that we go into. This is a challenge for the singers as each space is completely different and they need to think on their feet a lot more (we only have a few hours ‘get in’ time in each place). This keeps the performances very fresh and each one is unique. We create the ‘set’ from things we find at each venue, arriving and leaving with our suitcases of props. We don’t have the budget of an opera house, but this forces us to be very inventive and resourceful. Like many opera houses, we perform the operas in the original languages, but we have ‘silent-movie’ style captions to keep the audience abreast of the story, rather than subtitles translating every word. I didn’t want the audiences to spend the whole time looking at a screen, and to allow the music and drama to tell the story. After all, with the singers this close, the audience are more able to read the expressions and emotions in their faces.

L'elisir d'amore in the Brunel Museum Thames Tunnel Shaft photos courtesy of Richard Lakos 2Photo: L’elisir d’amore in the Brunel Museum Thames Tunnel Shaft by Richard Lakos

LLO: You’ve lived in Italy for two years and performed a series of recitals in New Zealand for a few years running. Why is travel important to you? Does it inspire your work and in which ways?
CL: When I was 12, my brother (aged 10) and I were lucky enough to travel to Africa to visit some friends of my parents who lived out there. It was the first time I’d been anywhere outside of the UK, and it had a huge impact on me. Everything was so different, so colourful, so fascinating. They were determined to show us the ‘real’ Africa, not just the sugary tourist surface. We saw shanty towns and seedy markets as well as going on safari and swimming in the Indian Ocean. It was a wonderful experience and left me with a thirst for travel and other cultures. It’s probably what inspired my interest in archaeology and anthropology. I’ve travelled a lot, in most circumstances with my archaeology (excavations in Italy and the West Indies) or with my singing (I have performed in France, Italy, South Africa, Canada and New Zealand). It’s often people who have brought me to a place, friends from school and university. At our wedding last year there were 19 different nationalities!

My inspiration for starting Pop-up Opera came partly through my experiences of living in Italy as part of my operatic training. I noticed that opera is performed in the smaller towns and theatres, not just the large cities and traditional opera houses, and that it is appreciated by a much broader section of the population. I felt that opera in the UK was perceived as being more ‘elitist’ and this along with other other stereotypes put many people off going. I wanted to help change the perception that opera is stuffy and formal, and to bring new audiences to opera. I wanted to break down the barrier between the audience and the performers, and to make the story come alive in an intimate environment where opera was engaging and inviting.

L'elisir d'amore at Lyde Court Herefordshire photos courtesy of Cameron Swan 2Photo: L’elisir d’amore at Lyde Court Herefordshire by Cameron Swan

LLO: Pop Up Opera have performed in some pretty quirky places, from a Victorian poor-house to caves and a tunnel under the Thames. Which has been the most unusual? And which has been your favourite? Why?
CL: It’s hard to pick a favourite, but the Thames Tunnel has to be one that stands out. The acoustics in there are like a cathedral, and it’s brilliant watching people’s reactions as they climb in through the tiny doorway and down the scaffold stairs. It’s a totally unexpected place for opera, but it worked so brilliantly in there. Another favourite is the Good Ship Verda, an amazing houseboat made of scrap metal in Shoreham (near Brighton). The ‘room’ we performed in seated 60 (at a squeeze) and was made from the top half of an old bus, with a piece of fighter plane welded into the ceiling. What really made this venue though was the audience. Many of them had never been to an opera before, but they absolutely loved it, and were laughing and cheering the whole way through.

L'elisir d'amore in the Brunel Museum Thames Tunnel Shaft photos courtesy of Richard Lakos 1Photo: L’elisir d’amore in the Brunel Museum Thames Tunnel Shaft by Richard Lakos

LLO: Tell us about your latest show. Where can we see it?
CL: Two one-act operas, Donizetti’s Rita and Pergolesi’s La Serva Padrona, take place on the same stage, their scenes and stories intertwined. One mute servant appears in both, tying the two tales together. A scene of commotion arises when the dominating Rita and her timid husband Beppe receive an unexpected visit from Rita’s first husband Gaspar. Each believing the other to have died, Gaspar unknowingly arrives seeking Rita’s death certificate so he can remarry. Beppe sees it as an opportunity to escape, as Gaspar is still Rita’s legal husband. The two men agree to a game, the winner of which will have to stay with Rita. Each of them tries to lose, but Gaspar cunningly manipulates Rita and Beppe to fall in love again. Meanwhile, wealthy old bachelor Uberto is kept under the thumb of his maid Serpina. He enlists his manservant Vespone to help him get rid of Serpina by finding him a wife. Serpina convinces Vespone to trick Uberto into marrying her. Their elaborate plan works and by the time Uberto has agreed to marry Serpina he realises he has loved her all along. See tour dates and venues list at the end of the interview.

LLO: Give us your best London food and drink recommendations.
CL: I love Bar Nightjar, a 1920’s speakeasy style cocktail bar on the City Road near Old Street. They have the most incredible inventive cocktails, and fabulous live swing and blues bands. Dress up 1920’s style and book one of their little booths on band nights. Another great drinking place is Evans and Peel Detective Agency in Earl’s Court, which looks like a shop doorway from the outside and has a prohibition era style bar hidden behind revolving bookshelves. Entrance is by appointment only; you have to present your ‘case’ to a secretary sat behind an old typewriter before she lets you in.

One of my favourite eating places is the thai restaurant in the Churchill Arms pub in Notting Hill. I took a Thai friend there and she said it was the closest thing to home cooked food she’s had outside of Thailand. There is also a Michelin star restaurant on Abingdon Road, off High Street Kensington, Kitchen W8, which does bring you own booze without corkage charge on Sundays. It makes it affordable for a really special occasion. Borough Market is a must for food sampling and tastings.

L'elisir d'amore at Lyde Court Herefordshire photos courtesy of Cameron Swan 3Photo: L’elisir d’amore at Lyde Court Herefordshire by Cameron Swan

LLO: As a singer, sound is obviously a strong sense for you. When you think of London what influences your other senses – smell? touch? taste? sight?
CL: Taste definitely, as London offers an amazing array of eating options and discoveries and I would happily eat my way around the city. My favourite sights in London are the view from the top of Richmond Hill, sitting outside the Roebuck Pub with a pint in hand, looking down at the river below; driving over Chelsea Bridge with pink sky and the lights on the bridges twinkling; sitting on the top deck of the number 9 and 10 buses, passing the Albert Hall, Green Park and Piccadilly; blossoms in the streets around Kensington, and the first snowdrops coming out in Hyde Park signalling the end of winter.

L'elisir d'amore at The Good Ship Verda photos courtesy of Richard Lakos 4Photo: L’elisir d’amore at The Good Ship Verda by Richard Lakos

LLO: Best London discovery?
CL: When we performed in the Brunel Museum Thames Tunnel Shaft, I discovered their amazing Midnight Apothecary Cocktail Garden. Lotte Muir makes delicious cocktails from ingredients grown in the garden, and they serve up hot snacks such as venison burger or wild nettle pasties. For a lovely little acoustic music session where anyone is welcome to join in, my favourite place is the Monday Club at the Watermans Arms, Richmond. Run by Irish landlord Bill, the pub hosts musicians of all ages and levels on a Monday evening. It’s a wonderful atmosphere, and the perfect place to perform for nervous first timers. There are always regulars so there’s a special kind of banter and new people are always welcome too. Anything goes, from folk tunes, to singer songwriters, to spoken word.

Another passion of mine is swing dancing and the music of the 1940s. My husband and I go social dancing once or twice a week and it’s a brilliant scene. I would recommend the London Swing Dance Society which holds classes on a Tuesday in Holborn, and has
some fantastic social dance night with live bands. Jitterbugs in Marble Arch on a Wednesday is another good one.  For a complete listing of swing events in London, Swingout London is a great site

L'elisir d'amore at Lyde Court Herefordshire photos courtesy of Cameron Swan 6Photo: L’elisir d’amore at Lyde Court Herefordshire by Cameron Swan

Thanks Clem!

Check out the Pop Up Opera website:

Tour Dates and Venues:
11th June 6pm New theatre launch, CAPA International Education, Kensington
13th June 7.30pm The Sun Tavern, Covent Garden
14th June 7.30pm The Spike, Guildford
18th June 7.30pm The Bull, Highgate
21st June 8pm Lyde Court, Herefordshire
25th June 7.30pm The Sun Tavern, Covent Garden
29th June Islip, Oxfordshire
3rd July 7.30pm The Steiner Academy, Herefordshire
5th July Touring (venue details coming soon)
7th July 4pm Broome Farm, Ross-on-Wye
10th July 7.30pm The Battersea Barge, Chelsea
11th July 7.30pm Battersea Mess & Music Hall, nr Clapham Junction
13th July 7.30pm The Creek, Thatcham SOLD OUT
14th July 4pm The Creek, Thatcham
16th July 7.30pm The Turk’s Head, St Margaret’s
18th July 7.30pm Brighton Market tbc
20th July 3pm The Brunel Museum Thames Tunnel Shaft
23rd July 7.30pm London The Bull Highgate tbc
24th July 7.30pm Dalston Department Store, Dalston

Listen to a Londoner: John Christian


John Christian has lived in London since 1989. His fascination with this city as well as his career in international education started with a semester abroad during his undergraduate years at SUNY Oswego in New York. He is now the President /CEO of CAPA International Education, which brings American students to London and other global cities around the world. 

Below, John talks about how CAPA students connect to Londoners, how London has changed since his own study abroad experience in 1986 and how he fights the stress of being a CEO of an international organisation in such a fast-paced city.

LLO: Where are you from originally, how long have you been in London and what brought you here? 
JC: I am originally from Troy, New York (which is Upstate NY). I first came to London in Spring 1986 on the SUNY Oswego London program where I studied abroad. After that, I did what a lot of people do and started researching ways that I could come back. My first time back was in November 1989 when I returned to London to be the director of the SUNY Oswego London program – the same programme that got me started in this field. I have lived here ever since.

LLO: As President / CEO of CAPA International Education, tell us – what is CAPA?
JC: CAPA International Education is an international education organization, or IEO as we call it. As an IEO, CAPA hosts academic programs for students from American institutions to learn abroad. All of our programs are located in global cities and focus on the exploration and analysis of the many layers of complex social, political, economic and cultural issues that exist in these unique environments. We currently bring about 2,000 students abroad every year.

Not everyone wants to do a full semester program or join a CAPA program, so we also create programs that align with an institutional or departmental identity. These are called specialized programs. They are unique because each one has its own academic identity. An institution or department can draft a different curriculum based on a program like theatre or business and create a program around that. Then CAPA helps them to identify the location, cost, academic opportunities, internships and all of those things that make it a program designed by the institution but hosted by CAPA.

LLO: How many students does your organization bring to London each year? 
JC: Out of our 2,000 students, 60% actually go to London. It’s our largest destination and Open Doors will tell you that it is THE largest destination for learning abroad – at least the UK as a whole, but the primary location there is, of course, London.

LLO: You have programme sites in eight global cities around the world. Where are the others and what makes London so popular?
JC: London is popular because it is, in terms of global recognition, one of the world’s top cities. When you take that global recognition and add that it’s English-speaking, and to many American students appears to have cultural similarities to the US, it is a great option for a learning abroad experience. Of course once they are here they soon discover the many differences in values, politics, culture and so much more that makes Britain what it is. The other CAPA program locations are Beijing, Buenos Aires, Dublin, Florence, Istanbul, Shanghai and Sydney.

LLO: You’ve recently given a generous gift of $200,000 in scholarship money to your alma matar, SUNY Oswego in New York. Tell us about this donation which will bring students to our wonderful city who may not have had the chance to come otherwise. 
JC: It’s a gift I have wanted to present to SUNY Oswego for some time.  My experience there as a student and later a member of the professional staff at the study abroad office shaped my career and life work in learning abroad.

The gift serves both the institution and the student community. The Office of International Education and the Institute for Global Engagement out of the President’s Office can actually use $100,000 of this money to look at how they can take some of their curricular strategies and internationalize them, therefore getting faculty and administrators abroad. The second part of the gift is for students who are financially challenged to a point where study abroad is not something they’d think about because they do not believe that they would ever come up with the resources to do so. So, that’s the other $100,000 in full fee scholarships bring students to our London and Beijing programs.  Two students each year for the next three years will have access to these funds. The funds are in honour of Dr. José Ramon Pérez who was my director at SUNY Oswego and very much a mentor to me, not only for his understanding of how to build and manage sustainable academically rigorous programs, but for his belief that every student should have access to these programs.  This commitment to accessibility remains a focus of my work and certainly is a core value of CAPA International Education.

LLO: In such a technologically interconnected world, why is study abroad still important and how is CAPA keeping up with the changes in the field of international education that such interconnectedness has brought about? 
JC: That’s a really good question and it’s scary how technology has enabled us to live and connect globally at an instant. I think that the problem is that we communicate less thoroughly and less intimately. Study abroad still has a role in the understanding of people in human terms that cannot be satisfied by technology.  However, it does have a strategic place in how we enable students to connect to each other while abroad and to reflect on their experiences through blogs and other social media forums.

At CAPA, we are actually building our own system called MyCAPA which allows students to get involved in the decision making and planning of their own experience by choosing how and what they will learn on our programs.  This forms a planner which reflects their choices and helps them maximise their time abroad. IT also gets them involved in discussion groups both on and off line that serve as a reflective tool for them to process their experience with faculty and students throughout their program. We are rolling our new system out this term and look forward to the feedback the current student body will give us on the development of this technology.

LLO: How do American students studying with CAPA integrate into London life and interact with Londoners? 
JC: This is a difficult question to answer as  it is unique to each individual based on their interests, comfort zones and choices.  What I do know is that CAPA presents every student opportunities to engage with Londoners through internships, clubs and community events through our MyEducation strategy.  We encourage our students to go out and engage with people and definitely create pathways for them to meet Londoners and build relationships. In the end, they also do this in so many other ways – when they’re on the tube, when they’re walking in the street, at the grocery shop, etc.

LLO: In which ways has London changed since your own study abroad experience here in 1986? 
JC: A lot. That’s a really tough one. It is really different in 2013 from when I landed here in January 1986. I know I had a very romantic view of London when I was a study abroad student. We all did, right? It was my first time out of the United States, so I was dumbstruck. I was one of those student who really had never lived in an urban environment before so I had that going on, I had the big city around me going on, busses and trains and planes and hustle and bustle. I had what I would say was a much more English city experience, but I wonder if that’s because I was in a romantic study abroad bubble. I had a lot of English friends, went to pubs with English people and really made an effort to learn from locals what London meant to them. It was also  a smaller city in 1986. It was as commercial as it is today but it wasn’t as obvious because advertising, marketing and technology have all risen to a new degree in 2013. London seemed more intimate than now where it’s more anonymous. Many people actually prefer this anonymity I think. Back then, no one spoke on the tube and there were much more strict urban codes about queuing, and street side manners.  There are always references to these things when people refer to “English London”, but they are less and less an expectation of the many tourists and people who live here.

LLO: I only have one night in London and want to go somewhere nice, away from the tourist trail, for dinner and drinks. Where would you recommend ? 
JC: The East End, definitely – a walk down Brick Lane. There’s so many different restaurants so it depends what kind of food you like, but there’s amazing locally-run curry houses there. You’ll meet some Bangladeshi, Indian or Pakistani local cooks and get some unique food. The whole area has developed like London has, so it has a commercial side to it, but still very much has the East End edge and history.

LLO: One of your favourite activities outside of CAPA is keeping fit. Do you have any tips for Londoners? How do you fight the stress of being a CEO of an international organisation in such a fast-paced city? 
JC: I use running and weightlifting to make myself feel really for each day – not just physically, but mentally. I think it’s up to the individual what you do. It isn’t even about physical appearance – that’s a nice consequence to it – but actual physical exertion just drains the body enough to replenish itself and like a battery it gets stronger. I think it’s actually really important for the mind. That’s what helps me manage the variety of tasks and challenges I have in this leadership post. That could also be achieved by a long walk, jump roping, some other mental exercise like pottery or yoga. The second part is diet. I don’t think people have to live by a code that discounts anything, but a balance that allows for everything without exaggerating it. My golden rule is to control your ingredients. It’s a big one for me. I like to eat out, but when I can I try to buy healthy things I make my lunch with and certainly cook a lot so I know what I’m putting into my own food. That way I can see the nutrient value, fat content, etc.

LLO: What is your favourite London discovery?
JC: My latest? The Shard. Have you seen it? It’s phenomenal.

Thanks John!

For more about CAPA International Education, visit their website.

CAPA also has a blog called CAPA World (which regularly features posts about all CAPA sites including London) and a presence on Twitter, Facebook, Pinterest and LinkedIn.