I had forgotten how handsome the Margate House Hotel is. A colour scheme worthy of a Coat Paints collaboration. Unexpected art on the wall. Botanical smelling loos.
We popped in to try out Willy's new menu put together by the restaurant's new Head Chef Lewis Johnson, who found himself working in the pink-hued restaurant two days after relocating to Margate from Qatar about three weeks ago.
It was ideal muggy evening eating; light and bright and with apple-crisp white wine. Although Andy ate his cured sea bream starter at a speed that was both impressive and mildly gross, I managed to nab a fork full of plump fish that had been sitting in a sunny orangey brine and sharpened with fennel shavings and pickled cucumber. Delicious.
Equally summery, the peas and chopped asparagus rolled in a pesto-like basil puree and sprinkled with toasted sunflower seeds for crunch was just as lively.
The braised pulled lamb was rich and tender. The tawny gravy so glossy and full of meaty deliciousness, I wanted to mop up the remnants with bread or a finger. The drizzling of peas and broad beans kept things fresh and light. The harissa butter bean and red pepper casserole would also work as a winter comfort dish. Earthy and hearty, it was brightened with dollops of zesty chimichurri and would have probably been demolished in great haste had it not been served piping hot.
And if champagne sorbet is on the menu when you visit, order it.
We backed this up with drinks in the charming front bar before moving on to The Last Light, which is always a good call. Woke up to a dusty head and a hungry seagull attacking someone's garbage and redistributing it across the street. A fairly classic Margate night in my books.
For our interview this week, Folkestone choreographer and filmmaker Sidonie Carey-Green tells us about what it was like teaming up with Kent artists including Margate composer and Social Singing Choir chief Hughie Gavin for her latest project, Liminal. Premiering at Kollectiv Gallery in Folkestone as part of Refugee Week, the film explores the migrant experience and the "weight of being seen, judged, and acknowledged".
