It has been widely expected that tens if not hundreds of cultural venues will not be receiving their regular grants this year, the venues will have to look at ways of increasing their revenue with various forms of promotions to cater for the conference and the corporate hire industry. This will inturn be good news to the event industry as more venues will open up to the ideas of private hire. This will also mean more competetive prices and a greater competition for the commercial venues and function rooms.

Certain Ballet Companies have already been told that they will receiving lesser funding this year. The companies that will be directly affected by this decision will be external event hire businesses and production houses. These companies are normally called in by the cultural venues whenever they have something other than their regular events or shows.

Of Course Arts Organisations are lucky to get funding in the first place from the goverment unlike many countries where this is not heard of. These organisations should no be complaining as the public have funded them for 100s of years, yet mostly only a fraction of the public have enjoyed the facilities provided by these venues.

The time has basically come for those who have depended on these grants to start making some form of effort to make their venues profitable. There will be those who will be loosing their jobs soon. As long as this exercise does not lead to what happened in the NHS where the same staff were then hired as freelancers contractors and paid two to three times more, thus sending these venues into debt spiral.

Many will argue that these grants should not have been given to these venue organisations in the first place as it holes no intrinsic value and needs to stand on its feet like sports has, it has to become self financing.

All said and done, numerous opportunities will present itself to the London venues that have lost their funding or seen it cut as the Olympics close in, many of these venues will can be used to host press and event companies from abroad who will be here to support their countries logistic and media requirements.

What the organisations will hope for that the normal funding for these venue activities with theatre shows, ballet companies and drama societies will again start to receive their funding by 2013.

Conference organisers and corporate clients are aware of the fact that how crucial it is to choose the perfect venue when it comes entertaining, hosting, presenting and engaging corporate or goverment agency clients. Venues for London has a lot to offer with, pricing packages and unique party and conference venues for hire.

With a huge range of Conference Venues within Central and Greater London, it can be very complex process when choosing the ideal conference venue in London to . Apart from selecting from a range of London venues, it is equally important to ensure the desired location, facilities, food packages, AV requirements, Staging, Podium availability, licensing timings and venue restrictions.

Keeping in mind all their customers, special needs and their limited time to make decision or hunt for their required venues, Venues for London is able to present some of the best options along with its dedicated team of professionals venue finders.  Choosing from a wide range of function rooms,  halls to hire, historic venues, unusual venues, museums, livery halls and even hotel venues will be effortlessly presented.

Each venue presented will offer world class facilities which in turn ensure that the participants will feel that their time has been well spent and utilised.  Venues for London is a one stop destination to some of the leading central London and Greater London Conference Venues.

Last week saw music fans despairing at the news that London’s historic 100 Club venue on Oxford Street was facing closure.

Could it really be true that the birthplace of British punk rock and a home to British jazz might be no longer? Yes, basically. The Evening Standard reported that the venue is under the threat of closure due to spiralling overheads – its rates bill has hit £4,000 a month while landlord Lazari Investments now charges rent, with VAT, of £166,000 a year. Owner Jeff Horton is now looking for a buyer or major sponsor to step forward to keep the club open.

Cue people on Facebook getting themselves all in a tizz, furiously stabbing the “create group” button with their pitchforks, and writing things like: “We have to stop this, otherwise the venues that have shaped the greats and will shape the future of music will be gone.” It’s the sort of sentiment that could feature within the paraphernalia of the vile O2 British Music Experience at the old Millennium Dome – if those words had been run through a spellchecker and had an O2 logo stamped atop.

There’s been an uprising of British punks, too, the sort you see mugging for the camera on the back of London postcards, spouting statements like their “heritage” is at risk.

Me? I’m not too sure about all the fuss.

It’s been a good decade, probably two, since the 100 Club served any sort of function in shaping popular music’s future. The venue has become akin to a British take on New York’s CBGB club, which itself closed in 2006 – the sort of place where record labels sporadically place their edgier new acts to garner a bit of reflected punk cool from the fact the Sex Pistols once trod its rickety red boards. Said acts don’t even have to be new; I saw Towers of London there in 2007, after Donny Tourette had escaped from Big Brother. Well, I say saw; I watched two songs, thought “life’s too short” and went to hang out in the video game shop next door.

And I was also part of the press throng that saw the Horrors play in 2006 and every night of Gallows’ four-night stand in 2008. Both bands’ appearances were exciting, but don’t tell me those bands’ live agents didn’t know the significance of booking their shows there. Unlike Brixton’s Windmill venue, Shoreditch’s Old Blue Last, Elephant and Castle’s Coronet Theatre or Stoke Newington’s late, great Bardens Boudoir – venues that really can hold a claim to being the cradle of British music’s future – I’ve never just walked in, seen something brilliant and unexpected and skipped home thrilled. Far from being a home of new music, the 100 Club merely serves an important marketing purpose for a modern music scene obsessed with authenticity.

As for the punks’ claims of their heritage being destroyed, that’s the most galling claim I’ve heard. I’ve got Black Flag bars inked on my skin, I’ve got a favourite Crass B-side, and the 100 Club says as much about my heritage as my local Greggs does. I never thought punk rock was supposed to be about heritage, or monuments, or even bricks and mortar. It’s a transcendent spirit, it works in your head, in your bedroom or in a music venue. I thought punk was about ideas, anger, being disconcerting about who and what you respect, about questioning the status quo (especially Status Quo). But if you are looking for the home of modern punk rock in the capital then The Fighting Cocks in Kingston upon Thames has much more of a claim to that title than the 100 Club does.

The sad part of this story is that London might just lose another inner-city venue, which, looking at the gaping void left by the Astoria every time I walk down Charing Cross Road, is depressing, especially when it’s one that isn’t branded with corporate sponsorship like so many other venues in the city.

It would be nice if people’s ire was fuelled with that sort of honesty, and not with making claims for the venue’s significance and purpose that are as dead and as stupid as that other punk relic Sid Vicious.

So did the the quangos create this highly lucrative industry?, the boom times were definetely around 1997 – 2007, then the recession slowed things down from 2007 – 2010  but the labour goverments spending policies meant the industry was kept at a sustainable level.

The industry spoke about cancelled jobs and a slow down in business and cost cutting measures to keep things going, now they are talking a completely different language, they are not talking about keeping things going, but many conference related event companies are talking about the best way to close things down without making massive looses.

So, other than the end of quangos, who are the real loosers? The Creative Industry worker

The Fringe, under new director Roise Goan, decided against booking a Spiegeltent – an expensive venue to hire and run, but which more or less broke even for the festival – for 2010 as it wants to be able to programme music that is “more in keeping with what the festival has grown to be about: riskier, more local and interesting, less commercial”, says Goan.

“As the festival was the first to bring the Spiegeltent to Ireland, it feels it should lead the way with a new exciting venue for those works to be programmed into.”

This year the tent will be back at its George’s Dock setting, moving from Iveagh Gardens because, although the Secret Garden last year was “a dream come true”, it was a one-off, and the economic climate, “combined with the practicalities of the programme” planned for the Spiegeltent, “make George’s Dock the perfect location for the Spiegeltent’s final party at the Fringe”, says Goan.

The festival (September 5th to 20th) is presenting the final fling as a last chance to catch the Olivier Award-winning La Clique. A sort of risque variety show with a revolving panel of cabaret, burlesque, circus and contemporary vaudeville acts,it has almost become a franchised entertainment show, and has travelled the world over the past three years, even spawning copycats.

A bunch of returning acts will be joined by new performers, including: a Lycra-clad baritone, Le Gateau Chocolat; aerial poetry; and roller-skating double-act the Skating Aratas.

There’s also a new late-night, more risque show, La Clique Up Late, on weekend nights, for which online advance sales are already open. The show comes to Dublin after a nine-month residency at London‘s Hippodrome, which ends next Saturday, before one of London‘s great theatrical venues is bulldozed to make way for a casino. See the websites fringefest.com, and corkmidsummer.com

Thinking big

Baboro, the long-established mother of Irish children’s arts festivals, is hooking up with European network Small Size, to present work for “early years” in Galway over the next five years. Small Size is a European network of cultural bodies, with its headquarters in Italy, that creates, collaborates and produces work for children up to six years of age. Early-years art has probably been a bit of a poor relation in the past, but there’s a big focus on it now: in the past month in Cork, La Baracca Theatre, international specialists in theatre for the very young, had an event in Graffiti Theatre, and the Half Moon Theatre had an early years show; Draiocht’s annual festival Spreacha has just finished and they’re planning The Gathering, a conference on theatre for young audiences in October, and Baboro’s Early Years Conference, Natural Born Artists (Oct 17-18) is being finalised.

Earlier this year, the Small Size, Big Citizens project was announced, and has nailed down more than [euro]2 million in funding from the Culture 2007-2013 programme of the European Commission to invest over five years. Baboro International Festival in Galway is one of 11 partners in Small Size, which includes theatre companies in Spain, Finland, Slovenia, Germany, Hungary, Italy, the UK, Romania, Belgium and France. The total value to Baboro over five years is about [euro]80,000, including just under [euro]10,000 specifically for its October conference.

Baboro’s manager Teenagh Cunningham is delighted to be “part of an international cultural forum. A five-year project allows us to think big, have time to work on the long term, to set up processes and see the results, to plant seeds and watch them grow.” Small Size aims to increase children’s creative potential and exposure to European cultural traditions.

- There was a distinctly upbeat attitude at Theatre Forum’s recent conference, and while everyone is undoubtedly feeling the pinch, some are refusing to lie down and die. Touring got a brief boost with the Arts Council’s Touring Experiment in recent years, and for two years people all over Ireland got a taste of varied theatre, music, dance and visual art that couldn’t have toured unsupported. The report on the Touring Project has yet to be published, and although individual touring projects have been partially supported, there is no strategic policy on touring. In the vacuum, some are just getting on with it.

The North Midlands Arts Development Network (Nomad), an alliance of venues with theatre company Livin’ Dred, was set up a couple of years ago and in 2007, worked with Livin Dred’s Conversations on a Homecoming, and on The Dead Schoollast year, which both had great houses and critical reaction. The Dead School,which was nominated for threeIrish TimesTheatre Awards (best production, best actor – Sean Campion, and best costume – Maree Kearns), will now be seen at the Dublin Theatre Festival this autumn.

Next, with a [euro]125,000 Arts Council grant, Nomad is planning its third production, Observe the Sons of Ulsterby Frank McGuinness. Livin’ Dred’s Padraic McIntyre says it’s “a play that for years I have been champing at the bit to direct and with the cast and creative team we are putting in place I believe it will be a truly great production of what is without doubt one of the greatest Irish plays of all time.”

It opens in An Tain Theatre, Dundalk, Co Louth on October 29th and tours to Backstage Theatre in Longford, Droichead Arts Centre in Drogheda, Co Louth, Iontas Theatre in Castleblaney, Co Monaghan, Mullingar Arts Centre, Ramor Theatre in Virginia, Co Cavan and Roscommon Arts Centre.

Article from:The Irish Times Article date:June 20, 2009Author:DEIRDRE FALVEY

Venues for London regularly help business’es to organise these business and investment conferences.

Various venues have now been booked for the London 2012 Olympics, this will be a time where media companies will get to interact with others and network for future international work.

Transport for London’s efficiency will be tested to the full during the Olympics as international media, spectators and athletes travel from one venue to another. The Oyster card will be the most favoured form of payment for everyone to get from one point to another if they are using the busses, trains and undrground services.

Communication companies will be challenged as well to provide uninterupted high speed broadband services to the media and the contingents from around the world.

The fragile state of the economy in the US and elsewhere means that designers are having to fight even harder for critical and commercial success. New York fashion week alone is expected to generate $770m (£500m) over the year for the city. But as designers unveil their collections for spring 2011, a question mark hangs over the future of the catwalk formula in the face of technological advances, scheduling complications and infighting.

British brand Burberry, due to show during London fashion week in nine days’ time, is leading the charge with its quest to speed up the fashion cycle.

Earlier this week the label announced a new concept, dubbed Burberry Retail Theatre. When the new collection is launched the show will be broadcast live to 25 of its stores worldwide. The invited customers will then be able to browse the collection on iPads and buy selected outerwear and handbags immediately for delivery in seven weeks’ time. It is hoped this move will shorten the usual six-month cycle of buying and production. Burberry is at the forefront of catwalk live-streaming, which has been embraced by big brands including Prada and Dolce & Gabbana over the past two seasons.

Fears about insensitive scheduling have caused problems. The New York event was criticised for scheduling several catwalk events during the Jewish festival Rosh Hashanah earlier in the week, but the Council of Fashion Designers of America asserted that it had no option but to clash with the Jewish holiday. The New York Times has reported that a synagogue close to the Lincoln Centre was offering services for fashionistas stuck at the shows.

Milan fashion week has raised eyebrows over its decision to beef up its schedule. Last season the event was squeezed after Anna Wintour, the editor of US Vogue, announced she would only attend the event for three days, forcing designers to reshuffle their shows, and smaller designers to miss out on media coverage.

This season the heavyweight brands with major advertising clout, such as Armani and Gucci, have spaced themselves out evenly, elongating the event and forcing editors and buyers to stay in the city for longer.

Giorgio Armani praised the changes, stating that it demonstrated “that we Italians, if we really want it, are perfectly able to assert ourselves”. As a result the Milanese event starts before London fashion week is officially over, clashing with a final day of menswear shows.

As a result of these challenges each of the four fashion cities – New York, London, Milan and Paris – are seeking to increase their individual appeal. Both Milan and New York boast shiny new venues.

Next weekend guests at London fashion week will attend shows sponsored by Topshop at the old Eurostar terminal in Waterloo station. The city will host a range of events, from big catwalk shows by Burberry to smaller shows by brands that are growing in influence, including Erdem.

Paris fashion week is expected to play to its creative strengths. There will be a strong showing for British names. This season Sarah Burton will show her debut collection for the Alexander McQueen label and Giles Deacon will debut his collection for Emanuel Ungaro, the label that was openly criticised in recent seasons for employing Lindsay Lohan as its artistic adviser. These names will join British stars who already show in Paris, including Stella McCartney, Gareth Pugh and Phoebe Philo for French luxury brand Céline.

Highlights
New York (9-16 September)

Tommy Hilfiger will celebrate his 25th anniversary in the business. Victoria Beckham will add handbags to her label’s repertoire. Tom Ford is to debut his first ever womenswear collection.

London (17-22 September)

Samantha Cameron’s favourite label Erdem will showcase his spring collection. Giles Deacon’s own label returns to London after a stint in Paris and Miriam Clegg will make her first LFW appearance to open EcoLuxe an ethical luxury showcase.

Milan (22-28 September)

“Unmissables” include Prada, Armani, Gucci ,Versace and Dolce and Gabbana.

Paris (29 September to 7 October)

Sarah Burton will show her debut collection for Alexander McQueen, Giles Deacon will debut at Emanuel Ungaro and the most influential designer of the moment, Phoebe Philo, unveils her latest collection for Celine. The high street seamstresses will be paying strict attention.

London, UK(PRWeb UK) May 31, 2010 — The launch of the new W12 Conferences website makes life easier for anyone choosing between London conference venues or planning events in the capital or elsewhere in the UK. As well as comprehensive information on event management, the new site makes it easy for organisations to mix and match from 11 different-sized rooms and suites to ensure the perfect London conference venue.

Few London conference venues offer W12 Conferences’ range of choice, or its combination of modern, newly-refurbished facilities and event services. As expected of top venues in London, W12 Conferences is easily accessible by private or public transport. With such a well-equipped, convenient location just west of Paddington, anyone contemplating venue hire in London need look no further for their needs. The venue even boasts a convenient location near to Westfield, Europe’s largest indoor shopping complex – how many conference, meeting or event venues in London offer that?

Conference facilities

For a leading conference services provider, conference facilities should mean more than just rooms and AV-equipment. As one of the leading conference facilities in the UK, W12 Conferences offers clients a highly experienced team. It’s the key to getting the most out of any conference facility in London. Along with a particularly convenient location amongst London conference facilities, this can make the difference for anyone requiring a conference facility in the capital.

Conference meeting rooms in London

A visit to the new website will reward anyone seeking a meeting room in London. A versatile selection of conference meeting rooms features strongly. Although some conference rooms in London don’t have air-con and daylight, these do, making them amongst the more delegate-friendly conference rooms London offers. With a choice of 11 different-sized meeting spaces, choosing meeting rooms in London couldn’t be easier than on the new site.

Event management services

The new website is packed with details of event management services for discerning organisations. Not all event management companies have their own 11-room London venue; W12 Conferences does. The company’s experienced event management team also provides a full event management service across the UK. From quad biking in Wales to a medical conference in London, the skills of this experienced event management company are just a few mouse clicks away.

Event marketing

The new W12 Conferences website also highlights the proven event marketing skills of what is clearly an experienced event marketing company. Events marketing involves much more than just mail shots. From ensuring full understanding of an organisation’s marketing strategy to arranging dedicated mailings and event websites, the W12 Conferences team takes the hassle out of event and conference marketing with a professionalism that many other event marketing companies can surely only aspire to.

Event organisers

Visiting W12 Conferences online will help you see why we have such a good reputation as event organisers – delivering successful events. It’s what professional event organisation is all about – the perfect venue, supported by the meticulous event planning and delivery that only the best event planning companies can offer. Whether an event is in London or elsewhere, W12 Conferences, as the new website shows, is a leading event organiser delivering an experience delegates will remember for ever.

Conference organisers

Professional conference organisers free clients to get on with other business activities – and then enjoy the conference and the kudos it generates! The new W12 Conferences website details the conference event management services available from this expert team – and their versatile 11-room venue in West London. Conference management or a conference organiser plus venue? Either way, the services of our experienced professional conference organisers is just a few clicks away.

Speaker and delegate management

Everyone knows that high-quality delegate and speaker management turns mundane events into amazing ones. From efficient delegate registration support to sourcing the world’s leading conference and event speakers, the new W12 Conferences website unlocks the door to trouble-free delegate management and speaker management for large or small events. Naturally, the website contains full details of all W12 Conferences delegate management services and a fast way to contact the London-based team.

Need a conference centre or reliable event management support? The new W12 Conferences website is an easy-use showcase for this versatile conference centre and its professional UK-wide event management team.

THE O2 Arena in London has been named the top arena in the world at the Billboard Awards. The awards honour the music industry’s top artists, professionals and venues based on the Billboard Boxscores chart. This is the first time the North Greenwich landmark has won this award, taking the accolade from Madison Square Gardens in New York which has won for the past five years.

The award follows the London venue being crowned the world’s most popular arena just a fortnight ago by Pollstar, which showed The O2 had sold nearly 1,600,000 tickets so far this year. On receiving the reward, Chief Executive and President of AEG Europe David Campbell said: “Thank you to the entire AEG family for helping create the world’s most popular music venue in London. “The O2 has generated more than 2,500 jobs in London and this award is for those people. “We are a bit biased but we think The O2 is a very special place, and we particularly want to thank the 600 artists who have played since we opened just over two years ago. “In otherwise difficult times it’s great that music, and particularly live music, can make a positive difference to so many people.”

David Campbell is talking about the O2 Arena when he calls it “The Dome”. He moves to correct himself, but hesitates. “Actually,” he says, “after all this time I think we can go back and talk about The Dome now. There was a silly period when no one would talk about it at all. Then there was a period when it was only ‘The O2’, we couldn’t say ‘The Dome’. Now it’s called the tent.”

It has been called a white elephant, too, and an £800 million flop, but the Government’s once-maligned Millennium Dome has, finally, after years of growing pains, come of age.

The O2 Arena is one of Britain’s best-known venues and arguably the world’s most popular, having sold almost four times the number of tickets of New York’s iconic Madison Square Garden last month. Audiences have been drawn by live acts as varied as Coldplay and Bon Jovi, the rock bands, to Andrea Bocelli, the tenor, and Michael McIntyre, the comedian.

But for Mr Campbell, the O2’s chief executive, the success story can be greater still. “We’re trying to get into more and more different areas,” he said. “The key to making a building like this work, and making money out of it, is being highly flexible — you’ve got to be able to adapt for everything.”

That means, inevitably, the Olympic Games, looming ever larger, in 2012. The Olympic Park may be going up in Stratford, on the other side of the Thames, but the gymnastics and basketball events will be staged in Mr Campbell’s tent. Moreover, AEG Europe, the owner of the Arena, has an ambitious programme of expansion being embarked upon in the lead-up to the Games. There are plans for a “first-class” hotel on the site, providing what would be the capital’s largest conference and banquet area. There is a foray into opera next May, with the O2 set to stage three performances of Carmen.

There are plans for further “spectaculars” of the ilk of this year’s Ben Hur and Star Wars and the hope of launching more original productions that then can tour internationally. And more live sport, to follow the forthcoming ATP World Tour Finals. Mr Campbell hopes that eventually the venue will host an NBA basketball team, a London equivalent of the New York Knicks, Chicago Bulls and LA Lakers.

“We already host one game a year but our next stage is to try and get regular season NBA games here [much like the NFL at Wembley], before then getting all the way to having a permanent team. If you think about it, the distance between East and West Coast America isn’t as different as the distance between London and New York.”

The O2 is still suffering its setbacks, albeit no longer self-inflicted. Summer 2009 was supposed to the season of Michael Jackson, the King of Pop, starting out on the comeback trail from a certain corner of South East London. As it is, Mr Campbell is sincere when he describes Jackson’s death, which occurred only two weeks before the singer was set to begin a 50-date tour, as a “tragic loss”, but he points out, too, that the O2 Arena is far from crumbling as a result.

“We did 140 event days last year. This year we’ll have 177. That’s a 25 per cent increase year-on-year — and that’s without Michael Jackson. He would have hit it out of the ballpark.” But it was a “bit of a lonely summer”: only three of Jackson’s first 27 dates could be filled. Prospects are better for the final 23 dates, which begin in January: “We’ll fill the majority of those, they’re easier because its seven or eight months away.”

Mr Campbell prefers to look forward and a 450-room hotel is foremost in his mind. AEG hopes to gain final planning permission by the spring and have it built in time for the Olympics.

“At the moment, we are a great generator of bed nights for all the other hotels in this immediate vicinity and up and down the Thames. We’re not benefiting financially out of it and we’d quite like to. “The tent, or The Dome, is such an iconic structure. It’s on the opening title of the X Factor. It gives us a great opportunity with a hotel. It will be a flagship.”

Another key preoccupation is to highlight the importance of the O2 Arena, along with other entertainment venues, as a driver of the capital’s economy. Mr Campbell is clearly frustrated that the Labour Government and Boris Johnson, the capital’s Conservative Mayor, “don’t have a real sense of our economic value … People travel here and they stay — they spend money in shops in London, they spend money on hotels in London, they spend on restaurants in London, on transport.

“That’s a lobbying message to try and get forward in the next six months. I don’t think there’s an appreciation of that.”

He wants more support from the political arena. The O2 recently hosted the world gymnastics championships, but Mr Campbell said that he was “disappointed” that he received little promotion from the Olympics’ organising committee or from City Hall.

“That is the first Olympic sport in an Olympic venue, in London preOlympics. That’s just a complete missed opportunity.” It is not the kind of mistake that Mr Campbell intends to allow to be made again.

London, UK (PRWeb UK) June 4, 2009 — Shezad & Farhaan Patel of Forest Gate, East London have taken a winning idea to investors to take over the tarnished E10 building on Lea Bridge road and rebrand it with a community appeal as an events and community programme venue, reinventing the well known landmark site to ‘The Starlight Suite’.

Previously a bar, bistro & nightclub spot, the new Starlight Suite is designed to be an elegant addition for the locality. “There is a definite need in the local and wider area for a venue that can host the private events, weddings and functions people want to have, but at a price that is within reach of the people we are serving, the residents of East London,” says Shezad Patel, 23, Director of Operations. “Raising the cash to take over the Building and renovate it to the plush and pristine standard we wanted was tough, but we finally found investors who shared our vision for the E10″.Contact

The Starlight Suite is also attracting a lot of attention by event management firms who see masses of potential and profit in hosting events at a venue that is comparable to 5 star quality conference halls. Furthermore, an industry first unique fixed price deal which enables organisers to retain all monies from the door and also 100% of revenues generated from the bar have proven popular with entertainment based events companies. Prices for event organisers start at a daring [pounds sterling]999 for a fully inclusive service.

The Investment has allowed the Starlight suite to be equipped with state of the art audio visual equipment, a lush and impressive interior and quality fittings and furnishings to really turn the venue around from what it was.

“Our pricing strategy reflects the current economic situation. The cost of hiring has been intentionally kept competitive because we want people to consider The Starlight Suite as a feasible option for their party, event or gathering,” adds Farhaan Patel, 26, Director of Business Development. “However, this does not mean we are providing a sub standard service. We have designed the Starlight Suite to reflect what people want, not just what they can afford.”

Since its trial opening in May 2009, the Starlight Suite has seen a massive growth in popularity and usage. The Directors have also budgeted their investment to open a high end Indian Restaurant and Dessert lounge “unlike any that East London has seen before”, adds Shezad.

For more information about the Starlight Suite, Farhaan & Shezad Patel, and their venture visit the east london wedding event venue hall or contact Farhaan Patel on +44 7940588899. The Starlight Suite welcomes visits from companies and the public alike.

Contact

Read the full story at http://www.prweb.com/releases/2009/06/prweb2497684.htm.