:00:37. > :00:43.What a brilliant start to the show. Better than usual. Good evening,
:00:43. > :00:47.distinguished guests. Welcome to the Friday One Show with Miss Alex Jones
:00:47. > :00:50.and Mr Christopher Evans. Close this weekend marks the 60th anniversary
:00:51. > :00:55.of the Queen 's coronation, we have reunited her maids of honour back
:00:55. > :01:00.from the day in the very same room they posed for the official portrait
:01:00. > :01:06.in 1953. That is coming up in a minute, and that is a bully and
:01:06. > :01:12.film. First, we have been joined by a trio of chefs, all fit for whale
:01:12. > :01:20.appointment. Mick -- Michelin starred Tom Kitchin and Theo
:01:20. > :01:30.Randall, and double starred Michel Roux Junior. Nice to see you on our
:01:30. > :01:33.
:01:33. > :01:37.posh so far. It is a bit kitsch.I think it is lovely. Not to my taste.
:01:37. > :01:47.If they forgot to book catering for the celebrations, what would you
:01:47. > :01:49.
:01:49. > :01:58.make with 48 hours notice? Souffle. A very big souffle. You know how
:01:58. > :02:03.difficult that is. Wild salmon with British asparagus. I was going to
:02:03. > :02:08.say pretty much the same thing. Maybe with an Eton mess as desert,
:02:08. > :02:13.with strawberry and meringue. are here this evening to talk about
:02:13. > :02:23.their quest to find a new protege on BBC Two. It is a big hit show on
:02:23. > :02:30.
:02:30. > :02:36.just before us every night. But time now for this. Phil Tufnell's very
:02:36. > :02:40.important date with six lovely ladies.
:02:41. > :02:44.I have a diary entry written in the days before the coronation. I am
:02:45. > :02:48.feeling very tense and highly strung in the face of what I have to go
:02:48. > :02:51.through in the following days. These words were not written by her
:02:51. > :02:58.Majesty but by the famous photographer, Cecil Beaton, chosen
:02:58. > :03:01.to document the momentous occasion. He was one of the leading fashion
:03:01. > :03:04.and society that authors of the day, but it is perhaps understandable why
:03:05. > :03:09.the call to take the official portraits of the newly crowned Queen
:03:10. > :03:13.would make him rather nervous. And I am feeling pretty nervous myself
:03:13. > :03:17.today, because I am at Buckingham Palace and on the way to meet some
:03:17. > :03:22.of the women who featured in one of the most memorable images Cecil
:03:22. > :03:27.Beaton took on coronation day. The photograph shows the 27-year-old
:03:27. > :03:31.queen flanked by her maids of honour. Cecil Beaton was set up in
:03:31. > :03:35.the Green Drawing room. It must have been a nerve wracking day for him.
:03:35. > :03:39.He says in his diaries that he was incredible nervous and when the
:03:39. > :03:43.moment came he had to get the portraits taken very quickly.
:03:43. > :03:48.they differ from other royal portraits? It is about the immediacy
:03:48. > :03:53.of catching the moment, the Queen staring into the camera with a
:03:53. > :03:57.beaming smile, completely unheard of for a coronation portrait, which is
:03:57. > :04:03.very official. The phone of the Queen and her maids will be part of
:04:03. > :04:07.the celebrations in the summer. -- the photo. Visitors will be able to
:04:07. > :04:11.see the portraits, the dress design for the maids of honour, alongside
:04:11. > :04:20.lots of other wonderful things, Jules, et cetera, all used from
:04:20. > :04:23.coronation day. And now, 60 years on, the One Show
:04:23. > :04:33.has reunited all six maids of honour, to hear some of their
:04:33. > :04:39.recollections of the historic day. And the iconic photograph. What were
:04:39. > :04:46.your memories of Cecil Beaton and of course of that photograph? Well,
:04:46. > :04:53.that was taken as soon as we got act. He had all his cameras and
:04:53. > :04:59.things set-up. He knew exactly where he wanted us to stand. What was he
:04:59. > :05:04.like as a person? Was he very organised? Very organised, and he
:05:04. > :05:09.wanted to get it over with as quickly as possible. He did not seem
:05:09. > :05:14.flustered. The Duke of Edinburgh wanted Barron, his great friend, to
:05:14. > :05:19.take the photographs. At the Queen Mother adored Cecil Beaton and said
:05:19. > :05:23.he had to take them. So when we started, the Duke of Edinburgh said
:05:23. > :05:29.that I should stand there. Cecil was getting more and more irritated
:05:29. > :05:37.behind the camera and he eventually said, would you like to take them?
:05:37. > :05:43.The Duke of Edinburgh backed off. Did he give the Queen any
:05:43. > :05:47.directions? I think occasionally he said, are you ready, or something?
:05:47. > :05:54.Very little. I remember having a lot of directions, and it is very hard
:05:54. > :06:00.work lifting the train, like lift and a carpet. The photo was taken
:06:00. > :06:05.late in the day. You must have been exhausted. We were extremely young
:06:05. > :06:11.and it was all so exciting. It seemed to go in a flash. What was it
:06:11. > :06:15.like for you to be part of such a historical moment? It was absolutely
:06:15. > :06:24.overwhelming, and it was all so very moving. Especially during the
:06:25. > :06:33.anointing. That was tears in the eyes. Out of all the girls of our
:06:33. > :06:39.age in the country, we six were chosen to carry the Queen's train.
:06:39. > :06:44.It meant a very great deal. People often say, I suppose your wedding
:06:44. > :06:50.was the most marvellous day of your life. I say, actually, it was the
:06:50. > :06:56.coronation. It is probably the greatest privilege of a very long
:06:57. > :07:05.lifetime, to have witnessed someone of the Queen's young age making
:07:05. > :07:11.those amazing, historic promises. And one can never forget the
:07:11. > :07:21.excitement of going, unexpectedly, onto the balcony, with this amazing
:07:21. > :07:23.
:07:23. > :07:33.crowd stretching to Trafalgar Square, roaring their heads off.
:07:33. > :07:33.
:07:33. > :08:16.Apology for the loss of subtitles for 43 seconds
:08:16. > :08:20.What is simply marvellous film. told everybody that it was the
:08:21. > :08:24.correlation, and everybody was full of excitement. But things did not go
:08:24. > :08:34.quite how we wanted. Of course, we have the Olympics in London last
:08:34. > :08:34.
:08:34. > :08:43.year - how did it compare? It was long ago, but it was full of
:08:43. > :08:53.excitement. Did it feel similar? Yes. Afterwards, I had a quiet
:08:53. > :08:57.evening at home. I do not believe you! Next to you, we have Evelyn
:08:57. > :09:01.Morris. You were one of the girls who worked on the dress that her
:09:01. > :09:08.Majesty wore for her coronation day, and on the dresses that we saw the
:09:08. > :09:13.girls wearing in that film. How were you chosen for that? Just happened
:09:13. > :09:20.to be in the embroidery department. Who came up with the design? Norman
:09:20. > :09:23.Hartnell. He designed the dress, and the ladies in the embroidery
:09:23. > :09:28.department had to arrange the flowers. In your scrap book, you
:09:29. > :09:34.have got samples of the material that you used on the actual dress.
:09:34. > :09:41.There it is. We had to persuade you to bring this on the TV. What was
:09:41. > :09:46.that about? It has travelled such a lot and it is dilapidated and I was
:09:46. > :09:51.not proud of it, but I am proud of what is in it. It is the best scrap
:09:51. > :09:58.we have ever had on the programme. Extraordinary. It is technically
:09:58. > :10:04.theft, but that does not matter! top of that, you went into the
:10:04. > :10:08.Abbey, in case the train was trodden on, or something, and you could mend
:10:08. > :10:14.it. And who was the gentleman who came up to you and said, I would
:10:14. > :10:21.like to show you something special? Richard Dimbleby was very kind to
:10:21. > :10:26.me. He took me into the TV studio opposite the Royal box, where
:10:26. > :10:33.everybody was sitting. He was very kind to me. They do say that the
:10:33. > :10:38.coronation was, in many ways, the turning point for TV. Do you
:10:38. > :10:42.remember? Nobody had television, except when the coronation came.
:10:42. > :10:45.People thought that it was a fad and TV was not going to work, but
:10:45. > :10:52.everybody wanted it for the coronation. When you went home, did
:10:52. > :11:00.people celebrate? Well, when I got home, I had to go by train,
:11:00. > :11:06.obviously. I had to be at the Abbey, at the showroom of Norman
:11:06. > :11:10.Hartnell, at 7am. So I had to leave home at five o'clock in the
:11:10. > :11:18.morning. There were no buses. My sister reminds me that the local
:11:18. > :11:25.butcher took me to the station. Really? Hats off to him. John, you
:11:25. > :11:29.were working for the BBC. What was your role? I was in radio outside
:11:29. > :11:34.broadcast and a very small team of us were allocated to put all the
:11:34. > :11:39.sound microphones in for the service. 29 of them all together,
:11:39. > :11:46.and it took quite a lot of doing, I can tell you. And I particularly
:11:46. > :11:52.remember putting microphones on the chair that had just had the Stone of
:11:52. > :11:57.Scone returned to it. It was stolen and taken to Scotland for a long
:11:57. > :12:02.time but it came back. It was quite a job putting the microphones on the
:12:02. > :12:06.throne and hiding them. And they worked very well, actually. Is it
:12:06. > :12:13.true that if it had not been for you and hiding the microphones, we would
:12:13. > :12:17.not have heard the Queen? Me and a few others. What do you think of the
:12:17. > :12:23.placement of the microphones tonight? They were much bigger back
:12:23. > :12:29.them and they worked very well. years retired from the BBC, ladies
:12:29. > :12:34.and gentlemen. Thank you to all of you this evening. If you want more
:12:34. > :12:44.stories from the special day in 1953, the People's coronation, with
:12:44. > :12:49.
:12:49. > :12:52.David Dimbleby is on BBC One at nine p.m. On Monday night. Marty Jopson
:12:52. > :13:00.has been looking at the tricks to solve engineering challenges.
:13:00. > :13:04.Tonight, he is looking at one of Britain's busiest railway lines.
:13:04. > :13:09.Nottingham railway station, 450 trains and thousands of passengers
:13:09. > :13:15.passed through here every day. Suspended over the tracks is 1100
:13:15. > :13:20.tonnes of steel. This is the new Nottingham express transit Ridge. It
:13:20. > :13:25.will be used to extend the tram system, creating a new route that
:13:25. > :13:30.will take it right over the less -- the listed railway station. But
:13:30. > :13:34.building a bridge in this position would be almost impossible. To
:13:34. > :13:42.minimise disruption to the busy station, the 104 metre long bridge
:13:42. > :13:47.was built 120 metres away in that direction. Now, engineers faced the
:13:47. > :13:52.huge challenge of getting the bridge into the right place. The journey
:13:52. > :14:00.has taken nine days already and it still has 30 metres to go. In charge
:14:01. > :14:06.of the move, Paul Channon. We had to cross four lanes on the road, five
:14:06. > :14:10.platforms and a road on this side. Can you shut them? No, we are
:14:10. > :14:17.keeping them open. It would be too dangerous to lift the bridge over
:14:17. > :14:24.the station. So how do you move it? We are basically sliding it across
:14:24. > :14:29.the station. Sliding a bridge is no easy feat. It is sitting on a series
:14:29. > :14:34.of supports positioned along its length. Overnight, hydraulic ramp is
:14:34. > :14:43.slowly pull the supports along a steel plate. But despite the
:14:43. > :14:47.hydraulics, it needs extra help dealing with friction. To show what
:14:47. > :14:51.the team have too overcome, I am going to try my own challenge, not a
:14:51. > :14:58.bridge, but some bridge builders. Three engineers, and the wooden box
:14:58. > :15:01.they are sat on, weigh about 360 kilograms. Gravity is pulling all of
:15:01. > :15:11.them down onto these two steel plates, and causing lots of
:15:11. > :15:13.
:15:13. > :15:19.friction, which is going to stop me from moving. It is not going to
:15:19. > :15:23.happen! To get things moving, I am adding some nonstick Teflon, like
:15:23. > :15:28.you would find on your frying pan at home, as well as a secret
:15:28. > :15:32.engineering marvel. I'm going to use the power of washing up liquid.
:15:32. > :15:35.Remarkably, engineers are using everyday, household washing up
:15:35. > :15:45.liquid as a lubricant, and it is more powerful than you might think.
:15:45. > :15:47.
:15:47. > :15:51.Let's give it a go. It worked! Washing-up liquid can be as
:15:51. > :15:58.effective as in dust real lubricants, but it is easily washed
:15:58. > :16:01.away. Rather than the two surfaces sliding against each other, nonstick
:16:01. > :16:08.against Steele, we have got washing-up liquid sliding against
:16:08. > :16:13.washing-up liquid, with minimal friction. The combination has
:16:13. > :16:16.reduced the amount of force I need to pull the box by over 90%, which
:16:16. > :16:24.is why a similar amount of washing-up liquid and a layer of
:16:24. > :16:27.Teflon can help move something as big as a 1000 tonne bridge. The sun
:16:27. > :16:30.is setting on Nottingham station, and it is time for the bridge to
:16:30. > :16:36.start its journey for the night. I have been given the job of putting
:16:36. > :16:43.on the washing-up liquid. I wife would be proud. Here we go. The
:16:43. > :16:49.bridge is on its way. Before dawn, it must edge along another ten
:16:49. > :16:55.metres of its epic journey. This 1000 tonne bridge is moving, all
:16:55. > :17:00.down to the nonstick coating and the washing-up liquid. It is amazing.
:17:00. > :17:07.The careful slide will take 12 days to complete, and all the while, the
:17:07. > :17:14.people of Nottingham continue their own journey down below.
:17:14. > :17:17.# Hands that move bridges... . # Before we talk to the chefs, can we
:17:17. > :17:22.just say sorry to Nev Wilshire, who was on the show yesterday talking
:17:22. > :17:28.about a new documentary called The Call Centre. In response to feedback
:17:28. > :17:35.from Nev and some of you at home, we agree that one of the questions took
:17:35. > :17:38.Nev by surprise. Nothing should be taken to imply that his staff act
:17:38. > :17:48.unethically. We wish him the best with his show, which starts next
:17:48. > :17:51.
:17:51. > :17:56.Tuesday. It's get to our chefs now. Tell us about The Chef's Protege,
:17:56. > :18:00.Michel. Well, we have not got a naughty step in the show, but we
:18:00. > :18:06.should have! We are dealing with young students, really young
:18:06. > :18:11.students, 18-year-olds, 21-year-olds, and we put them
:18:11. > :18:15.through their paces. This week, if you have not been watching, nor TU,
:18:15. > :18:21.it has been brilliant. We have been taking them through these various
:18:21. > :18:27.test and trials to see if they can cook, and which one I am going to
:18:27. > :18:36.choose as my porter J, to put against their choice of porter J.
:18:36. > :18:39.So, Tom, what is the next stage? two finalists that we each have, we
:18:39. > :18:44.will be pushing them to the limit, because we have got to see what they
:18:44. > :18:52.can do. This is judgement day. We are up against these two, we have
:18:52. > :18:59.got to do this for Scotland. So, it is massive, it is really massive. It
:18:59. > :19:02.is just amazing how far these kids have come. They say a chef's
:19:02. > :19:12.personality comes through in the kitchen. You do not have to rant and
:19:12. > :19:18.rave, do you, Theo? No, I always feel you get more out of people if
:19:18. > :19:24.you do not scream and shout. It does not help, it is a stressful place as
:19:24. > :19:33.it is. What happened, did you manage to remain calm? I was very calm, he
:19:33. > :19:38.wasn't! And Michel, tell us about your full proof scrambled egg test.
:19:38. > :19:44.Absolutely, that was part of his technique of interviewing young
:19:44. > :19:48.chefs, to get them to cook and eight, as simple as that. Cook
:19:49. > :19:53.neonate, I will see how you can cook. And you can tell so much about
:19:53. > :20:00.taste, about how they go about the job, how clean they are, and of
:20:00. > :20:06.course, the skill they have. Oh, my word! The skill of presenting just
:20:06. > :20:11.scrambled eggs, of course! When you are faced with just one ingredient
:20:11. > :20:18.like that, it is very difficult. I was dished up some pretty horrendous
:20:18. > :20:21.scrambled egg on occasions. Let's divert from the question script and
:20:21. > :20:27.imagine that you have to cook scrambled eggs for the master here -
:20:27. > :20:32.how are you doing it? Exactly, I would be petrified. I would just
:20:32. > :20:36.like classic, three eggs, nice and slowly cooked with the butter, I
:20:36. > :20:41.would take it to that point, but it is that point of perfection which
:20:41. > :20:48.you are looking for, and then the seasoning. Would you not use a
:20:48. > :20:53.microwave? No, chef, I would not. After that, it is about the crunchy
:20:53. > :21:03.toast and how you serve it, that is what makes it, the finer things.
:21:03. > :21:03.
:21:03. > :21:13.What about you, Theo? It is a good question. It is all about the
:21:13. > :21:14.
:21:14. > :21:20.truffle! You are through!Lots of butter and truffle. How easy is it
:21:20. > :21:24.to spot raw talent in the madness that is the show? You have got to
:21:24. > :21:30.trust your instinct. The first time you meet these people, you think,
:21:30. > :21:38.was I like this, did I have that similar energy? You pick it up
:21:38. > :21:42.pretty quickly. Coming back to the Michelin stars, you have two, and
:21:42. > :21:50.you have got to as well dash any tips for these guys? I am pretty
:21:50. > :21:58.sure that the night I was eating at Theo 's, you were not cooking.
:21:58. > :22:03.am not actually a chef. I thought I saw you on a Saturday morning
:22:03. > :22:12.programme. I am always I often fall over and finished fourth. Moving
:22:12. > :22:20.on... Tom, you are the youngest person ever to have a Michelin star.
:22:20. > :22:28.Not quite. OK fine, ever. You are the youngest Scottish chef with
:22:28. > :22:36.curly hair etc ever to have a Michelin star. These two guys are
:22:36. > :22:45.seriously passionate, and you can see that in The Chef's Protege,
:22:45. > :22:55.because we want them to do so well. They come into the show later, and,
:22:55. > :22:59.
:22:59. > :23:05.you know... This is developing live on TV! It is not the voice, it is
:23:05. > :23:11.more the label. Next, we go looking for the tastiest looking coffee in
:23:11. > :23:20.Britain. So, this is it, a cauldron of champions, the place to be. Yes,
:23:21. > :23:27.it is the UK that a Championships. This is like the FA Cup of coffee.
:23:27. > :23:32.-- latte Championships. Latte art is basically drawing picked shares in
:23:32. > :23:39.copy. It started in the trendy coffeehouses of Seattle in the
:23:39. > :23:42.1980s, and the UK winner gets to compete in the world Championships.
:23:42. > :23:49.This lady from Chepstow is a self-taught artist. She finished
:23:49. > :23:55.third last year. Is it really art? It is definitely a form of art, as
:23:55. > :24:01.in, you can create fantastic, different patterns, and trying to be
:24:01. > :24:09.as creative as you possibly can. You nearly -- you need to have a really
:24:09. > :24:15.steady hand. So, how does she do it? First, it cannot be instant coffee,
:24:15. > :24:22.she uses espresso, and carefully pours the frothy milk on top. Oh, so
:24:22. > :24:25.that is how it works. Do you charge extra for that? No gap good, because
:24:25. > :24:31.I am not happy paying more than three quid for a copy, even if
:24:31. > :24:36.Picasso made it. Backstage, she has been perfecting her very own unicorn
:24:36. > :24:43.design. It looks impressive, but can she hold her nerve to impress the
:24:43. > :24:47.judges were Jamaat overall, it has to just really impress you. It has
:24:47. > :24:55.two have a beautiful design. We look for how well it is positioned in the
:24:55. > :24:59.cup. We look for the consistency. Meanwhile, she is on the main stage,
:24:59. > :25:04.but she is finding it tough. There is an early setback when she spills
:25:04. > :25:09.coughing on the floor. She cannot make any more mistakes... She has
:25:09. > :25:12.two designs, and she has to create two cups of each, all against the
:25:12. > :25:16.clock. The judges will be comparing them with photographs of how they
:25:16. > :25:24.are supposed to look. With time running out, there is another
:25:24. > :25:34.disaster. It is a splotchy mess. Things have not gone according to
:25:34. > :25:38.
:25:38. > :25:44.plan, and she is not happy. I am so embarrassed. So, Leah thinks she has
:25:44. > :25:49.blown it. Time to reveal the top three. And in third, the.She cannot
:25:49. > :25:55.believe it. A respectable third place. She managed to impress the
:25:55. > :25:59.judges after all. Complete shock. Not understand how that happened,
:25:59. > :26:09.because I felt lost, I thought I would be near to disqualification,
:26:09. > :26:11.
:26:11. > :26:19.to be honest. And the I feel amazing. This is one of my best days
:26:19. > :26:25.ever. And just look at the winning designs - intricate and beautiful. I
:26:25. > :26:35.was thirsty! There is art in everything if you want it. I love a
:26:35. > :26:40.barista. Well, Theo has very kindly brought in a sandy man from his
:26:40. > :26:50.restaurant. We are going to ask you to judge the tiramisu in your own
:26:50. > :26:58.unique way. It also means you can charge double, doesn't it? It is his
:26:58. > :27:03.favourite line! This is the judging panel, by the way. Do you want to go
:27:03. > :27:12.first, Theo? Yes, I will get some of this lovely, dark chocolate. Can you
:27:12. > :27:19.give me a hand, Chris? You have got give me a hand, Chris? You have got
:27:19. > :27:29.to trust me. But at that! I always wondered how they did that. That's
:27:29. > :27:30.
:27:30. > :27:39.wonderful. I think less is more, so I am going to go for that one. No
:27:39. > :27:49.pressure, with you ought to Michelin stars. What is the process called?
:27:49. > :27:55.
:27:55. > :28:00.love the cream. With the spoons. Look at that, that's perfect. If
:28:00. > :28:10.this was tickled The Generation Game, out of ten? It has got to be a
:28:10. > :28:12.
:28:12. > :28:18.nine. Where has he lost the point? It is not perfect. That's what makes
:28:18. > :28:26.life the more worth living. Goodness me, I am just going to go for the
:28:26. > :28:30.full shebang. And a bit of this as well. In Scotland, we do it with ice
:28:30. > :28:35.cream and cream, because we are really healthy. And chocolate as
:28:35. > :28:45.well. That's it for tonight. The programme is back on Monday night at
:28:45. > :28:47.