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Travel expert Simon Calder has explored the latest challenges facing UK airlines and passengers amid jet fuel shortages caused by the Iran war

Travel expert Simon Calder has released an update on his podcast about what to do should your flight be suddenly cancelled amid worldwide jet fuel shortages. The highly regarded travel journalist – well known for his frequent TV appearances and contributions to the Independent – has spoken with a prominent industry figure after seeing ‘so many people getting in touch feeling anxious about their holidays.’

He noted that many people were even contemplating whether to stay in England for their holidays. His remarks come as the Iran war continues to rumble on. The conflict, which began on February 28, has restricted the flow of oil and gas across the globe, placing pressure on markets and driving up the cost of jet fuel for airlines, reports the Liverpool Echo.

This week, jet fuel shortages have emerged as a significant concern, as statements from senior industry figures have sparked worry amongst ordinary travellers about the potential impact on their holidays this year. Dan Jorgensen, the EU energy commissioner, this week said: “Unfortunately, it’s very likely that many people’s holidays will be affected, either by flight cancellations or very, very expensive tickets. Even if we do everything we can do, if the jet fuel is not there, then it’s not there.”

Speaking on his podcast on Thursday, April 23, Simon began by saying: “You might be more inclined to stay in England because of all the headlines we’ve been seeing over the past couple of days. For example, Lufthansa of Germany said they were cancelling 20,000 flights.

“I’ve had so many people getting in touch feeling anxious about their holidays when I would hope they would be looking forward to them with great anticipation.” To tackle this, he spoke with Ted Wake, managing director of Kirker Holidays.

Simon put the question to him: “So just suppose I have booked a Kirker holiday. I’m maybe going to some of the great cities in Germany. Amazing cultural treasures to be found. And I’m flying maybe from Birmingham, from Edinburgh, from Glasgow, and suddenly Lufthansa cancels my flight. What do you do then as a tour operator?”

Ted responded: “We would find the nearest flight which would provide a sensible, practical alternative. We would liaise with the client about whether or not it was convenient for them and, if they’re in agreement, Kirker would pick up the tab for any logistical costs that have been incurred.

“There are occasions where tour operators like us might extend the client’s stay by an additional night and we might pick up the tab for that. But if you have booked through an ATOL-protected tour operator and the tour operator is mindful to nurture long-term relationships, it is in our interest to iron out the creases in that way.

“And you have mentioned some regional services there and it may be the case that Lufthansa cancel 1 or 2 of those but there will often be alternative flights, perhaps with a different carrier, and Kirker would pick up the tab for that as well as manage the logistical research in terms of what alternative flight could be suitable to ensure that people have a fabulous holiday.”

Ted’s remarks come just days after EU official Mr Jorgensen cautioned: “[Currently] it is primarily a crisis of prices and not yet a crisis of supply, but unfortunately we cannot be sure to prevent a crisis of supply, especially on jet fuel in the future, if the crisis continues.”

The International Energy Agency has similarly advised that severe supply disruptions could materialise within the next five or six weeks. It was against this backdrop that Simon addressed passenger concerns here in the UK.

Jet fuel flight cancellations and the EES

Ted highlighted that airlines are currently grappling with two distinct challenges – the jet fuel shortage and the new EES system. This system – the Entry/Exit System (EES) – is a new digital border arrangement that introduces additional checks for British travellers heading to numerous European destinations.

It launched this month. On your first visit following the change to a country within the so-called Schengen area (which encompasses many EU nations), you may be required to create a digital record upon arrival at an airport. You may be required to submit your fingerprints and have your photograph taken. The system has resulted in significant delays for some UK travellers since its introduction.

Ted discussed the jet fuel challenges confronting airlines and what this means for everyday passengers across the UK. He said: “I think Lufthansa has got a very comprehensive schedule. Twenty thousand flights isn’t a drop in the ocean but it’s a relatively small number if you look at the overall picture.

“I think other airlines within the UK market will be doing something similar. You might argue that it is a sensible logistical profit management exercise as well as a jet fuel situation, but I don’t see it having a major impact on consumers and if you book through a tour operator – of course, Simon, you tell your readers all the time and indeed your listeners for that matter – if you book through a tour operator, it’s a tour operator’s responsility to iron out all the creases so the consumer is not adversely impacted by the change.”

You can tune in to the podcast here.

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”