Wuthering Heights, Bristol Old Vic

When I went to the theatre to see the new adaptation of 'Wuthering Heights' I was unsure what to expect. Emily Bronte's novel is one of my all time favourites and I was prepared to be very critical of whatever I watched. I was completely blown away by the production however, moved to tears by the incredible and emotive depiction of the plot. Interestingly I felt a deeper sympathy for the characters than I did whilst reading the novel. Cathy and Heathcliff were given more redeeming characteristics in this interpretation, and I found myself not quite hating them by the end. 

Visually this performance is stunning. As any of my friends could tell you, I am a huge fan of group dances and 'Wuthering Heights' had some phenomenal ones. In particular The Moor expressed the mystery and haunted atmosphere that runs throughout 'Wuthering Heights' through their dancing. Nandi Bhebhe led this ensemble beautifully and confidently, perfectly channelling the raw emotions that are central to Emily Bronte's narrative. 

Overall I wasn't convinced by the success of weaving musical numbers into the play however. It felt awkward at points and as though it was interrupting the progression of the narrative. There were moments when, as an audience member, I felt that emotions that had been skilfully built up were suddenly dismantled by a dance that I couldn't quite tell the purpose of.  

Lucy McCormick and Ash Hunter carried the performance flawlessly, depicting the raw and passionate romance of the doomed lovers Cathy and Heathcliff. Lucy's performance in particular was riveting and her first entrance was immediately captivating as she depicted Cathy's mental anguish. I definitely recommend going to see this if you get the opportunity. 

Everyone is Dead, Bristol Old Vic

‘Everyone is dead’ is a thought-provoking and quirky piece of theatre that forces the audience to consider humanity at its worse. Written by Charlotte Turner-McMullan it explores a theoretical apocalypse that plunges the world into constant terror and grief – emotions that push society into a frenzied desire to survive. This desire pushes some to despair, some to a faded form of hope, and others to a twisted view of morality.

The plot is slow moving, and entirely wrapped up in the dialogue of Kelly, a 17-year-old girl, and Ashley, a woman Kelly’s father brought home. Kelly is a nervous wreck, haunted and driven on by the memory of those who she thinks died ‘instead’ of her. In contrast, Ashley appears intensely cynical of the world, encouraging Kelly to live for herself rather than others whilst claiming to be fed up of living herself. Little by little the audience are made aware that morals are almost non-existent in this fear-driven world, and that instead of working together people turn against one another in their desperation to survive. 

Carried entirely by the skill of the actresses Florence Espeut-Nickless and Allson Fitzjohn, this unique performance is not exactly ‘gripping’ and yet it does hold its own sort of charm. The scriptwriting is clever and witty, confronting many themes and combining tragedy and humour to present a world that is falling apart. Interlaced throughout the dialogue there are intensely deep moments, highlighted successfully by Florence and Allson as they predominately utilise their tone, and facial expressions in order to engage their audience.

Towards the end I did find myself becoming restless, as the performance became slightly monotonous, the big reveal had been made and still the dialogue continued reiterating points that had already been made moments before. Ultimately however, this was an interesting and engaging new play, essentially thought-provoking and witty throughout, if at times somewhat slow.

Wild Swimming, Bristol Old Vic

When I come to write reviews I am very rarely lost for words, and yet with Wednesday night's performance of 'Wild Swimming' I find it strangely difficult to begin. Without a doubt it was one of the wittiest and most thought-provoking pieces of theatre I have had the pleasure of viewing in the last year, and I feel that to fully express just how highly I regarded FullRogue's production would be almost impossible.

'Wild Swimming' follows characters Oscar and Nell through various summers in their life, as they learn more about themselves and the various societies in which they live. Since 'time is flexible within theatre' each summer is set in a different time era, beginning in the sixteenth-century and concluding with modern day. During the summers they spend together Oscar and Nell explore the changing roles of men and women, using 'swimming' as a metaphor that runs throughout. During the 16th Century Oscar leads the conversation, excitedly discussing the things he has learnt whilst at university, Nell on the other hand has been left behind. Over the subsequent summers, Oscar comes back expecting Nell to have done nothing, and whilst this is true during the Victorian era, following the great war things have changed and Nell has become the great poet Oscar aspired to be in his youth.

Director and writer, Julia Head and Marek Horn respectively, worked seamlessly together to create a performance that displayed the progression of society to a time in which men and women can work alongside one another in order to achieve great things. They showed that ultimately in order to succeed, we should not 'drown' one another but look to one another for support. Additionally, the laid back manner of acting and the fluid transitions between rehearsed and improvised created an environment that allowed the audience to take a step back from the performance and consider for themselves the message that was being put across. The humour interwoven throughout 'Wild Swimming' added to the general success of the performance, and kept the production light-hearted and fun.

In addition, Alice Lamb (Nell) and Annabel Baldwin (Oscar) created characters that were emotive and varied, and in the words of Alice Lamb I was both 'impressed and shocked' at the talent, wit and energy which they both brought to the performance. If you get the opportunity 'Wild Swimming' is a performance well worth watching - I guarantee you will be left laughing.

Malory Towers, Bristol Old Vic

Darrel, Sally, Alicia, Gwendoline and Irene were, for a long time, some of my favourite book characters. I grew up eagerly reading about these girls and their adventures, so it was with great excitement that I went to watch this on-stage adaptation of 'Malory Towers'. It did not disappoint. From the offset it was a performance full of good-humour and fun, with bouncy musical numbers that left me tapping my feet.

As soon as I stepped through the door of the theatre I was transported into the world of 'Malory Towers'. The passenger shed was magically transformed into a stage, transporting the audience to classrooms, dorm rooms, and hallways where  the importance of friendship, keeping one’s temper and remaining true to oneself were wonderfully displayed. Throughout the evening the cast sought to involve the audience in their production, drawing them effortlessly into the action by consistently breaking down the fourth wall and engaging directly with each age group through their jokes and dialogue. Whilst there were countless moments to entertain the younger members of the audience, there were also plenty of moments that left the adult members' laughing and cheering too.

The music was an aspect of Emma Rice's 'Malory Towers' adaptation that surprised and excited me. Every single one of the cast got a chance to demonstrate their exemplary musical talents singing in a wide variety of styles. To accompany this, they performed a wide variety of dance numbers, including ballet and tap. This constant switching between styles, meant each song or dance could perfectly reflect the mood, creating a performance where there was never a moment of boredom or needless repetition.

Emma Rice effectively delivered a performance that brought to life everyone's favourite school-girl characters, remaining true to Enid Blyton's vision of the girls, whilst adding her own twists and turns. Along with the rest of the production team, and the cast, Emma created a performance that was thought provoking, inspiring and ultimately just a lot of fun! Perfect for all generations, I strongly encourage anyone who can to go along and experience the wonders of 'Malory Towers'.

Summer Rolls, Bristol Old Vic

Often when I go to review performances at the Bristol Old Vic I am unsure what to expect, all I know in advance is the title and occasionally the cast. Other than that, I am left completely in the dark until the lights dim, the curtain rises and the play begins. Sometimes at this point I am greeted by a performance satisfactory but not altogether overwhelming. Rarely am I left disappointed. Occasionally I am presented with a gem of theatrical genius, thought provoking, amusing and emotional all rolled into one. 'Summer Rolls' definitely falls into this later category. 

As soon as the music began for the opening act, I knew that what I was about to watch would remain with me for a long time. Over the next two hours I was held spell-bound as I watched the story of a Vietnamese family living in the UK unfold. The play follows Mai, an intelligent and creative young girl, as she struggles to come to terms with her life as a second generation-immigrant. Additionally, her family guard her from wounds and secrets of a war-torn Vietnam that she is too young to remember, creating divides between Mai and those she loves. Family, relationships, racism, war, generational differences are all themes tackled by this performance, in a way that is sensitive and direct. 'Summer Rolls' effortlessly interweaves these themes with more comical elements, depicting the balance of life and providing a performance both entertaining and thought provoking. 

In addition to the phenomenal plot, it was the cast who truly carried this production and brought it to life. Anna Nguyen, who played Mai, particularly stood out to me as she perfectly depicted a character who began as a young girl and grew into a woman. Through posture, tone and expression she displayed Mai as first the obstinate and inquisitive child, then the independent and creative teen, before finally the more quietly hopeful mature adult who sought to bring reconciliation to those affected by the war by telling their stories. Alongside Anna Nguyen, Linh-Dan Pham portrayed the hurt, strength and courage of a mother seeking to protect and assist her children. Her ability to manipulate the audience, making them laugh one minute and cry the next is statement to her talent as an actress and greatly added to my enjoyment of the performance as a whole. 

If you get the chance 'Summer Rolls' is a performance that I strongly encourage you to go and watch. It begs us to ask the questions we often avoid, and confronts, head on, the power that war and hatred have to mar the beautiful, whilst showing the resilience and determination that can overcome these challenges. 

BAAL, Bristol Old Vic

Amongst the performances I have had the pleasure of watching at the Bristol Old Vic, there have been a few that have really stood out; Thursday’s performance of BAAL was one of these. Perhaps because I studied Brecht and his unique style of theatre whilst at alevels, I found myself more critical than in previous performances, watching intently to see how Impermanence interpreted the piece. They did well. Combining their dance, with more Brechtian techniques they created a performance full of extreme physicality and raw emotions, depicting the lust, greed and violence which corrupt and drag us down.

 

The physicality used throughout this performance was beautiful, aesthetically pleasing and used in every way possible to reflect the emotions and thoughts of the dialogue and characters. Pain, suffering, greed and anguish were all reflected in the actors’ entire bodies, as they writhed and groaned physically. They incorporated duets and lifts with ease, seamlessly weaving together a thought-provoking adaptation. At the end of the performance it was clear they were all exhausted, a sign that they had put their all into this production.

In-line with Brecht, they used narration rather than dialogue within the performance, distancing the audience from the characters, allowing us to remain emotionally separated and thus appreciate the social commentary they aimed to depict. One thing that was unfortunate however, was that at points the microphone did not work, and words were lost so that it was harder to follow the story-line of Baal, although the feelings were still effectively conveyed physically.

Overall I cannot say that this was one of my favourite performances, or that I would see it again but it was certainly an excellent example of a physical theatre performance.

La Strada, Bristol Old Vic

I walked into the theatre on Tuesday night completely unprepared for the spectacular performance that would greet me. I had never heard of La Strada before so was unsure what to expect, but as the night progressed I became more and more engrossed in the plot and found myself loving every minute. A story about a young girl and her interactions with the bitter and twisted Zampano, and a daring fool, and how these two men influence and change her life as she tries to make her way in the hostile world. Played by Audrey Brisson, Gelsamina visibly grew as a character throughout the performance. Her childlike innocence and naivety are brought into the spotlight through a heartwarming portrayal of the character, and a wonderful ensemble cast.

Humour is magically interwoven throughout the performance, creating connections between characters and audience as they lead us through their lives. Even though there were moments I was moved close to tears, there were far more times that I was moved to laughter. It was a light everyday humour, snuck in amongst the heartbreak and pain of the characters as they each struggled with their pasts, presents and futures. From Zampano, the mysterious and bitter strong man, to the fool, crazy, content and accepting, they all brought a touch of humour to the performance.

The music throughout La Strada also amazed me. In particular the songs sung by Tatiana Santini, and Audrey Brisson, two radiant vocalists who brought passion to their music and to the performance. The ensemble work within the production was also incredible. At moments the cast would all move as a unit in order to create the motion of the sea, or the bustling chaos of a crowd.

Whether you're young or old, optimistic or jaded, full of Gelsamina's innocence or scared by experience, this performance will delight you in every-way. An age old tale that remains relevant today, in part due to it's understanding that it's our nature to cherish those who care for us even when it's not necessarily good for us to do so. But also, in part, thanks to a beautifully constructed cast.

La Strada: What the Audience Thought

The Record

Writing a review has never been so hard. I am not sure how to even begin writing in words, what 'The Record' was like. As I walked out of the theatre I did not even know whether I had enjoyed it or not. I was in shock. Was that one of the best performances I had ever watched, or the worst?

I'd have to admit I spent the first half of the performance waiting for the story line to kick in, and trying desperately to work out what was going on. However, as the performance progressed I began to realise that there wasn't going to be any overarching plot, so instead I began to focus on tiny little moments. Moments of connection between people that had met for the first time on stage. Moments that brought the whole performance together into a vivid reflection of the vibrancy and diversity of life, specifically within Bristol.

One specific instance that stood out to me within 'The Record' was when a whole group of people ran around the edge of the stage. They were all of different ages, different genders, different ethnicity's, and it was as a little old man in a suit jogged past that I realised that this whole performance was full of these heartwarming moments that brought people together. I began to notice the organised chaos as each individual moved exactly as they had been directed, both contrasting and somehow complimenting all the others around them.

Sort of lighthearted humour in the simplicity of the movements and my friend and I, found ourselves reenacting a few of the most iconic movements to our friends at school. I think this was a worthwhile and enjoyable experience, and I would definitely advise people to watch something like this as it certainly opened my eyes to a new element of theatre. However, I would be prepared for the repetitiveness of the sequences, and constantly remind yourself that these people had never met before, as they trust-fell into one another, and got lifted across the stage.

The Snow Queen (Bristol Old Vic)

The story of The Snow Queen, written by Hans Christian Anderson, is a well known classic, beautifully brought to life by director Lee Lyford and company. This production marvellously combines humour and childish innocence, with meaningful messages of friendship and courage.

Kai (Steven Roberts) and Gerda (Emily Burnett) have been best friends and next door neighbours their whole lives. Kai is brave and loving, whilst Gerda struggles with facing up to her fears. As time progresses children from their village begin disappearing until Kai and Gerda are the only children left. After Kai is taken by the evil Snow Queen and her goblins, Gerda sets out on a quest to rescue him, learning important things about herself along the way.

The set captured the playful, magic of the story, effortlessly portraying the enchanted home of the Flower-witch, to the gloomy and haunting prison of the Snow Queen, with large shards of ice jutting across the stage. Each place Gerda visits has it's own delightful personality, echoed in the colours and styles of costume designed by Tom Rogers. Another interesting addition, was the use of projections to portray Gerda falling in a river, and traversing along long halls in the Duke and Duchess' palace. 

Throughout the Snow Queen there were a variety of different songs that made the audience laugh, cry and gasp in admiration of the amazing vocal skills, particularly of Gwyneth Herbert, who played the Snow Queen. The music mirrored the childish innocence of Kai and Gerda, as well as reflecting their friendship which was founded on moments iconic of childhood, such as ice-cream and laughing at farts.

Every performance that I have seen over the last couple of months at the Bristol Old Vic has boosted my excitement and anticipation, and Thursday's production of The Snow Queen was no different. I left energised and excited, fully assured that every member of the audience was laughing hysterically throughout the evening, charmed by the tale of self-discovery and friendship.

946 The Amazing Story of Adolphus Tips (Bristol Old Vic)

Sitting down in the audience waiting for 946 The Amazing Story of Adolphus Tips to begin, I was totally unprepared for what greeted me. As I chatted with my sister, I noticed a man trying to climb over the edge of the divider that separated the gallary from the pit. He then proceeded to ask those in the back row of the pits to stand up so he could do some last minute cleaning. I initially completely fell for it, and it wasn't until, about 5 minutes later, that I realised that this was, in actual fact, the beginning of the show. These 'cleaners', were part of the performance. As the lights faded, and the actors had all eventually made it to the stage, I prepared myself for a very enjoyable performance.

The story of Adolphus Tips, written by Michael Morpurgo, and adapted by Emma Rice for theatre, is both hilarious and tragic. Following the story of Lily Tregeneza, an energetic girl living in the countryside of England during world war II. From the arrival of the evacuees, to them departing again, the life of Lily Tregeneza is full of ups and downs. Played by Katy Owen, I was amazed by how springy and childlike she acted without coming across as silly or over dramatic. Katy bounded across the stage bringing the character of Lily to life, spreading her huge smile and childlike decisiveness. Sharing her small worries, that seemed enormous, only finally put into context when the horrors of the war touched her personally.

One of the things I loved most about 946 The Amazing Story of Adolphus Tips was the incredible singing, in-particular Nandi Bhebhe who played 'Harry', an american soldier and friend of Adi. The music was both haunting and tragic at points, reflecting the turmoil and horrors of a war that robbed so many people, but also the small joys and victories experienced by those who remained at home, as well as the final victory of the war's conclusion.

I think the finale to the play summed the whole experience up for me. The whole cast came on stage, and encouraged the audience to stand before teaching us all a few simple clapping patterns. Then as an entire theatre we stood on our feet and began to sing along and 'dance' with the performers, something that just made me laugh even harder than before. I certainly left the theatre smiling, marvelling at how well the production highlighted emotions of grief, whilst keeping the bouncy perspective of the child who narrates it.

The Grinning Man (Bristol Old Vic)

Brilliant! Just brilliant! This Grinning Woman walked out of The Old Vic and immediately started telling everyone they must go and see The Grinning Man for themselves. Based on Victor Hugo's The Man who Laughs and adapted for the stage by playwright Carl Grose, The Grinning Man is unmissable for its incredible writing, performance, direction and production.

I was intrigued and engaged from the moment I opened the door to the already crowded theatre. The expectation in the auditorium was palpable: heightened by the huge jeering grin spanning the stage; setting the scene for the marvel to follow. The sets continued to bring the  performances to life throughout: a performance within a performance; a stage within a stage; a huge grin; a church; a throne room; a dungeon. The sets morphed effortlessly and seamlessly to change not only settings but mood from heartbreak and despair to joy, and sprinkled with humour throughout.

The cast for The Grinning Man were incredible. They had beautiful voices that sang the haunting melodies of Grinpayne's tragic life. I was particularly inspired by Louis Maskell who played Grinpayne. His voice portrayed a quiet belief, a desperate hope and a childish innocence and curiosity. This was contrasted by the harsh, prideful character of the clown, whom the audience are encouraged to distrust. As an audience member I often felt moved to protect Grinpayne from the pain of his past, as well as his physical pain. We were taken along his journey, with him, as he discovered his true identity beneath the smile. 

The use of puppets was particularly fascinating, and so effective that I initially thought it was a real little boy running across the stage. I have never watched War Horse, but had always wanted to see how they used puppets, so having the opportunity to watch the same puppet company at work was amazing. I loved how realistic it was, and how you often forgot that there were people controlling the puppets’ arms and legs. 

I think the thing that captured my heart most in this performance was the fact that it made me both laugh and cry. I'm not going to say that's a hard thing to do, because it's not. I am quite easily moved to both laughter and tears when watching performances, however it is rare to find a performance that does both, certainly not in such a beautiful way as this.

In case you haven’t guessed it already: I recommend watching The Grinning Man 100%! It is the sort of performance you can watch again, and again, and pick up new things from the plot and the cast each time. Grab some friends and some tickets and go see it. I dare you not to come out grinning.

Guys and Dolls- Bristol Hippodrome

Wow. This was quite literally one of the most incredible musicals I've ever seen, and I'm not really sure how to put it into words. A couple of weeks before going to watch the performance I happened to be in town, and saw a poster for Guys and Dolls, and I remember wondering how good it was actually going to be. Turns out, it was completely mind-blowing. As the first song ended and clapping broke out across the audience, I lent across to my mum, smiling from ear to ear and whispered, 'I'm going to like this.' I did, and my smile lasted all night through. I'd go and watch this production again in a heartbeat. I loved the songs, the energy, the story-line, the cast. Everything about this made me want to scream, and shout, and tell everyone all about it.

The cast were what was truly inspiring about this performance of Guys and Dolls. Yes, I loved the plot but it was the cast that really brought this show alive with their amazing vocals, acting and dancing skills. I hadn't heard of Richard Fleeshman and Maxwell Caulfield before, but I will certainly be looking out for them in the future.

I'm going to be completely honest and say I don't often focus much on lighting in a performance. I much prefer to watch the cast and plot develop but Guys and Dolls was an exception. The lighting was so spectacular that you couldn't help but notice it. In particular there was a gambling scene in which lighting was used to give an impression of throwing dice, rather than actually physically doing so. The songs also added marvelously to the atmosphere, and I have added many of them to my 'favourite songs' list. 'Sit down, You're rockin the boat,' 'Develop a cold' and 'Guys and Dolls' are three I can think of straight off the top of my head, but the more I consider it the more I realise how much each of the songs deserve the title 'best.' All of them set my feet taping, and my smile steadily growing.

At the end the whole cast joined in a super cool tambourine dance which I really want to learn! I feel like I need to find a tutorial of it somewhere, although I'm not quite sure where that would be. This summed up the whole performance for me, it may sound cheesy but I totally love singing, dancing musicals complete with happy endings, and Guys and Dolls is exactly that. The whole audience were on their feet by the end, and I'm pretty sure all of us left with a smile on our faces.

Taming of the Shrew- Ballet

I would never say that I am a great judge of ballet; in fact, the only ballet performances I have seen are; Alice in Wonderland when I was 8, and Taming of the Shrew, which I watched yesterday in the Bristol Hippodrome. But without a doubt, this was fantastic. I don't necessarily mean in a jump up and down, desperate to go again sort of a way, but a 'wow they were amazing' sort of a way. I don't know if I would personally choose to go again, and yet I would advise anyone with a love of Shakespeare or ballet to go.

The mime and facial expressions are what truly blew me away. How a story could be told without any words or any explanation other than the movement of their bodies, completely inspired me. Each step, or leap told a story, it portrayed whether the character was; happy, sad, in love, angry, scared or confused. The words of Shakespeare were wonderfully woven together and brought alive with the phenomenal dancing portrayed by the ballet company.

Humor is a huge theme within Taming of the Shrew and the ballet really drew on this. I myself laughed out-loud multiple times, snorting in a totally undignified manor as Kate fell off her horse once again, or as Bianca's suitors battled. In particular, Iain Mackay, used his incredible dancing abilities to leap between humor, love, and anger, owning the stage in a way that made him stand out from everyone else.

All in all, Wednesday evening was thoroughly enjoyable and I would definitely go and watch another Birmingham Royal Ballet production.

King Lear (Bristol Old Vic)

I must admit that I went out to watch King Lear with a slightly sinking heart, yes, it was Shakespeare, and yes I was sure it would 'knock me off my feet' but I was tired and ready to go to bed. From the moment I sat down on the slightly faded green seat in the Bristol Old Vic, my attention was captivated. Not only was the whole atmosphere of the theatre that of bustling excitement, but the set up of the stage looked intriguing, and different from any other Shakespeare I'd ever seen.

From the get go the set took my breath away. Throughout the performance it was moved effortlessly around the stage, creating a stable, a palace, or the wilderness, with just a few props and lighting. One very interesting technique was to use a projector to show the division of the kingdom between the sisters. This was done in a way that kept the authenticity of Shakespeare's works, but also made it easy for the audience to understand what was going on. The costumes were also very original, with many of the females wearing trousers towards the end of the play, instead of dresses that would've been typical in Shakespeare's time.

In terms of the acting I was completely inspired. In a play that is all about the divide between young and old, Bristol Old Vic marvelously brought together two generations of actors and actresses working together to re-tell this spellbinding tragedy. Well-known actors such as Timothy West and David Hargreaves acted alongside students of Bristol Old Vic Theatre School and there was no obvious divide in talent or passion. The bar was set unbelievably high by the whole cast as they played out the story of King Lear and his daughters. Sanity, insanity, love, hate, loyalty and betrayal are woven together in this tale of mistakes and regrets.

At the end I was left desperately wishing I could re-write the script Shakespeare wrote some hundreds of years before, and yet, in some ways the end shows many things my ending possibly could not have done. Shakespeare shows that, even if, in the end people are forgiven and shown where they messed up it doesn't mean everything will be sorted into 'happily ever after.' Sometimes it ends with men, blind and stumbling, begging to be forgiven, before leaving the mess they created behind forever.

TUI Discovery Show Team

I’m just back from a holiday around the Mediterranean, and, before I head off to get some rest after all the late nights and hectic days, I thought I’d jot down my impressions of the show team, who I have to say, were amazing. Not only were they incredibly talented they were also constantly working. Almost every night of the cruise they gave us a different performance, with singing, dancing and acting. Each show was completely unique in style, ranging from classics such as;West Side Story to Legends Live (a show involving songs from people such as Freddie Mercury, Prince and Michael Jackson, to name just a few.) 

As well as the general energy of the team, there was also buckets of talent. I have always loved music and getting emotionally connected to songs, whether that is laughing, crying, feeling inspired, or just wanting to jump up and sing along. Every single song preformed during the two weeks I was away moved me to one of these emotions.

Songs such as; 'I wouldn't have nothing if I didn't have you,' and 'Bare Necessities', that included hilarious (and rather accurate!) monkey-impersonations by Arnie made me laugh. 'Tonight' preformed by Tom and Danielle at the end of West side story, and Whitney Houston's, 'I will always love you,' preformed by Jess made me cry. The group performance of 'He lives in You' and 'Bridge over troubled water' completely inspired me, and 'Court of King Caractacus,' 'Moses Supposes,' 'Good morning, Good morning' and 'Walking on sunshine,' to name only a few, made me want to get up on stage and join in.

Not only did they sing beautifully they also preformed visually stunning and intricate dancing routines, including one particularly challenging dance to 'Move it, Move it' from Madagascar. I am not a dancer, and do not know how to portray with words how brilliant this dance was, but I was quite literally smiling during the whole performance.

What I loved most about these shows was the energy and enthusiasm that the team showed no matter what. You would hardly know that they had been up late the night before, and then rehearsing all day, before doing two performances and joining in with deck parties etc.

I'm not sure if the rest of the world will get to see these guys perform but if you do I’m sure you would love them just as much as we did. So here's to the team: Tom, Jess, Arnie, Emma, Danielle, Dylan,  Harriet, Jordan, Michael, Rhian and Paul - thanks for being such a memorable part of our holiday - Great Job! ... if I can find out how, then jaffa cakes (or custard creams) are on their way. x

The Lord of the Flies by William Golding

I have just recently finished reading The Lord of the Flies with some friends. A group of about 8 us met up fortnightly to discuss a chapter, or two, of what we had read the week before. Many times I found myself sorely tempted to read ahead, so involved did I become with the plot, and intrigued with how the author showed the merciless destruction of civilisation.

This book may seem like a dark and depressing novel, and in many ways it definitely is. In fact it is deeply disturbing on many levels, but if you look past that, and instead focus on the many examples of symbolism placed throughout this book, you will find it far more interesting. Something that struck me when talking about Lord of The Flies with my friends was their different opinions on whether they would, or wouldn't, advise people to read it. One girl put it very well saying, 'who I would suggest it to would very much depend on whether they would 'get' it or not.' Basically, to really get full worth out of this book you need to see past the story, and focus instead on the underlying meanings- the whole plot is an image of how the author sees the world.

If you are at all skeptical of reading this book, maybe you could try reading it with friends and doing discussion questions. I know that it really helped me engage when I could talk about it with friends. In fact it was very interesting to see how we each thought it related to us, and how easy we could relate ourselves to the characters. In some ways I think that is the scariest thing. Without laws and 'civilisation' would we become like Jack, and Ralph, and Piggy, and Simon? Would we fall into that level of savagery? This book isn't about enjoying it, it's about acknowledging that we are all plagued by the Lord of the Flies, the beast who lives within.

Horrible Histories- Bristol Hippodrome

I grew up reading and watching Horrible Histories. In fact, all of my friends did, and it was almost constantly a topic of conversation, 'have you read this or that book yet,' 'which is your favorite?' etc. etc. It came to the point that a lot of my friends knew the theme tune to the CBBC show, although I never quite got to that point. Anyway, today all of these old memories were brought back, when I went to watch Horrible Histories at the Hippodrome in Bristol.

From the start the atmosphere was amazing. The whole theatre was packed, and with one of the liveliest audiences I think I've ever seen- possibly partly because they were all under the age of 13. As the lights dimed and the show began everyone went silent, ready for the cast to appear, from the get go they owned the stage.

The whole performance was done in a pantomime style, with the audience encouraged to join in singing along and a few members even invited up onto the stage. During the interval I had a brief conversation with two boys who were sat in front of me, asking them if they were enjoying the performance. Both said yes very adamantly, describing aspects of it as 'scary' and others as 'hilarious.' The second half was particularly entertaining, when we were all given 3D glasses so that we could confront the minatour, more realistically.

The cast was amazing, engaging and talented. All the Hippodrome staff were wonderful and helpful. I would definitely encourage others to go, especially if you are aged 7- 13, enjoy history and love pantomime, This is a perfect mix of facts and fiction, entertainment and education.

I am Malala by Malala Yousafzai and Christina Lamb

What an enlightening book.  Often drawn to fiction rather than biography, a delayed flight at Edinburgh airport lead me to pick up this novel rather than the others on the shelf.   I had been staying with my godmother and when she dropped me off she kindly offered to buy me a book to read whilst I waited for my plane back to Bristol.  

I am not sure why this book stood out among the others, whether it was the fact Malala was the same age as me, or the fact she stood up very vocally for things I too felt strongly about, or the intriguing blurb. Whatever it was, I am so glad I picked this book off the shelf, it is one of the most inspiring things I have ever read. Often it can be hard to see how stuff happening on the other side of the world is relevant, this brings home just how important it really is.

Malala Yousafzai is the youngest-ever Nobel Prize laureate.  Born in Pakistan in 1997 she was shot by the Taliban for standing up for girls in education.  She now lives in Birmingham.  This book tells her story  aswell as giving us the backdrop to her life in Pakistan and the daily battles and difficulties faced. 

One of the things I love about this book is how down to earth Malala is about her fame and the portrayal of her life. She focuses on things that are part of her normal everyday life, things that were changed by the arrival of the Taliban. She describes her love of her country, the love of her friends and family, and most of all her love of school. In the UK, school is more often complained about, than raved about, we often don't realise the value of something until it is taken away. Malala was willing to fight for what is valuable - education for all.

This is a difficult book to blog about accurately - I am aware that its contents aren't trivial, but real issues, of great sensitivity.  These are real situations that many are facing across the globe, girls and boys alike, and they should not be taken lightly, so my advice is to read this book for yourself.

Thank you Aunty Katherine for a great weekend and a wonderful book to take away with me.

The Sword that Saves by Ambrose Merrell

''There is no greater courage a man can have than to show his vulnerability. All men are vulnerable. All women are vulnerable. It's crazy that some men pretend they aren't and bottle it all up. It's not strong or manly, it's stupid. Strong is revealing the vulnerability. Strong is saying, 'I have these vulnerabilities and still I embrace life with all my being.''

The Sword that Saves is a gripping novel that has many compelling twists and turns. Every page holds a new question, followed by half an answer that leads you to another question. Everytime you think you've figured something out everything changes. 

There are so many great characters and settings woven throughout the story that is almost impossible to put down. When I pick it up I can feel myself sucked into modern day Vancouver, before being flung back into 16th century Japan. The time changes are displayed through language and setting in a way that makes it clear at every moment where you are in the story and yet there are secrets still hidden about how and why this time travel is possible.

When I first thought about writing this entry I asked myself the question, 'why should people read this book?' In the end I came up with a list of reasons that you should give this book a go, since the initial list was too long here are my 3 top;

The writing style- Every writer has their own writing style and Ambrose Merrell is no different. His style captures the essence of adventure, with its speed but also manages to keep a steady underlying pace so that you never feel rushed. Some authors may have similar, or even on first glance, identical writing styles as others but they are each unique. This can be through their humour, characters, what they deem important, how they express thoughts, attitudes, changes of scene. All of what builds up the book and makes it what it is. Sometimes you can get books with wonderful plot ideas but a terrible writing style, either because the author isn't very good at writing, or they have not discovered the style that best suits them yet and keep trying to write like everyone else. Ambrose Merrell however manages from the start, to create his own engaging way of telling this great tale.

The Plot- The Sword that Saves has a very interesting plot that provides both things that relate to modern day. and the history of ancient Japan. Personally Japan is a country that I have never had the opportunity to read or study about much. The Sword that Saves brings the ancient customs of the country alive providing a new interest in things of the past.

The Characters- I can't say that I have a favourite character at the moment but there is definitely an aspect of each character that I like best. I love Sam's bravery and trust in people, even when he first meets his Sensei he is willing to follow him, even when it may seem strange. I love Zoe's unwavering faith in her brother and Sophie's ability to see people as they truly are. I love that Grace, provides Sam with some of the greatest advice, and I love that no matter what each of these characters overcomes their own struggles.

Chinook

A few days ago I was talking to one of my friends, Eleanor. She asked me what I was doing of the weekend and so I listed off the things I would be doing; my little sister’s birthday, helping out at Kids@Ken (my church’s kids group), going to my grandparents, and flying in a Chinook. Of course it was the last activity on the list that particularly caught my friend’s attention.

I am not really sure how best to put my experience into words, there are some things that can not accurately be described, but I’ll give it my best shot.

The morning started with an early rise and a hectic packing of bags, being me I hadn’t packed yet and still needed to fill in forms etc. At around 6.50am I was in my uniform, hair done, shoes polished and hoping my uniform didn’t crease too much, and that I’d got everything I needed. On arrival at the coach stop no one from my squadron was there. Thoughts along the lines of, ‘I got the wrong place,' 'wrong time,' 'wrong date'. But, no need to panic. I was on time, everyone else was late. Despite the earlier setback we somehow managed to arrive at the RAF station early. Don’t ask how that’s possible, it just happened.

Arrival, people everywhere. Fire engine, police dogs, gliders and finally the Chinook. Safety brief, brace position.  Lined up, helmets, goldfish bowls trying to speak but can’t hear anyone. Thought I was going to be blown away as I walked to the back of the Chinook. Sitting down, seat-belts. Windows, tipping side to side, open back, trying to speak, forgetting that I can’t actually hear. Landing, getting  off and then just letting it all sink in as I fall asleep on the coach- with my mouth open!