A fast month. Speedy. Flying past us in bursts of heat and shards of sun. A venture into vast and vibrant cities, juggling work and wonderment and wanderlust. Visiting new countries and continuing to appreciate the ones we come from. China is full of culture, its landscapes often breathtaking and its history so interesting. A place full of juxtaposition, somewhere I feel lucky to have experienced firsthand. 

After waiting for over a year to see Hamilton at the Victoria Palace Theatre, it was a truly magical experience to finally watch a production of this magnitude. Wherever you sit in the auditorium, you instantly enter into this world that feels simultaneously like the present and past (take this from someone who sat on the very back row.) Every part of the experience is charged with anticipation; it's a phenomenal piece of theatre. It's impossible to write a more nuanced or complimentary review than the many other critics and theatregoers who have already written extensively on Lin-Manuel Miranda's ground-breaking production. So instead I shall simply say this: yes, it really is worth the wait. If you are lucky enough to have the means to see the show, do it, do it, do it. 

Another anxiously anticipated event this month was Season 7 of Scandal. The final season of any show can be so bittersweet; sometimes it's just sad to see such a good show go, other times you watch wrought with worry that the characters we've grown to love won't receive the send off we feel they deserve. Scandal set out to achieve a lot in Season 7 and of course Shonda Rhimes successfully achieved it all. (Spoilers will follow so click away now if you've not yet watched all of the episodes.) Overall, the final season was thoroughly enjoyable. It had all of the plot twists, the high impact stakes and the intensity of every other season of Scandal, with some pretty dramatic character arcs. It was interesting to follow Olivia's fluctuation from white hat and back but the character who stole every scene, who demanded our attention and had the most emphatic series arc of all was, perhaps surprisingly, that of Eli Pope played so brilliantly by Joe Morton. And yes, of course we're happy that Olivia didn't finish the finale defined by a romantic relationship (though there's certainly enough evidence to infer that the rekindling with Fitz may very well continue). It's hard not to spare a few thoughts for Captain Ballard, though (despite his somewhat terrifying trajectory). I would be lying if I said I hadn't held out an ever-diminishing hope that somehow Olivia might save Jake once and for all. Mostly though, I'm just glad I stumbled across the show while searching for something to help me procrastinate from my university work all those years ago. Scandal, it's been scintillating. Thank you.

Literary Life

Managed to move through quite a few books this month. First of all was Hamilton: The Revolution. If you like the musical and finding out behind the scenes information into how said musical was created, this is absolutely worth purchasing. It's a (super splendorous) bonus that the book itself is crafted so magically, with textured paper and authentically archaic typescript. I revelled reading about the origins of each song in the soundtrack and the way Lin-Manuel Miranda's idea moved from a concept album to arguably the biggest new musical is both mind blowing and massively inspiring.

Quite by chance was the discovery of Samuel Bjork and his two Norwegian bestsellers, I'm travelling alone and The owl always hunts at night. Multiple train journeys to and around London provided a wealth of time for reading, but Bjork's books are that gripping that you want to use every spare five minutes you can find to reach just one more chapter. The tone is gritty and dark, the characters compelling and highly complex. Perhaps because Bjork's style was new to me, I'm travelling alone holds slightly more intrigue but both are daring novels that delve in the depths of the human condition. 

Hamilton inspired nail art. (There's a theme here, no?) Seeing Hamilton was such a momentous occasion that it demanded to occupy every inch of my creative resources. It's not the best nail art design by far, but what it lacks in artistry, it makes up for in fond memories.

Dark, thrilling novels are very much Jo Nesbo's wheelhouse and The Thirst is no different. His Harry Hole books can be a little macabre but Nesbo's plots are always full of depth, intelligence and such gripping twists. The content of The Thirst can be emotionally difficult to read at times but it is rewarding to reach the end of the book. Much like many in the series, the book is clever enough and capable enough to be read as a stand-alone, but the extensive insight into multiple characters that we receive over a number of books is a work of true genius. If you enjoy gripping, gritty novels, then be sure to check out Jo Nesbo's work.

Another excellent offering for TV drama this month. The final episode of Keeping Faith finished what was a pretty flawless series. It followed the lives of those in a small town in Wales but nothing about the show is small. The acting is masterful from all involved - Eve Myles especially - and the locations are atmospheric, the script sharp and current. 

Perhaps there's nothing as zesty as a lemon. (Perhaps other citrus fruits would disagree?) Lemons are definitely of the flavour right now, with lemon printed fabrics featuring in many a fashion retailer. This lemon inspired nail art design uses a mix of bright yellows, green and white. A lovely Springtime look. 

March feels multicoloured. From the smallest of green shoots to pale blue egg shells to the prettiest yellow petals from a shop-bought bunch of daffs. Assurances of sunshine replaced by whirls of white snow and the promise of egg-shaped excitement plays joyfully on the horizon. It's a month of movement; moving towards Spring with its new growth and longer days (but the enjoyment of the outdoors still remains heavily dependent on layered outfits and waterproof coats.)

Curiously Cultural

The (long-awaited) second season of Jessica Jones, starring the superb Krysten Ritter, surfaced on Netflix this month. It's a fantastic entry point for anyone interested in the Marvel Universe, being grounded in grit, determination and fully functioning (and fantastically flawed) three dimensional characters. An interesting season; it is match for match in terms of quality, depth, drama and acting with Season 1. In some ways the episodes are all the more intriguing (especially in the latter end of the season) and despite a couple of unsatisfying subplots, overall it's a strong second season. If you like unlikely heroes, complex relationships and a touch of super strength and spy-work, Jessica Jones is the show for you. Also on Netflix was the third season of Judd Apatow's series, Love. It's modern, it's current (and perhaps a tad too cutesy?) But then perhaps that's what you get when you sign up for a show titled Love. 

Literary Life

Cold days called for cosy evenings full of reading, meaning the completion of three books in total this month. Life of Pi was up first. It's a book that feels as if it's been around forever, wherein you think you know the story (and it quickly manifests that, actually, you don't). In many ways, a surprising read. Not all what you might imagine (or maybe that was just the case for me and my misinformed imagination). A little unsettling, a little long but worth the wait for the final three chapters. 

River of Ink by Paul M. M. Cooper was perhaps not given the best shot (given that three quarters of this was read in a hospital waiting room) but it was still a fairly gripping read. It touched on a topic I had never really read about before - the service of poetry and literature for a pretty tyrannical leader - but it was an enjoyable cultural experience with a satisfying conclusion.

Thirdly was Journal, the diary entries of Hélène Berr. A truly emotional read, full of insightful commentary and detailing of her life in occupied Paris. She wrote so beautifully, with such intelligence and bravery. She articulated both facts and feelings with such openness (and even optimism, at times). It was a revolutionary read, one that could not be recommended higher.

Treasures and Troves

Makers gonna make and triers gon' try. Emphatically falling into the latter category, try is most definitely the best verb to describe this little creation bubble that popped in my brain this month. It came from wanting somewhere to store bath bombs that wasn't just a wire rack, which could be visible and open yet still decorative. The result? A white wooden crate adorned with poms poms, scrabble letters and an old pair of upcycled shorts. As you do.

February often flies by. Maybe it's the fewer days, maybe we will it to pass because it holds none of January's promise for newness and none of March's signs of Spring. Snow has been a presence all of its own, bringing with it a dusting of elegance and joyous exuberance all at once. There is something so thrilling about waking up to blanket of snow, sinking well-wrapped feet into a glistening landscape and hearing it crunch while you walk. Since snow is sometimes a rarity, it almost feels like a daydream when it happens. While the world comes to a bit of a standstill, you walk around and fall gently in a daze as your fingers feel numb and your nose feels cold. 

Treasures and Troves

But there have also been days when the snow has been absent (which, let's be honest, is usually 98% of the time) and sleep isn't such an easy avenue to walk down. Despite long days at work and all the exhausting elements of life admin, sometimes sleep evades us even when we're longing for it. I have no antidote for that (so sorry) but this Champney's Heavenly Days Sleep Pillow Mist has been a really welcome addition to the evening wind-down routine. (Routine might be a slight exaggeration; it's more of a short list of things which are good to do but often forgotten. Woops). 

A gentle spritz or three above your pillow does not send you straight to the land of slumber (how brilliant would that be?!) but it does provide a soothing sense of calm and every sleepy inhale seems to somehow send you one step closer to sleep. The scent is lovely; fresh and sweet but never overpowering. Part of the As Good As New collection, the temple balm is also a helpful addition. Both are definitely worth a shot if a soothing night's sleep is on your wish list, the pillow mist especially.

Curiously Cultural

When it's too cold to venture out (or even when it's not), there's been plenty of reasons to staying in this month. Collateral on BBC2 has been an intriguing watch with a truly stellar cast. It is fast-paced and hurtles down a path that is simultaneously predictable and unpredictable. The fourth and final episode is looking to be a riveting conclusion. We're also halfway through Keeping Faith, starring the wonderfully Welsh, Eve Myles. It warrants a fuller review, which will likely appear in the next edition of a month in words once all episodes have aired, but the first three can be found on the iPlayer should you want to see for yourself this serious yet soulful drama.

Just one book completed, though others were started (and not abandoned, just postponed). The Book of Mirrors was a solid read; lightly enthralling and deeply layered, almost to the point where you would forget until a chapter would suddenly remind you. Books can be a brilliant distraction but events occur in the world and you find your attention focused (for better or worse) on social media. This can be uplifting, reaffirming and sometimes simply sad. Occasionally all three, depending on the day. Hoping that March, with its brighter days and warmer winds, will bring with it some bookish delights.

Sometimes January is about discovery. Trying new things, devising New Year's resolutions, writing goals or making plans. But it's also a month of recollection. That doesn't have to mean looking back over the previous year (though that is often the case on those cold, dark-skied days); it can mean quiet contemplation, grouping thoughts or hobbies, papers or photos. More than anything, January consisted of repetition. It saw mundane moments - slipping cold feet into fluffy socks and nestling cool hands in woolly gloves; walking briskly to work and then retracing the steps back home again. But it saw magic, too.

Curiously Cultural

Having the opportunity to listen to Les Miserables be performed live at the Queen's Theatre is a phenomenon like no other. Dulcet tones echo around the room while you're there, but the performance leaves an imprint on your brain (much like it did back in 2013 when I was lucky enough to first see the show). Though Christmas is now long gone, there were reminiscent echoes of it in seeing London lit up for Lumiere London. People marvelled at each luminous installation and instead of trees, people gathered round art, and photos were taken in place of mince pies and puddings. Carrying just a little more leftover festivity was watching discovered in watching Aladdin as a musical at the Prince Edward Theatre. Immediately it invites you to fondly think back on memories of past pantomimes, but with added charisma and choreograph (and one show-stealing Genie).

Literary Life

The books which were flicked through held echoes of the past; La Belle Sauvage brought the nostalgia of reading His Dark Materials for the first time, with the (re)discovery of Philip Pullman's magnificent writing for second time in one life. La Belle Sauvage is a most marvellous tale, capable of transporting you to a world away from the one in which you exist. It's easy to race through the pages, especially in the second half of the book, but trying to savour the experience was a welcome literary challenge. A must-read for any Philip Pullman fan and an enjoyable read for anyone with a taste for a wildly imaginative and immersive novel.

In a completely different way, reading The Diary of Lena Mukhina: A Girl's Life in the Siege of Leningrad also provided a look, or an insight, into the past. It is always strange to read the real words of someone in a time we simultaneously know so much and so little about. It was interesting to count the parallels despite the uniqueness of the situation Lena had to sustain. It was an inspirational read that serves the reader in many ways (not least that of inspiring a resurgence to journal). The entries are so detailed and descriptive that it can feel almost fictional at times, but it's so harrowing too. Remembering that this is history (and not too recent history at that) makes it a rather remarkable read. If you are at all interested in history, in diaries or just the written experience of others, then you might well enjoy this read.

With fewer days than any other, we expect February to fly right by which, after January's long-lasting hold, isn't necessarily a bad thing. We end January hoping for sun but fully expecting snow.

How did the first month of 2018 fare for you?

As is often the case with any nail art on this blog, the theme of the design has been interpreted incredibly loosely. Nevertheless, it's a fun, festive design that's super simple to create and gives the impression of golden gifts (when in reality, it's craft gems stuck on top of a glitter mani but no one needs to know that!)

Start with Barry M's 'Peel It! Peel Off Basecoat' for ease of removal (just in case attempts 1, 2 or 32 are unsuccessful). Once dry, apply a substantial gold tip to the end of each nail using a sticker as a guide or free hand if you can. Having a guide to paint around definitely helps to keep the nails looking uniform but adding the glitter topper does hide a million mistakes, so complete accuracy isn't essential (thank goodness). 

While the gold is still sticky, pour the glitter on top and lightly press or tap down to ensure it adheres. The glitter topper used here is Ciate's 'miracle on 34th' which is both seasonal and superbly shimmery. A cotton bud is great for dusting away any excess (and pouring the glitter over a folded piece of cards means you can tip any extra glitter back into the nail pot for next time).

When the excess glitter is removed from on top and around the tip of the nail, paint on a normal top coat paying extra attention to the centre of the glitter arch. Using a delicate hand (or tweezers for extra accuracy), gently place or drop a small gemstone into the centre and hold for several seconds. This part is particularly tricky and can often take more than one attempt. Wait for it to feel suitably secure and then cover the entire nail with a gel top coat and cure. There you have the loosest ever nail art design inspired by the

Seeing Yerma as a streamed event in no way lessened the impact of the performance (she says, having not seen it performed live and thus having no context in which to compare the two... Moving on!) The audience was full of respect and anticipation and as soon as the lights dimmed and the recording started, the lines between those who knew the plot and those who were new to the plot seemed to disappear. All anyone was expecting was an hour and a half of damn good drama (which was definitely what we received).

The story of Yerma follows a woman's tragic journey as she longs for a child and the consequences for her and her family when that longing remains unfulfilled. The original play by Lorca is very much a reflection of a different time period than this Young Vic reinvention, but the themes remain very much the same. The production and performances were value enough but the screening very much leaves you wanting more - wanting to find out about the original text, to mull over the performance to try and pin point exactly what it was that made the production so tangible.

The plot really is very clever and incredibly well executed. As a millenial (apparently) the up to date references were enjoyable, though it took a few minutes to adjust to the way the dialogue often overlapped in what we may assume was a direction given to contrast so starkly to the dialogue towards the end of the play. The more the relationship disintegrates, so too does their ability to communicate effectively. No longer are they in tune with one another, but rather barely listening and certainly not hearing.

Time, and the way it is used in this production, stands out as a prominent theme. We are reminded regularly about the passage of time (something that is of great concern to Her) and yet time seems so free, passing in mere hours then whole months. It remains inescapable though, for us as the audience and for those in the performance and it becomes clear that by the end we are racing towards an eruption of gigantic magnitude.

The use of costume is also very clever and was something that perhaps requires more attention to comment on properly. Do the changes of clothes occur when there is a shift in opinion, in realisation? Is it completely meaningless, just coincidental? Hard to say without a second viewing (or perhaps easy to say for a more competent critic - your choice). Other than time, it feels like Yerma revolves a lot around omission. Not only in the very pronounced sense, in that a baby is essentially omitted from her life, but in so much of how each character acts, behaves and talks. We find out towards the end that John, the husband, stopped wanting (or never wanted?) to have a child and by this point, the obsession has reached dangerous heights already. The revelation of this omitted information sends Her into a spiral from which there is no return. It's so interesting psychologically here though, because this omission fully allows Her to attribute the childlessness to this fact - no wonder they didn't conceive when he didn't want it to happen. To her now seemingly deranged state, the two events are directly connected.

It was interesting also to see commentary of the world of social connections. The blog that she writes about is, understandably, a great hit. Posts go viral and though she omits her husband and her sister's names, the fallout of talking about such intimate elements of their lives is a huge factor in the play's final outcome. The irony of then writing a review about it, online, on a blog, is not lost.

What you see when you watch Yerma is a breathtaking performance. Billie Piper is, as everyone has already said with far more eloquence than is mustered here, absolutely outstanding. Because time passes so differently with each scene and she is present in so many of them, we are treated to a masterclass in heading a performance. We see elements of youth, of regret, of longing and desire, or arrogance, of desperation and so much more and Billie grounds each and every one of them. The script at times tries too hard to be relevant but the acting compensates for this immensely. Some scenes are painfully accurate and perhaps that is why Yerma has become quite such a spectacle.

A magnificent modern masterpiece - go and see if if you can. 

There are apparently ten main types of cloud from which all other types of cloud exist. The clouds you're about to see in this nail art design are an accurate representation of none of these. Despite using clouds both real and plastic for reference, this cute cloud nail bed designs turned out a little less than accurate (but hey, forecasts aren't always accurate, right..?)

(PS - the super cute cloud pin is from Oh So Cherished over on Not On The High Street)

With Tennessee William's Cat on a Hot Tin Roof currently playing at the Apollo Theatre, it seemed apt to create some loosely inspired nail art to match.

It would be oh-so fitting if the choice of base colour was a conscious choice and not just a very fitting accident (if you are familiar with Tennessee Williams you'll know he often referred to his low moods as 'blue devils'.) Every newspaper or literary print tutorial suggests using a pale or neutral colour as a base to help the print transfer show up, and Essie's Perfect Posture is a muted powder blue that fits the bill brilliantly.

It's probably best to follow instructions online (as this is certainly not an expert review) but essentially you soak a strip of paper letting it fully submerge and quickly apply it to your nail of choice (ensuring the base coat is fully dry first). Press and hold it firmly to the nail and then peel off gently. There is sometimes a little bit of paper residue stuck to the nail but this generally smooths down after a top coat is applied. Repeat the process for however many nails you want the writing printed on, ensuring you seal the design in with a clear top coat. You could also add a gel top coat for added security. 

You also needn't worry that any form of sacrilege needs to occur in order to do this design yourself; just use the very back page of a playbook where it lists 'other titles by this author'. That way the play remains in tact and your nails are a display of print perfection. 

What better way to show how much you adore a musical than by writing an inexpert review of the soundtrack, without seeing the show because you don't live in New York (sob). Having said that, if Anastasia does come to the West End (please please please) then you can guess who's already going to know every single lyric in the show. Here's a run down of most of the tracks in no particular order (because let's be honest, they're all amazing).

Given that parts of The Countess and The Common Man has such a similar melody to Meant to Be, it's clear that this refrain is either A, a undeniable symbol of true love or B, Popov's own theme tune (or C, both). It feels like the song is part of a strong comic interlude, that is tinged with romance too. 

If we're looking for songs that are tinged with romance then it doesn't get more heart melting than In a Crowd of Thousands, while both Everything to Win and the reprise are simple and sweet and so lovely to listen.

Learn to Do It is perhaps the song that is the most fun to sing along to because the lyrics in it are just so enjoyable. ('I never cared for Stroganoff' is one excellent example but you can easy find a dozen more). What is most impressive is the range not only of Christy Altomare's vocal ability but her characterisation and expression as Anya, too. This song gets better with every listen (as does hearing the lyrics and realising that 'how she frolicked on the Volga' are the actual words and not, as one may initially have heard 'how she frolicked on the vulgar'. Similar sounding words with very different meanings!) 

While The Neva Flows wasn't an immediate favourite, the instrumental introduction again sounds just like the orchestra in the pit starting to warm up, which definitely plays in its favour. The rhythms and melody in this song sometimes feel tricky to follow but it showcases Ramin Karimloo pretty perfectly.

Though quite a short song in comparison to others in the soundtrack, Crossing a Bridge is soft and sweet and simply splendid. We'll Go From There also has some great lyrical phrasing and is a fantastic multi-character musical moment. Excited to see how it's staged (coughcough please come to the West End coughcough)

Listening to The Press Conference is overwhelmingly exciting and despite sounding nothing like We Both Reached for the Gun, it's become impossible not to picture Christine Baranski somehow chairing the whole affair. Perhaps it's the sounds of the typewriters in both songs, perhaps it's nothing less than an obsessive admiration for Christine Baranski (or, most likely, very much both).

Much like in the film, Paris Hold the Key to Your Heart is fast, fun and French (if a song can be described as such), while Land of Yesterday is a zesty new addition that paints a picture of Russia that you almost wish still existed. 

Those first waltz-like notes that lead in to Once Upon a December have such nostalgic power, that whether this is your first or your fifty first time hearing the song, the experience is transformative. Perhaps those first bars of music are (along with tattoo chokers and ) what it means to really be from the 90s. 

The absolute crowing (sorry) glory of Anastasia has to be Journey to the Past. Despite some belting notes in the song, so much of it is soft and understated and just absolutely beautiful to listen. Christy Altomare is a dream to hear on the cast recording and the song carries such significance that you wonder if it was ever daunting to perform. It is the inclusion of this song and others that demonstrates how masterfully the creators of the Broadway musical were in their development. Taking the songs that stand at the heart of the story and adding to them a symphony of new songs that are lyrically, emotionally and vocally superb is something to be highly celebrated. (And tell me Carrie Hope Fletcher wouldn't absolute crush this role. Imagine her singing In My Dreams and tell me it wouldn't be absolutely phenomenal. Casting gods, give us something to live for, pretty please.)

Nailed it. If by nailing it, you mean the creation of some well-intended but scarily sub-par Addams Family inspired nail art, then yes. Totally nailed it.

Dark spark. Even the princess of darkness herself couldn't be opposed to some decorative accessories, right? So it seemed only apt to channel the Addams' preoccupation with all things dark and deathly in these nail art creations.

Rock on. Both ideas use mostly Barry M nail varnishes and the Barry M nail art pen. The first creation is composed of the shades White and Rockstar (to perfectly capture their pale complexion and punk-rock attitude) while the second example is an homage to Wednesday in all her crazy, kooky glory, with hand drawn arrows and coffins and bottles (oh my!) 

For five fantastic days from the 23 to 27 May 2017, The Addams Family UK Tour came to the Marlowe Theatre and earned itself a spooktacular five star review.

⭐️⭐️⭐️⭐️⭐️

When you're an Addams, you share a Full Disclosure. So it goes without saying that The Addams Family is wonderful and witty and wretchedly watchable in a way I think an Addams would be proud. The show is vibrant and vivacious, the staging is superb and before the first scene even started the audience was click-clicking along. The problem (and I use the word lightly) with seeing a musical or performance for the first time without knowing much about it beforehand, means you inevitably leave the show wanting to immediately press rewind and watch it all again. Arguably even more so with The Addams Family because it's such an ensemble production. The plot is packed full of an array of memorable musical numbers and substantial character arcs, plus the ensemble, with their individual identities, are a totally integral part of the whole performance. In case it wasn't already clear, the show is bloody brilliant (although, thankfully, not actually all that bloody!) And a note for any fellow arachnophobes; rejoice. With the exception of Wednesday's extremely apt earrings, there is not (as some may have feared, myself very much included) a spider in sight. Ah, relief...

When you're an Addams, you might be underrated. Crazy might be underrated but something that definitely should not be underrated is the sheer amount of talent taking up the space on that one stage. Samantha Womack makes for an amusingly morbid Morticia performing decisively deadpan opposite the fantastically flamboyant Gomez, played perfectly by Cameron Blakely. It's impossible to do anything else, but definitely keep your eye on Blakely during Full Disclosure - he is simply beyond brilliant and it's a testament to the professionalism of the entire cast (and crew) that no one breaks character throughout that entire scene. Just genius. Lurch may be the dark horse in an already dark and brooding family, while Charlotte Page's performance as Alice Beineke perhaps has the biggest, brightest story arc of them all. Oliver Ormson is adorable as loved-up Lucas but to be honest, every single person on (and behind) the stage is just a pure joy to share an evening with. Having seats on the side meant full view of the orchestra pit and Andrew Hilton might be the most enthusiastic MD to ever grace the planet. You could call him the unsung hero of the show, except he seems to rejoice in mouthing along to most of the show's soundtrack (talk about multi-tasking!) 

When you're an Addams, you might be wild like Wednesday. Yes, there is some satisfaction to be gained from having unintentionally watched Wednesday Addams on a Wednesday. It's impossible not to mention Carrie Hope Fletcher, who pulls at your heartstrings with an earnest (but still suitably eerie) performance as Wednesday, complete with a crossbow and an attitude that Katniss Everdeen herself might be jealous of (except, of course, Katniss shot arrows with a bow in somewhere a little less conspicuous than NYC...) Hearing Carrie perform Pulled on Youtube is amazing but hearing it live in a theatre is just a whole other ball game. It was a genuine privilege to witness such a phenomenal performance first hand and the entire auditorium seemed to agree. In fact, nipping to the loo in the interval led to overhearing at least three different people commenting on how amazing and astounding Carrie's performance was (although the quote of the night possibly belongs to a vastly stylish woman whose somewhat aristocratic accent was absolutely appreciative of the show, as the first half had already quelled her qualms that it might not be the show for her. Turns out, it absolutely was!) I have a theory that there's a moment in every show that people wish they could capture. Not necessarily the same moment of course, but there will be a moment, or a snippet, you just want to savour. Like saving the last drops of a perfume bottle to come back to when you feel nostalgic. The magic of theatre is that you have to commit a performance to memory in order to relive it, but you're so caught up in the moment that it's impossible to think of anything else besides the then and now. In The Lion King it's the first heart-shattering opening number; in Matilda, it's the so simple but so sincere staging of When I Grow Up and In The Addams Family, it's without a doubt the crushing crescendo at the close of Pulled. Carrie absolutely killed it (which is pretty appropriate, since she's an Addams. Ahem. I'll go..)

When you're an Addams, you might be dead from dancing. Having the Addams' ancestors around is such an innovative way of really making the most out of the ensemble. They have some seriously intense choreography to nail, but they should be experts at that (nail.. coffin... I'm sorry, I really will go.) Hugest props go to Jessica Buckby for wearing pointe shoes for the entire first act (and maybe even some of the second?) Granted, that is what ballet companies do for real, for days on end, but still.. it's impressive. The costumes for the ensemble are really so exquisite though too, and (surprise, surprise) the ballerina one is a firm favourite with its sequinned layered skirt that shone under the stage lights. The make up, the music, the accents, the acting - all of it was just brilliant.

When you're an Addams, you might find a new obsession. In case it wasn't clear, The Addams Family UK tour is fantastic and if you're feeling in any way pulled to go and see it, definitely, definitely do.