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!)