Tag Archives: Review

Review: My Bright Shadow by Patrick Jones by Sian Thomas

Though I do adore both writing and reading poetry, I admit to having not previously heard of nor read any work by Patrick Jones. That being said, being presented the opportunity to discover him, I took it quickly. Not knowing a poet wouldn’t stop me from learning of them – besides, the process is always enjoyable. Poetry in itself is enjoyable. I’m always excited to read more, and I’m glad I did.
After reading through the whole anthology, I definitely decided on some favourites! Namely: Plume Angel, The Smell of Sundays, Wrapped in the Arms of Ghosts, Lovesung, The Presence of Absence, Mothering, and When are all in my favourites, for a bunch of different reasons.
Plume Angel was the first one to show Patrick Jones’ use of white space, which is a technique in poetry I both utilise (often) and really love to see. It makes the poem much more interesting, when your eyes are darting all over a page rather than just going in one expected direction. I loved the feel of this poem – it was very gentle, from the get-go. The first stanza was my favourite one, but my favourite line was, “tiny talismans / crashed to / earth / from an icarused flight”, solely due to the image of falling people and falling feathers. There, despite the softness, was also a great sadness to it (which is understandable, based on how the book itself and all the poems were born from a son’s experience of a mother with leukaemia). In a similar vein, Wrapped in the Arms of Ghosts also has this feeling with peppered in lines that I find really satisfying. For example, “clinging to sepia stained memories / bleeding frames and flickering effigies / hearing voices from forgotten melodies / is yesterday to be our only legacy” I found to be a lovely line, with a lot of emotion threaded inside and around it – especially considering the sounds that comes from reading or speaking them, which further created an positive impression and reaction from me.
Throughout each of the poems I found that drew me in was a consistent and understandable melancholy. The feeling was crafted really well, and also waded in and out with other things, too. Regret, wanting to go back, feeling the pressure of time and how we should be cherishing the seconds we have (which I do love, as a theme, it has a tendency to humble me and very quickly). The poetry was impressive, with really nice flow and images, although seeing the white space was definitely my favourite thing to take note of.
Lastly, Lovesung was one of my favourite poems, because it opened up a discussion I’ve been having within myself a lot lately. It came for my questioning if poetry and writing is an escape, and if it is – if it works? It came head-first towards my own habit of reading and writing to escape the endless refresh of bad news on Twitter, and the constant background noise of the world running all too fast away from me. And I really liked it, because it almost felt like being seen, and being coyly nodded at in a “I do this too and it’s nice and we maybe probably won’t tell anyone” kind of way. I loved it.
I’m giving the book three stars because I found some of the poems harder to untangle than others. I know full well this is a subjective area, full of people with subjective thoughts, but though these poems were well written and used really lovely language, some of them (for example, The Presence of Absence) did give me trouble in trying to decipher what – in that moment – was happening. I could understand the general sadness and regret leaking out of the poems, but other lines were more puzzling than expected. Which, having said this, could be seen as either good or bad by anyone else – but for me it did disrupt my enjoyment of treasuring the past and dwelling on actions and the present. Because of the grief hanging off some of the poems, I did find it a bit difficult to fully engage, however, this doesn’t take away from my admiration of this collection being published at all, when each pieces is so deeply, deeply personal. That’s worth respecting.
I’m glad I got a chance to read this work. I do love poetry and reading it is always an experience to be had. I had fun, and enjoyed what I saw. I would read it again.

Sian Thomas

Review: Every Word You Cannot Say, Iain Thomas by Sian Thomas

Iain Thomas is my favourite writer. Author. Poet. He honestly seems to be an advocate for self-love, for loving others, for recognising good from bad and good from great, for love, full stop. He seems to be an advocate for enjoying whatever it is you find in this world that you enjoy. I enjoy his work, more than I’m sure any language can help me spell out, and yet each time I try.
On my bookshelf, there is: I Wrote This For You, I Wrote This For You And Only You, I Wrote This For You Just The Words, I Wrote This For You 2007-2017, How to be Happy (Not a Self-Help Book. Seriously.), and 300 Things I Hope. And somewhere on my makeshift bookshelf because my real bookshelf is far too small for my wants, is I Am Incomplete Without You. I’m excited to add Every Word You Cannot Say to either of the shelves. I literally find myself unable to say that there’s any other author out there who I have followed this closely, for this long, and been so consistently delivered greatness on simple pages between a simple cover by.
I knew it was coming, the release of this book, and like many I did have to wait my turn to get it. When I did, I was in Waterstones, halfheartedly hoping they would have it (I was not convinced that they would). And I saw it, all the way down the bottom, way to one side: bright blue, jutting out, so different to the greys and blacks and whites (and one bright yellow) that I had grown used to associating Iain Thomas’s name with. I snatched it up and gave it the common flip through, and I loved the look of it and the feel of it and the way it felt exactly like all the other books of his I’ve read: like it was sure to give me something amazing. Which it did.
I ate this book up. Read it quick, flicked through again for an age, put sticky notes on the pages of my favourite pieces, used a highlighter on the ones I really didn’t want to part with. Like on page 131, “There is no register in the sky keeping track of whether or not you got angry as many times as you were supposed to. / You get to decide what eats you up. / And you have no obligation to kindness. / You can be kind as often as you want. / Kindness is not a currency, and if you treat it like one, then that is not kindness. / Within you, there is all the kindness you will ever need.” Or, page 80, “Maybe, in the story of your life, someone has written: / You cannot say why you loved them. / Only that you did. / Only that you don’t anymore.”
This book felt so new, and so fresh and different, somehow, from the other ones, despite still creating a warm and homely feeling in me as I read it, exactly like all the others had. I loved that, that kind of feeling from these books and these poems in particular, I always believe that that is irreplaceable – after all, I haven’t experienced it anywhere else or with any other author. I loved that there was playing with form, structure, even colour of the text. The drawings peppered throughout were lovely, and always in the right places.
I wish this is what all poetry did, that this feeling I got from this book is what I got from each one. I know that would make these books less special, but like I said: Iain Thomas really seems to be an advocate for love. I’m almost convinced he’d understand. And even still, this is one slice of favouritism I am not entirely ready to give up. This is why I gave it five stars. I always will.
Iain Thomas has a real skill here, an honest craftsmanship that I wish I could come close to. Some days, I try to (see: the centos I submitted to university groups, just so I could spill out a fraction of what I feel for this writing when it was my turn to talk).
I love the book. I knew I would.

Siân Thomas

Review: Ageless, Sherman Youth Theatre, Sherman Theatre by Sian Thomas

All photos credit Chris Lloyd

Yesterday, I saw Ageless at the Sherman Theatre. I haven’t been to the Sherman for some time, the last time I was there was for an event for the Cardiff Fringe Festival last year and it was nice to be back. It’s always a lovely venue to attend, it creates a really specific, really capturing atmosphere.


The play, Ageless, had a really interesting concept. A pill being made in order to cheat ageing. Essentially, live forever, and to live forever young. In addition to this concept, there were also a multitude of characters – each with different, and clear, motivations – easily ones to root for and enjoy seeing when they came on stage. Along with this came a really compelling atmosphere – especially when the scenes conveyed a group of rebellious teens fighting against this pill being made and distributed, a couple who have been taking it, and the two head scientists who made it. Bouncing between these three gave a really good depth to a world that no longer really ages, and I really liked seeing the tension between the three be created. There was a really good split of stage time between “young and old” to make the story really interesting and quick to figure out who’s side you were on.


Like always, the Sherman has incredible setting. I saw, what feels like a billion years ago, their production of Romeo and Juliet, and I remember how fun the stage looked then. This stage, just as that, was fun, too. And also practical – I really liked the way the cast would move it around to create a different atmosphere and setting.

The end was pretty clever. I liked the implications it left its world and the audience with. If the “being ageless” pill left takers with minuscule chances to have children, then it created a much bigger situation than just this revelation and the subsequent reaction. Essentially, it feels like there should be an Ageless 2 exploring “what came next”. The premise of the play, and the way the play itself was delivered, almost feels like it should be a TV show pitch, and I think the story idea there could definitely go far.


I’m really glad I saw it on one of the three days it was showing. It was a lovely watch of an intricate, almost dystopian, world.

Sian Thomas

REVIEW: Bummer and Lazarus at The Other Room by Gareth Ford-Elliott

3 out of 5 stars (3 / 5)

Bummer and Lazarus is an absurdist play by Yorkshire-based Big Egg Theatre. Loosely based on two real-life dogs of legend from 1860’s San Francisco, we follow Bummer and Lazarus as they try to find food and a way out of the room they are stuck in.

Whilst Lazarus has an existential crisis and is desperate to know the meaning of everything, Bummer is much more grounded and focused on the goal of escape. Lazarus asks an infinite amount of questions before truly testing Bummer’s patience, driving the conflict throughout.

The writing from Jack Harrison varies a lot. There’s a lot of subtlety to the writing which is brilliant and the rhythm at times is great. But the mood and tone rarely shift which makes the production a little stale.

Bummer explains the existence of time, inanimate objects and indeed existing itself to the curious Lazarus. However, this is all stuff the audiences knows and the novelty of Lazarus’ innocent thirst for knowledge wears off quickly.

These conversations fill the time but don’t hold the attention. There is some wit and humour, but really not enough to carry the play. The subtlety of the relationship changes are good, but ultimately the play doesn’t fulfil its potential.

The performances also vary. The physicality between the two is generally good. Bummer the old, wise, beaten dog and Lazarus an excitable puppy. But where the physicality works, the emotion behind the characters feels bland and underdeveloped. Perhaps an issue with the writing but the performances from Jack Harrison and Alec Walker don’t do enough.

Some people will love this show. If you can get over the issues, there are certainly things to enjoy in this production. If you’re a fan of absurdist theatre, then definitely go and see this. The potential is certainly there, it’s just not quite hitting every note.

Bummer and Lazarus is an absurd comedy about two dogs working through an existential crisis that doesn’t quite realise its potential.

Bummer and Lazarus is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for this and other upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

Bummer and Lazarus performed at The Other Room
05 – 08 March 2019
Presented by Big Egg Theatre Company
Written and Directed by Jack Harrison
Produced by Lydia Harrison
Performed by:
Lazarus – Jack Harrison
Bummer – Alec Walker
Assistant Director – Dave Reeson

Review: How To Train Your Dragon 3 by Sian Thomas

Seeing as this movie what something I was the most excited for this year, I think it’s safe to say it has lived up to what I expected it to be, and then exceeded it. My interest in this series began forever ago, in the early birth of my teenage years and it ends fittingly, at the end of said teenage years. It felt like a neat end to a neatly set-up series, and I did really enjoy it.
These movies, though typically for people younger than me, are so easily enjoyed that it’s hard to feel that age based disjoint. The jokes are still strong, the animation beautiful and easy to follow – smooth and alluring, and the story itself is still interesting. Following all the same characters, we end up watching their next journey: separation, threat, and the almost more-threatening threat of real life dawning over favourite young underdog characters. That, in itself, is quite the shake. Watching Hiccup, who can’t be much older than 14 in the first movie, become a chief and a husband, yes – it was quite the shake.
Watching the conclusion to this series was cathartic and sad an promising. Leaving audience members like myself with a recently-dried tear, but the twinge of its feeling still very much real, even if it remains labelled as a “kids film” – I think it’s due the credit of far exceeding that. Especially after tackling topics like family member death, coming of age, responsibility, marriage, and separation. The progression of this series is almost like watching children grow, and it’s been an amazing experience.
Jokes stick out, and so do designs. The subtle ageing of returning characters, and the surprising looks of new ones. The villains, in particular, have also had intriguing designs; like Drago in the second movie, and the villain in this one just the same. They were opposites to each other; rugged and sleek, but they still conveyed such a huge feeling of threat in each movie. Flashbacks stay with you, glimpses into the future do, too. The finishing lines explaining the idea that dragons still exist, waiting for humans to sort ourselves out, was somewhat hopeful and glaring obvious to its meaning – and that kick to such a soft and innocent (mostly) series, was honestly lovely to see.
I’m hesitant to spoil things, of course, because the trio of movies is one to be enjoyed rather than explained. They’re an easy binge, if you start early enough in the afternoon, surely.
I really did enjoy this film. I’m glad I saw it and I’m glad that it’s tied the bow on the franchise so exceptionally.

Siân Thomas

REVIEW: SEE-THROUGH at The Other Room by Gareth Ford-Elliott

4 out of 5 stars (4 / 5)

See-Through is an amusing exploration of Claire Gaydon, a 29-year-old, Drama school graduate, “giving it a go” on the old YouTube. A semi auto-biographical play about boundaries online, oversharing and the relationship between a mother and daughter.

The play opens with Claire Gaydon singing ‘Gimme More’ by Britney Spears, (an excellent song choice), before she sits down, back to the audience and presents herself through a screen.

Early on, Gaydon establishes her character and tells us this is a true story with a few fabrications. The character finds her voice and begins establishing her channel. Starting out with generic challenges and funny videos with her mother. The more she shares, the quicker we learn that other content will get more views.

In particular, content where Claire overshares with titles such as “Sex and Weed”. The more she overshares, the more she knocks down the boundaries between her and the audience. Eventually, Gaydon goes too far and shares a very personal experience. Something she hasn’t even told her mother, who subsequently finds out through the video. This forces Claire to re-evaluate and reflect on her YouTube experience.

The performance from Claire Gaydon is strong. It’s obviously a personal piece, but one she is critical and self-aware about in her performance. Gaydon obviously enjoys the funnier moments of the script, but it is the more serious ones where her performance is strongest.

The writing is witty and amusing but doesn’t hold back on personal details of the character. Despite seeing the majority of the performance via a screen, we get to “see-through” to the emotion of the character behind the screen. This is something we don’t get in real world YouTube which works really well and is a really nice concept.

A worry going in was that the play would trivialise YouTube a bit, but it doesn’t do this. Another worry was that the use of technology would take away from the intimacy of the play. But if anything, it allows us to get even closer to the character. Gaydon just has fun with it and through a good use of technology delivers an interesting piece both in terms of its content and presentation.

There are moments that could be cut a little. Moments that drag, especially near the start, where Claire researches YouTube – which ultimately serves as a quick introduction to audience members who are not so familiar with the platform. We learn a little about the character through this, but really not enough for the opening minutes. This is, however, carried well by humour and is the only real blip in the production, and one which is ultimately understandable.

See-Through is not the most plot-heavy play, but its strength isn’t in the plot. There is a story that jumps around in terms of timeline, revealed through the screen chronologically. But this is more of a character-based piece which peaks as we eventually go behind the screen and see Claire writing a letter to her mother.

A real strength of the play is that it could go down with any age-group. Anyone “older” who is put off by the mention of YouTube really needn’t be. It’s objectively funny and enjoyable as well as having a deeper message and a story to tell which will resonate with almost anyone in some way.

The message is subtle and well crafted, which is a testament to the writing and performance of Claire Gaydon. It’s intimacy and excellent character work will have you thinking about it long after the production is over.

See-Through is a humorous, intimate and emotive play that explores the character behind the screen of an aspiring YouTuber.

See-Through is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for the upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

SEE THROUGH performed at The Other Room
21st – 24th February 2019
Created, performed and presented by Claire Gaydon
Associate Directors: Jaz Woodcock-Stewart and Grace Gibson
Music by James Jacob
Video Editing Support: Joseph Brett
Stage Manager: Ben Lyon

REVIEW: JUST A FEW WORDS at The Other Room by Gareth Ford-Elliott

4 out of 5 stars (4 / 5)

Just a Few Words explores the psychological and emotional impact of having a stutter. How that affects your everyday life and indeed, your love life. We follow our protagonist (Nye Russell-Thompson) as he struggles to tell the woman he loves how he feels.

I’d heard a lot about this piece and my main worry going in was that the writing would be structured poorly. This isn’t a worry that need be had. The writing from Russell-Thompson is brilliantly structured as we follow the protagonist’s journey through his mind, preparing what to say.

Just a Few Words is frustrating at times as a slow-moving piece of theatre, deliberately so. This allows the audience to imagine, if not feel, the frustration that can be felt with a stammer. Not to pity but understand. You never feel sorry for the character which is a real strength of the piece. He feels like someone going through something which is presented as normal and relatable.

A one-man-show created and performed by Russell-Thompson, you can’t help but notice how this is more real to Nye than it would be to another actor. Even without the knowledge of who he is. This is a credit to his abilities as an actor, but also serves as a note to organisations who don’t hire disabled actors to play the roles their disabilities represent.

The debate about stammering being a disability will continue, a debate I’m not qualified to comment on and one this production doesn’t claim to solve. But what this play does present clearly is that Just a Few Words is stronger because of Nye’s personal performance. And it is the character’s emotive story that is the main strength of Just a Few Words.

The music and sound utilised in the production are excellent. From stuttering on an Otis Redding love song played on a record player in the beginning, to a grainy, static from said record player that runs for the entirety of the play. The sound is simple but adds a huge amount to the ambiance.

The minimalist set is great too. A record player in one corner, a table in another and the use of pre-written cards which act as subtitles for our protagonist’s thoughts that scatter around the stage complete the show and makes it everything fringe theatre should be.

Just a Few Words is an excellent and relatable portrayal of life with a stammer, blending a beautifully minimalist approach with powerful writing.

Just a Few Words is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for the upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

JUST A FEW WORDS performed at The Other Room
13th February – 16th February 2019
Presented by StammerMouth
Created and Performed by Nye Russell-Thompson
Stage Manager: Megan Randall

REVIEW: BLUE at Chapter Arts Centre by Gareth Ford-Elliott

5 out of 5 stars (5 / 5)

Blue is a powerful drama set by the Welsh, Carmarthenshire coast which centres around the Williams family dinner in the looming absence of a father figure.

The play starts when daughter Elin brings former teacher, Thomas, home to sleep with him. However, to Elin’s surprise her brother is in and her mother home early. A confusion over Thomas’ presence ensues and drives the play forward.

Thomas finds himself awkwardly caught in a family argument under tragic circumstances but is ultimately the trigger for improvement and progress amongst the family.

The writing from Rhys Warrington is brilliant. Meticulously paced and incredibly detailed, the script starts out light-hearted and funny but as it progresses, and delves deeper into the characters, we notice something isn’t normal. At no point does anything feel forced, the play flows naturally and develops with great care.

Blue is subtly political in talking about lack of funding for the NHS. But doesn’t stray from the importance of the characters involved whose lives are being ruined by these cuts.

It’s fair to say, Rhys Warrington is off to a great start with his first feature-length play and I can’t wait to see what he writes next.

The direction from Chelsey Gillard is simply stunning. Every aspect of the script is explored diligently. This play could have been easily mismanaged but Gillard controls it masterfully. Beautifully allowing performers time to draw scenes out and the design elements to set the scene. Chelsey Gillard is forging a name for herself as one of the pioneering directors of contemporary Welsh theatre and her achievement with Bluehas only boosted that claim.

The performances are exceptional from every performer. Sophie Melville is brilliant as Elin. Proving once again what a talent she is, Melville encapsulates the final stages of teenage angst with growing mid-20’s maturity brilliantly.

Gwydion Rhys plays Elin’s shy brother, Huw, expertly. His eyes lighting up the moment Thomas asks about Minecraft. A heart-breaking and simultaneously heart-warming moment as it’s clear this is the first time someone has taken an interest in his interests outside of his online alternate-reality. We can all relate in some way to Huw and Rhys’ portrayal is a testament to this.

Jordan Bernarde’s performance as Thomas is handled with as much care as the character is attentive to the others. We can sense Thomas’ awkwardness and even though we’re aware he’s really there to sleep with Elin, we see his kind-hearted nature too. It’s only when Thomas exits the play that you realise the impact Bernarde’s performance has on the production.

Choosing a standout performance is near-impossible, but if we are to do so, it has to be Nia Roberts in portraying the matriarch figure, Lisa Williams. Everything is perfect from Roberts in this performance. At the mention of her husband, everything about her character changes, from tone to body-language – perfect. This performance will standout as one of the best in Wales this year.

The sound design from Tic Ashfield is very understated and effective. The sound mostly soothes into the background, almost unnoticeable if you’re not looking for it – but is powerful and essential to the production.

Oliver Harman’s design is simple and functional. Detailed to what one would expect any living/dining room to look like, with nothing left to waste. The blue door is, in particular, a nice touch.

Ceri James’ lighting is an essential tool for setting the mood, which James does excellently. Subtly changing throughout and providing a nice alternative to blackouts between scenes which is specifically good. The slight blue tint in some of the lighting is also lovely.

It’s frustrating when a production leaves the design elements as an after-thought and whilst it’s very subtle in Blue, the design, on all fronts, contribute hugely to Blue’s artistic success.

It’s important to stress what a team effort this production is. Huge credit must also go to Rebecca Jade Hammond for creating and producing this piece, as well as all involved at Chippy Lane and Chapter in the making of Blue.

BLUE is a heart-breaking drama about a family split in their grief of a father figure who is both no longer present and not yet absent.

BLUE performed at Chapter Arts Centre, Cardiff
World Premiere 5th – 16th February 2019
Running time approximately 90 minutes
Created and Produced by Rebecca Jade Hammond
Written by Rhys Warrington
Directed  by Chelsey Gillard
Cast:
Elin – Sophie Melville
Thomas – Jordan Bernarde
Lisa – Nia Roberts
Huw – Gwydion Rhys
Designer: Oliver Harman
Lighting Designer: Ceri James
Sound Designer and Composer: Tic Ashfield
Dramaturg: Matthew Bulgo
Co-Producers: Chippy Lane Production and Chapter
Stage Manager: Bethan Dawson
Production Assistant: Sophie Hughes
BSL Interpreter: Sami Thorpe
Photography: Kirsten McTernan
Marketing and PR: Chloe Nelkin Consulting & PR

REVIEW: Laurie Black: SPACE CADETTE at The Other Room by Gareth Ford-Elliott

3 out of 5 stars (3 / 5)

Laurie Black is sick of humankind and decides to take us on her journey to be the first woman on the moon. A contemporary cabaret show that showcases Black’s musical and comedy abilities through her quirky, green alter-ego (who might not be an alter-ego).

Black takes us on her journey escaping Earth and encountering David Bowie’s alien spaceship (yes) before landing on the moon. The journey, which takes three-days but feels like an hour, is a fairly simple one as far as plot goes but exists to give context and thematic links to the main event of comedy and music.

Black’s music is a varied mix of genre that, for the most part, has a somewhat futuristic feel. She exploits the sounds of synths, piano and a small drum machine well on stage. But, it is Black’s enthralling voice which captures the audience the most. Not relying solely on her voice however, Black is also a great songwriter using witty pop culture references, the occasional political statement and comedic wordplay.

Mostly original music, there are some covers of popular songs in Space Cadette. Starman by David Bowie stands out as a strong point where the audience are encouraged to sing along with the “la, la, la”s. There are also covers of Radiohead, Muse and Leonard Cohen as well as a funny reference to The Proclaimers.

The comedy and storytelling that comes between the songs was usually good. Nothing to make you belly-laugh, but enough to keep you interested. It is fair to say also, that the comedy suffered due to the low turnout on the night. Some jokes are sleepers which will have you chuckling two-hours after the show as you walk home in the rain – which Black correctly predicts.

The stage set-up is simple. For the most part it’s just a microphone stand and a piano. This worried me at first, but as the show goes on, it isn’t an issue as Black keeps the attention on her. Except for one moment when she gets out her mini-moon that she passes around the audience.

There’s a lot of frustration in the show that gets channelled into humour and songs. On Black’s journey to the moon, we see further into her persona and whilst the outer-shell is hard, by the end we can tell she secretly loves us. There’s no particular agenda to the piece but an overriding theme of frustration at the current state of the world.

Space Cadette is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over the next eight weeks. Tickets can be found for Space Cadette and other Spring Fringe shows HERE, with an ever-growing discount for the more shows you book. If you can’t make the show, but like the sound of Laurie Black, you can find her music on most streaming services online.

Space Cadette is an enchanting, funny cabaret show from Adelaide Fringe 2018 winner, Laurie Black. An exploration to the moon that has so much to say about Earth.

SPACE CADETTE at The Other Room, Cardiff
5th February – 8th February 2019
Created and performed by Laurie Black
Technician: Garrin Clarke

Review: Neverwhere by Neil Gaiman by Sian Thomas

I feel as if I started reading Neverwhere by Neil Gaiman years ago, fell in an out with it as time went on, until I finally stumbled and stayed in its clutch.
    I remember hearing about it and thinking of it as interesting. Intriguing. I’m pretty sure it was described to me as light and easy, and I’m pretty sure the suggestion had come just after I finished A Little Life by Hanya Yanagihara. Light as easy must have been what I needed, because at the very least, Neverwhere was something that stayed in the back of my mind as a quiet desire to get into – and that’s where it all starts, really.
    I’ve read Neil Gaiman before, both The Graveyard Book and Good Omens, and I can say with a complete certainty that the way fantasy is presented through his writing is done strongly, and in a way that’s wholly fascinating. The story I have different opinions on, but the way it was crafted and elegantly delivered to me I really enjoyed. Richard, the main character, was one I grew to be quite fond of. Especially considering that how he was written was the begrudging type in a fantasy novel – the one who is just trying their best to get home. I liked the way he was happy when his bank card worked again at the end of the novel – something so simple and joy-inducing considering everything else he’d seen throughout the novel.
The story itself was alright. Most of my reason for reading was that 1) I like the writing and, 2) I really liked the characters. It’s an easy story in a huge book – man dragged into a big fantastical fantasy-world journey of “London Below”, going on a mismatched-twisted-and-turned adventure until he can go home (and then immediately realising he didn’t really want to go home). Kind of predictable, but still enjoyable.
The main characters – Richard, Door, and the Marquis (later adding a woman named Hunter) – each had a specific feeling to them that – though recognisable in fantasy – still had their own little spins which was nice to see. They were all likeable in their owns ways – as were the villains, for people who tend to enjoy bad guys more. I do quite like Neil Gaiman’s characterisation – something about it is always very clear and well-liked. The characters had their traits, and their goals, and their rises and falls – and none of it was made too complicated for unnecessary reasons.
I really did like this book! I’m glad I read it.

Sian Thomas