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Theatre

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

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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
Theatre, Uncategorized

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

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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

Film & TV

Review: How To Train Your Dragon 3 by Sian Thomas

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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
Theatre, Uncategorized

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

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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

Theatre, Uncategorized

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

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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

Theatre, Uncategorized

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

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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

Music, Musical, Theatre, Uncategorized

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

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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

Literature

Review: Neverwhere by Neil Gaiman by Sian Thomas

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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
Museums & heritage

Castle Coch Visit by Sian Thomas

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Today I was fortunate enough to finally find a use that interested me for my amassing amounts of Spice Time Credits. Castle Coch: somewhere I haven’t been for, I’m relatively sure, at least ten years? Either way, last I recall of the circularly patterned cobblestones and the cubbyholes and tiny doors was when I was definitely more of a child than I am now. I remember loving it there, and I know I loved it this time, too. Seeing it when driving along the motorway had always been one thing – on your way to somewhere else and gazing up at is wondering how it fit there and why it was always such a friendly presence – but going there again was a nice change, and it felt good to traipse up and down and around the staircases and all along its little balconies, finding tiny doors to go through and seeing all the different rooms.

My favourite one was the kitchen. Roped off, of course, but still full of things I wanted to put my hands on: tiny appliances, teeny kettles, the smallest and thinnest baby highchair I’ve certainly ever seen. I think mostly, though, that I enjoy the way the rooms look: round, with small dewy windows, occasionally a lovely arc that I would find immense pleasure in cuddling down into with a book or a mug or something to watch. I wish that was something I could’ve done in that castle the most: find myself a nook to nestle in and stay there from then on.

Also, the cafe was great. Cute little tables arranged in one of the more dim castle rooms; my one slightly elevated and under a window. The cafe was full of ladybugs – which in all honesty, I thought was lovely. I was having tea and enjoying having one or two scuttle over my hand and on to the little flowers on the tables.

Visiting the castle was good, honest fun; and had me in a lot of feelings by the time I was done. Like largely appreciative, hugely valuing aestheticism (I know the castle had a purpose whatever time that may have been – but now I just think it’s so lovely to look at and wander through and if that’s the most fun I have and I’m not hurting anyone, I can’t see much bad in that).
Overall a really nice day out! Definitely a good time for any age

Literature

Review: Ravensong by TJ Klune by Sian Thomas

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I don’t know where to begin with this book. I didn’t know where to begin after I read the first in the series, Wolfsong, so here I am all over again, hoping that I’ll be able to think of something that works and say anything that shows a fraction of what I felt while I was reading Ravensong.
I was so excited for it. This was not a secret (I don’t think it could have been, really, even if I tried with all my might)

This book had a stark difference in the way it utilised its point of view. A different story needing a different outlook is much more than understandable, and though I was excited to see how the change would play out ultimately I would realise: I love Ox and I love Wolfsong and though it would be easy for me to pick a favourite, that would never mean that Ravensong was bad – because it wasn’t. I loved it anyway, and I loved it in a different way. The thing about reading Wolfsong was that I also came to realise that I adored all the characters that were there for me to enjoy – so the book being told by a new voice was welcome, and fun, at its core.

The writing style before I remember as crisp and sharp and full of emotion, and it still was, now. It had a way of making me reflect on my own writing style; how mine is elongated and often runs in triplets and have a very obvious tendency to be verbose. It was refreshing to relive, I didn’t notice how much I had missed the style in the two years that had elapsed between books. It’s great too because, amidst the ache and the burn and the awe, there is always jokes; fun comedy in light of whatever serious situation is happening. I latched on to that, it was something I both really appreciated and could never wait to see when or where it would next pop up. TJ Klune has a talent for knowing the time and the place, and he also has a skill for creating a time and a place if he wants to, anyway.

The story was damning; I cried at least four times? At Wolfsong I’m sure it was at least six (the first time I read it, that is). The touch of tragedy but still triumphing it is always wonderful to see. That and, I don’t know, it’s a huge story and one of the biggest things about it is a loss none of the characters can control. I like a book that makes me feel a lot, so I’m not at all surprised at how much I enjoyed this one. There’s something about being able to cry at a story that’s inherently good; it talks a lot of the skill of the author and the openness of the reader. And I liked it – it makes me feel like even more of a part of the story. It was leagues more than the word intriguing can convey; I’m excited for whatever’s going to come next
adored it

I did a review of Wolfsong when I read it, about two years ago (give or take a little). I remembered feeling like I had to be the luckiest person alive when TJ Klune himself said he enjoyed it. That alone meant a lot to me. What also meant a lot to me was seeing the opening lines of it printed out in front of Ravensong.

It felt nice, first of all, to be remembered and also it felt wonderful to be included and I liked that this little Welsh group got to be seen the way it has. It felt important, and I felt very lucky all over again. It definitely made my day much more enjoyable when I saw it; the hours were a breeze and a constant grin was on my face.

In my last review, I talked about LGBT representation. I still think it’s important and I always will; Ox being openly bi was one of the many reasons I adored him. So, in the blog posts leading up to Ravensong, when I saw “unless I am explicit about a character’s heterosexuality, readers of Ravensong (or any book of mine) should assume said character is queer. Easy, right? Unless you see a dude like balls deep inside a vagina , or a woman talking about how she wants to get all up in some dude and ride him like a wooden rollercoaster, they gay. (Or, even better, they could still be doing BOTH those things because bisexuality is a thing that exists.)”, I was blown away. I was so happy. It was also great to watch this unfold as the truth, with characters embracing who they are and ones being mentioned to be aromantic – it’s refreshing to see. I hope it never, ever stops, and I hope that if I get as far into writing as TJ Klune has, I can do something even a fraction as meaningful and important with my words and my characters.

I hope the book does well, because honestly, it deserves to.

Sian Thomas