Tag Archive: Reviews


Image result for rent 20th anniversary tour cast

Rent is twenty. Still brutally relevant, it’s hard to believe it was written over twenty years ago.Lucky enough to see the opening night of this anniversary performance, I wasn’t prepared for what was about to happen, having only seen the film version previously. However, what I saw was possibly the best theatrical experience in a long time.

To say the cast and crew have worked hard on this production would be an understatement. It’s clear a lot of love has gone into this show and their commitment and talent oozes out of every corner – from the intricate staging and choreography to the harrowing performances from the cast.

From the opening song we are immersed into the harsh environment of the characters in a way that is almost overwhelming. The aggression of the first song gives a clear message that this is not going to be a fluffy musical. Part of the beauty of Rent is its grit and rawness. With regular references to time running out and death, it’s hard not to be moved by Jonathon Larson’s lyrics. The pain in Collins’ words during the reprise of I’ll Cover You, sung powerfully by Ryan O’Gormon, is almost too much to bear. Anyone who doesn’t feel his anguish as he belts ‘when your heart has expired’ is made of stone.

Perfectly cast, each ensemble member shone, but a special mention has to go to Layton Williams who was absolutely kick-ass as Angel. Reinventing Angel’s song Today 4 U, he slayed with sheer sass, a killer strut and phenomenal high kicks and splits. Williams turned this song into a showstopper.

Other highlights include the Tango Maureen (sharp, slick choreography), a whirlwind La Vie Boheme  and a poignant performance from Philippa Stefani as Mimi during Goodbye, Love.

In the film, Over the Moon strikes as odd and a bit jarring, but Lucie Jones totally made it work in the stage show, complete with puppets which went down very well with the audience. Amongst the tears, there are some genuinely funny moments, subtly played by the cast. (‘Hey, Mark, remember this?’ as his ex-girlfriend Maureen mimes sucking from a cows udder. A natural moment that proves just how well the ensemble work together.)

This production is special. It has stayed with me since I left the theatre in a way that not many productions can achieve. The memorable performances beautifully depicted how, yes, life is bloody hard but, somewhere, there is hope. Considering this was an early performance, the quality was close to perfection, with only a few minor glitches with sound and lighting which will no doubt be ironed out during the next performances. Rent is beautiful, harrowing and joyful all at the same time, with stellar performances from a talented cast. It fittingly celebrates the show’s legacy and that of its creator Jonathon Larsen, and is a testament to just how important Rent is twenty years on.

Forget regret, or life is yours to miss.

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‘The scar had not pained Harry for nineteen years. All was well.’

I remember reading those final words nine years ago and feeling utterly lost. I had grown up with Harry, Ron and Hermione and when they finally left my life I mourned them. All these years later, I experienced the same feeling as I finished my re-read of the whole series – a testament to the power of Rowling’s work.

Hallows is not only the perfect ending to an epic story, but a heartfelt love letter to fans. It has everything. Everything! Just when you think Rowling can’t cram any more action packed twists, emotional reveals or heartwarming nostalgia into the book, she pulls something else from her bag of tricks.

I could easily write an essay listing all of the fanstastic moments within Hallows, but I’m going to try and fit it all into this one post.

It’s always been clear that Rowling has the upmost respect for her fans, but I think Hallows is solid proof of this. It can’t have been easy, tying up a story that spans seven books featuring hundreds of beloved characters, but Rowling tackled this with perfection and her hard work shines through every page. I first read this book when I was 17.  I raced through it in just a few days and it never left my side. 9 years later, I feel like I was able to appreciate it even more, taking in every reference and moment but still rarely straying far from my copy.

Hallows is littered with references from previous books – characters, locations, events, objects – it’s almost as if Rowling has challenged herself with squeezing every ounce of Potter into one book. Saying that, the references never feel unnatural or forced. It’s a great feeling when you recognise or revisit something. The visits to the Chamber of Secrets, the Forbidden Forest, the Shrieking Shack, Godric’s Hollow, The Ministry of Magic and Gringotts Bank all bring back welcome memories of the previous stories, like revisiting a childhood den.

But Rowling doesn’t just re-tread old ground. This book ventures out of Hogwarts and sees our friends journey around Britain. Plenty of new characters turn up, including many that have been mentioned before but never seen. Xenophillius Lovegood, Ron’s Aunt Muriel and Tonk’s Parents all make long awaited, if brief, appearances, each progressing the plot in some way.

From weddings, to duels, to undercover missions, to breaking out of a bank on the back of a dragon – the story rockets a long, hopping from tense scene to another. Soon, we’re back at Hogwarts, where the magic all started, for one final battle.

It’s not all fun though. The stories have got progressively darker and this is book with the highest death rate. Hedwig and Mad-Eye start us of in dramatic fashion as they bow out during an airborne battle , leaving us distraught pretty early in the book. The pang of losing Hedwig, Harry’s loyal owl, matches the foreboding doom that comes with Mad-Eye’s death, who was Harry’s last remaining protector. Many characters are picked off throughout the book as the drama escalates but one of the most painful deaths is that of Dobby the House Elf. Loyal friend to Harry since book two, Dobby’s final heroic act is followed by tragedy as he is hit by Bellatrix’s knife (making us long even more for her demise! First Sirius, now Dobby!). Dobby’s death is a beautiful piece of writing, a moment that will have life-long fans snuffling into their pages.

I’ve said before that Rowling is incredibly skilled at writing dark, tricky themes for younger readers. These books tackle so much – death, torture, discrimination, power, teenage angst and jealousy. The list is endless. The scene where Bellatrix tortures Hermione is particularly harrowing to read, not to mention the earlier chapter where a snake is found to be inhabiting Bathilda Bagshot’s corpse. We’re not dealing with Enid Blyton here. Rowling flexes her talent by including these dark moments but never over stepping the mark. She doesn’t mollycoddle her reader, she exposes them to the dark side of the world, but always stops just short of traumatising her reader. I find that incredible.

However, to counter that darkness, Rowling sends a very strong message on the power of love. Love as protection has a strong presence in Hallows particularly that of a mother’s love. Harry’s survival is all down to his mother’s sacrifice for him as a child and Lily Potter’s presence is certainly felt throughout the final book, even more so at the end where she appears to Harry to reaffirm her support of him. Narcissa Malfoy also protects Harry, in a surprising move, by lying to Voldemort in order to protect her own son. So desperate to save Draco, she buys Harry the time he needs to overthrow Voldemort. And then there’s Molly Weasley. I think every reader cheered when she fatefully cried ‘NOT MY DAUGTHER YOU BITCH!’. Mrs Weasley’s fearsome protection of her daughter leads to her killing one of Voldemorts closest companions, Bellatrix (hooray! Justice for Dobby!).

Another kind of love is revealed as we learn that, after all these years, Snape was in love with Harry’s mother and has been protecting him as penance for (accidentally) playing a part in her murder. Snape is one of most wonderfully written characters as his true intentions have never quite been known from book one, but now the truth is out it all fits in to place. His whole story arc is a testament to the subtlety within Rowling’s writing. Snape’s patronus is revealed to be a doe, the same as Lily’s, and in book six we hear small references to Tonk’s patronus changing to reflect her love. Rowling plans every single detail.

I’d forgotten how much I loved these books and just how much they meant to me as I was growing up. Re-reading them over the last few months has transported me back to my teens and I’ve found myself looking forward to my pre-sleep read every night. Rowling makes you care about these characters and the world they inhabit, making it the perfect form of escapism at the end of a long working day. When I finished Hallows, I was eager for more. I spent last night searching Pottermore and can’t wait for the eighth story to be released in July. If its predecessors are anything to go by, it’s going to be amazing.

As a writer, I find Rowling’s dedication, subtlety and ability to make the complex accessible so inspiring and hold her high on my list of role models. As a teacher, I can see the endless lessons these books can teach children, generation after generation. As a reader, I find them utterly magical, with a story I can revisit over and over again, and still find something new. I really can’t imagine life without these books. They bring just as much comfort and wonder to me now as they did ten years ago. They have become classic books which will be read for many years to come and I hope Rowling realises just how many lives she has touched with her stories. She has brought magic to an ordinary life, and for that I’ll always be thankful.

 

 

 

Continuing with the HP re-read, it’s the turn of the penultimate book….

I really couldn’t remember much about Half-Blood Prince. A lot of the story felt completely new to me. However, that just makes for better reading, as I’ve spend the last couple of weeks gripped by Harry’s latest adventure.

Half-Blood Prince sets up the mega-finale of Deathly Hallows, introducing horcruxes, Tom Riddle’s past and, of course, bumping off Dumbledore. The book is not just one big plot device though. This is the book where the Hogwarts students are written as adults. Snogging, jealousy and hormones all appear in this book as we start to get the first solid references to romances between Hermione and Ron (I still can’t believe that, reading as a 15 year old, I didn’t see this coming!) and Harry and Ginny.

Ginny is a must stronger character in this book. She’s no longer the timid girl, who peeks out from behind her mother’s skirts and is too terrified to speak to Harry.  She is now fiery and mature, with a string of admirers. I was surprised at the lack of fuss from Ron when Harry and Ginny finally, and publicly, get together. It is a relationship that works. After those disasterous dates with Cho Chang, it’s  refreshing to see Harry in a happy, but brief, relationship. Happiness can never last whilst Voldemort’s at large and Harry makes the choice to end the relationship for the sake of Ginny’s safety. Ginny’s graciously accepts Harry’s decision, a testament to her true feeling for him. It’s clear to the reader that this is not the end.

Although the darkest book of the series so far (they really do keep getting darker, don’t they?), there are some moments of relief. The banter between Ron and Hermione is as good as ever and now tinged with stronger romantic tension. New potions master Horace Slughorn mixes in some comedy with his pompous and heavy-handed attempts to make links with his ‘most talented’ students.

The story builds to a gripping three act finale. Harry finally gets to join Dumbledore on an adventure to find a horcrux in the middle of an underground lake. Obviously, it doesn’t go to plan, leading to a terrifying attack of Inferi (basically…zombies) which leaves poor Dumbledore severely weakened. Harry forcing the poison into Dumbledore’s mouth (on Dumbledore’s orders) is not easy reading and a cruel twist in the beautiful friendship between headmaster and student. The next part of the epic ending sees the pair return to Hogwarts, only to find the castle under attack from Death Eaters. Frozen and hidden safely thanks to Dumbledore’s quick thinking, Harry is forced to watch as his headmaster is murdered by Snape. Trust is a huge theme of the series and Dumbledore’s last moments cast another cruel twist on the tale, as his strong trust in Snape leads to his demise. Snape’s true intentions are never quite known throughout the whole series, but the murder of Dumbledore seems to securely confirm his villainous nature. For now, at least.

The final act sees a dejected Harry mourn the loss of the last of his parental figures. It’s at this point that Harry realises the importance of the task ahead of him – he alone must stop Voldemort. But, of course, he’s not alone as Hermione and Ron are soon beside him, vowing not to return to Hogwarts until the war is over. Each book seems to age with its readers, with Half-Blood Prince carrying darker and more mature themes than its predecessors. These are not children’s books. The way Rowling describes the lake of bodies is genuinely creepy and I couldn’t help but draw comparisons to some of the fluffier descriptions of Philosopher’s Stone. Dumbledore’s funeral is also quite hard-going emotionally. You’ll be bawling like Hagrid by the end of the chapter.

Half-Blood Prince acts as a pre-cursor to the grand finale but also stands firm with its own tale. Rowling continues to deliver with her usual mix of emotion, humour and killer twists that you never see coming. Re-reading these stories ten years later is reminding me just how much I love them. These stories are perfectly written and I cannot wait to re-live the final chapter…

The great HP re-read continues and this week it is book five’s turn.

It’s the largest book (it could easily be used as a weapon) so I strategically planned to read to it over the Easter Holidays so I would actually have time to read and it wouldn’t take me thirty years to get through it (I have a chapter-a-day habit during term time. Any more than that and I, frustratingly, end up falling asleep.)

It’s been a good ten years since I read this series and, although I remember the gist of each book, a lot of things have slipped my mind – which in a way is great because it’s like I’m a new reader again. This book certainly coughed up a lot of surprises for me. I’d forgotten about occlumency, sirius’ mother, Bellatrix’s connection to the Malfoys, and Grawp. I was also surprised when Lockhart popped up in St Mungo’s. I’d signed Lockhart off as a character we wouldn’t see again so it was great to have that short scene, even if it was tinged with sadness. I can’t help feeling sorry for Lockhart. I know he was a first class prat but still….there was a moment of sympathy as he signed those autographs in his hospital bed. But of course, the main emotional pull of that chapter is the appearance of Frank and Alice Longbotton. Alluded to in previous books, this was our first glimpse at the severity of their condition and the impact it has had on Neville. Alice handing Neville a bubble gum wrapper was very touching and it’s easy to see how, as Dumbledore later explains, Neville could have easily been in Harry’s shoes. You can’t help feel immediate hatred for Bellatrix Lestrange before she’s even introduced! Her callous destruction of the Longbottoms serves as a warning of just how dangerous she can be….

Speaking of villains, this year’s Defence Against the Dark Arts teacher is probably the most evil yet – Dolores Umbridge. I remember her being my favourite DADA teacher because she was just so vile.  Umbridge’s danger is palpable because she is so desperate to rise to the top and please those in authority. I’ve met so many Umbridges – backstabbing, manipulative and quietly wicked – with a sickly sweet exterior. Ruthless throughout, the moment she suggests using the cruciatius curse is actually gasp-inducing. She a true villain. A villain that could be found in day-to-day life. She could be in any place of work , any family or on any street. That’s what makes her so frightening – we all know a Dolores Umbridge.

In terms of magical creatures, we’re introduced to the Thestrals in this book. JK has a clever habit of harking back to past stories with the invisible creatures pulling the Hogwarts carriages finally being revealed as Thestrals – dark, winged horses that can only be seen by people who have witnessed death. The mythology and legend surrounding the Thestrals is interesting with wizards believing them to bring bad luck due to their connotations with death. They’re described beautifully in the book and synch well with the darkness of the novel. 

Harry is certainly changed since Goblet. He spends a lot of the book arguing with his friends, which does get slightly tiresome. Hermione and Ron are relentlessly loyal to Harry so it is frustrating that he keeps snapping at them. His relationship with Cho provides a glimmer of happiness in quite a bleak book, but even that fizzles out due to her mistrust and Harry’s indifference. Cho was a promising character in Goblet, but in Phoenix she comes across as fickle and …well…a bit unstable. Yes, she’s grieving for Cedric, but nobody seems very sympathetic as she continues to breakdown in tears. I would have been interested to see Cho and Harry date but this was not meant to be and by the end it’s clear this relationship is a non-starter. I suppose it’s in Cho’s interest to stay away and stay safe.

This is certainly the most emotional book so far. Rowling set the bar in the final moments of Goblet, with the death of Cedric Diggory, but the last few chapters of Phoenix certainly meet that standard. The death of Sirius, Harry’s last remaining hope of family, is a suckerpunch. Voldemort using Harry to lure Sirius to his death is a clever move by Rowling which also gives way to some tragically dark moments. Harry’s resulting guilt is beautifully written – his angst, frustration and pain as he wanders the grounds of Hogwarts is very touching but the most poignant moment comes in his last conversation with Luna Lovegood. Luna seems to wander purposelessly throughout the book but she is finally defined in this last moment with Harry. It transpires that people have been taking oddball Luna’s possessions. Harry offers help but she proclaims

‘[I’ll] wait for it all to turn up…it always does in the end.’

Totally lost on me the first time round, but now as an adult I can see Rowling is using Luna to give profound advice to Harry. Nothing lasts forever and in the end everything works out one way or another. Another emotional moment comes from fan-favourite Dumbledore, as his finally explains the truth about the prophecy to Harry. Dumbledore is notably absent throughout most of the book, and here he explains he was deliberately avoiding Harry for his own protection. As Dumbledore admits his mistakes and reveals that he ‘simply cared too much’ for Harry, the reader can’t help feeling touched by the Headmaster’s attempts to keep Harry safe. His final admittance that he thought Harry had enough responsibility without being a prefect is a very strong moment and perhaps a defining one in Harry and Dumbledore’s friendship.

Goblet marked the start of a dark spiral to the finale and Phoenix certainly develops that. The death of Sirius, Harry’s last caring relative, begins Harry’s journey to adulthood and marks the death of his childhood. Not only does he now have to face the challenges of all young adults, but he also has that little problem of vanquishing the Dark Lord or dying at his wand. Yup, dark stuff.

 

I’m never one to be out of Oz for long. Hot on the ruby heels of my re-read of Wicked, I took a twister back into Maguire’s Oz in his sequel novel, Son of a Witch. Like Wicked, I’ve found Son to read better each time I re-read. Although it does lack some of the magic of the first book, fans of Maguire’s Oz won’t be disappointed as his trademark darkness is still evident.

The story starts with a mysterious stranger, later to be revealed as Lirr, suspected (but never confirmed) son of Elphaba, being admitted to the same mauntery where he was born. Liir has been the victim of a strange attack, leaving him comatose and inches from death. He is nursed by the silent Candle, who uses her musical skills to lure his mind into reverie where the truth about the attack is revealed.

We’re taken back to the moment Wicked ended, seconds after Elphaba’s death. In these early chapters, we get to spend time with those familiar travellers from Baum’s novel, though they turn out to be bitchier than originally thought! Their bitter quarrels and the Tin Man’s sassy advice to  Dorothy (that she should invest in a leash for Toto) provide plenty of humour before events turn pretty bleak.

The re-appearance of Glinda is very welcome but Maguire taunts us with the idea of her becoming a more prominent feature and adopting Liir. Unfortunately for both the thought is far too fleeting and Glinda is soon off to her country retreat. Obviously a favourite character from the original book, Glinda’s short and sparse appearances in Son are refreshing, with Maguire still proving he is capable of mixing the familiar with the new. Glinda is still as air-headed as ever but it’s touching to see her so affected by her friend’s death. Her loyalty to Elphaba remains apparent through her support of Liir.

As for our protagonist, Liir transforms from the pathetic, mild-mannered child lingering around Elphaba’s skirts, to a brooding and angry young man, emotionally blunted by the vagueness of his past, his own self-loathing and loss of his (poor) mother figure. By the end of the novel Liir has expressed many of the traits which made Elphaba such a strong hero. He is determined in his quest to find Nor. He shows very little sentiment for others, or himself, and his desire to make some sense out of a very messy situation binds him to the reader. One of the strongest themes of Son of a Witch is that of relationships and, in this story, Liir becomes part of a very modern love triangle. Whilst Liir does love Candle, the mother of his child, he also has a touching relationship with Trism, Minor Menacier for the Ozian Army. Remembering that Son of a Witch is now eleven years old, with Wicked being published ten years prior to that, Maguire’s portrayal of relationships, sexual fluidity and that idea of indecisiveness over our desires is quite contemporary. Liir never actively questions his sexuality – it isn’t an issue of whether he likes men or women, it’s whether he loves Candle or Trism or both! Maguire should be admired for putting a bisexual (or pansexual, it’s never really clear which) character at the heart of his work. By the end of the novel, the reader is left feeling equally torn over which lover Liir should be with. Both relationships are written so delicately and naturally that it is clear both sets of couples care very much about each other. However, at the end Liir is left alone, with both his partners missing, therefore leaving him unable to come to any arrangement. His attentions, instead, are focused on his daughter, who he has found wrapped in blankets and hidden in the barn, abandoned, for reasons unknown, by Candle. Maguire certainly is the master of the cliff-hanger with that final line – ‘She cleaned up green’. Does this confirm Liir’s parentage as he carries the green gene? Will history repeat itself now another green child lives in Oz? Will the child live up to her grandmother’s name? Maguire sets up questions as fast as he answers them.

Another thing that strikes me about Maguire’s work is his ability to mix the familiar with the unknown. Oz is painted in Baum’s book as this wonderful, magical fantasy land, whereas Maguire blends that beautifully with familiar elements which makes Oz appear imperfect and closer to our world. Creatures such as Draffes and Tsebras are often referenced and briefly described, making it clear, without deliberately stating, these are just Giraffes and Zebras, but given a new name in a new world. The mauntery has never been directly referenced as a nunnery but through Maguire’s descriptions the comparison is clear.

As expected with a sequel, Son of a Witch ties up a few loose ends from Wicked but also introduces more questions for the third book. Princess Nastoya is finally released from her human body and sent to death. Maguire tackles Nastoya’s story with striking truthfulness, commenting on her decaying body, diminishing mental state and foul smell in way that creates a tight anxiety about our own mortality and the idea of being trapped in life whilst longing for death. The story progresses rapidly, with few references to events from Wicked and Baum’s original Oz. On the road to the Emerald City, Liir bumps into an old crone and her companion, a young boy named Tip. Tip appeared in Baum’s original sequels to Oz and it’s thrilling to see Maguire continue to reference Baum’s original work. Readers of the full series will also know this is an early hint at a future story thread to be tied up in the next two novels.

Overall, Maguire’s sequel provides a welcome return to his vivid but twisted land of Oz. Though it may just be shy of reaching the dizzying awesomeness of Wicked, Son of Witch still dazzles with its story of frustration and belonging. Liir is a suitable replacement protagonist but, pleasingly, the shadow of Elphaba still looms. Fans of the first novel might be frustrated at the inevitable death of Elphaba, but her presence is certainly felt throughout the second book, not just as Oz recovers from her actions, but as her (suggested, never confirmed) son steps into her boots, dons her cloak and takes flight in her name.

Six thousand strong, they cried in unison, hoping that the echo of their message would be heard in the darkest, most cloistered cell in Southstairs as well as the highest office in the Palace of the Emperor.

“Elphaba lives! Elphaba lives! Elphaba lives!”

The great HP re-read continues with Goblet of Fire, and this time I managed to squeeze in a re-watch too. This was the story I could remember the least about. I realised it’s been 16 years since I first read the book (feel old? Don’t give me a panic attack) and 11 since I saw the film.

It’s definitely the darkest HP story so far. This is where shizz gets real. The fun of the last three books is still evident but the story is streaked with dark overtones and takes a sinister turn in its final act, paving the way for final three books. By the last few pages there’s a real sense of the beginning of the end.

The story opens in Voldemort’s dilapidated former home. He’s hiding out with Wormtail and Nagini when he is interrupted by muggle Frank, who he quickly executes. It’s quite a disturbing start to the story and I remember as a ten year old noticing the shift in tone. The plot continues with lots of references to missing people, wizards tortured into insanity (poor Neville) and the introduction of three terrible curses. I’ve said before that JK is able to skilfully handle adult themes whilst maintaining a focus on her younger audience. Well, this is even more evident in this story.

This is also the story where Ron, Hermione and Harry start…well…erm….noticing the opposite sex. I totally missed this the first time round (well…I was ten!) but Ron’s crush on Hermione is so obvious and quite cute to read. (I know. I’ll vomit later.) It did strike me as a bit weird though that Viktor Krum is supposed to be 18 and Hermione is supposed to be 14.  I don’t think many 18 year olds nowadays would want to pursue 14 year olds.  Also, why does everyone suddenly have long hair? Harry…Ron…Neville…all the boys have suddenly developed floppy long locks! Perhaps the Hogwarts Hairdresser was another of Voldemort’s victims…..

The biggest shock of the fourth book is the death of Cedric Diggory. Knowing Cedric is about to meet a grisly end certainly adds a chilling dynamic to his introduction. It’s clear his father,Amos, idolises him which makes his final appearance even more upsetting. Reading/watching Cedric gear up for the final task with the knowledge he won’t survive is actually awful and almost unbearable. I actually wept (stop chucking) during the film as everyone celebrated the end of the tournament, slowly realising Harry was crouched over Cedric’s body. Wow, talk about dark. Amos’ cries of ‘That’s my son!’ nearly broke me *sniff*. His actual death, in both versions of the story, is so swift and sudden. It’s genuinely shocking and you can’t help feel that he deserves a farewell speech or heroic moment or something. Cedric is built into a key character throughout the story, and comes across as a decent, genuine guy. Then flash. He’s dead. Just because he was in the wrong place at the wrong time. How cruel. I suppose this re-establishes Voldemort’s ruthlessness and the fact that he’s just so damn evil. What a bastard, eh?

Anyway, here are five things missing from the film that are awesome in the book.

  • P.E.W. – Remember Hermione’s civil rights campaign for house elves? I’d forgotten all about it to, but her determination makes for some fun scenes.
  • Dobby – Our favourite little elf was cut from the film but plays an integral part in the book, handing Harry the gillyweed he uses in the second Triwizard task. In the film, Neville gives him the weed (*ahem*) which does kind of make sense with him being a top herbologist.
  • Blast ended Skrewts and the Sphinx – No, this isn’t a hip new indie band. There’s quite an absence of magical creatures in the movie compared to the book, with unicorns and flobberworms also not making it to the big screen. Although the mermaids, dragons and grindylows are visually brilliant, it would have been nice to see the odd Skrewt appear.
  • Beetle Skeeter – Journalist Rita Skeeter’s subplot it tied up quite neatly in the final chapter of the book, as Hermione reveals her to be an unregistered animagus who can transform herself into a beetle. In the film, no reason is given for her ability to seek out secret scoops.
  • Ludo Bagman, Peeves, Bill and Charlie Weasley – These characters, particularly Bagman, play vital parts throughout various plots in the book but sadly don’t appear in the film. Ah, the curse of the edit strikes again. Let’s just blame Voldemort. Or the Hogwarts Hairdresser. 

The first book on my 2016 reading list was After Alice by Gregory Maguire. Maguire’s signature move is to take familiar tales and flip them on their head. This time it was the turn of Lewis Carroll’s Alice in Wonderland. After Alice begins shortly after Alice has taken that faithful tumble and we join Ada on the search for her friend. Ada encounters Alice’s snooty older sister, Lydia, who is reading A Midsummer Night’s Dream beneath a tree. The story splits off here as we follow both girls in the aftermath of Alice’s disappearance. Ada finds herself crashing into Wonderland whilst Lydia remains above ground, bickering with the Victorian servants and falling for the charms of an American gent.

It’s this split in storytelling that makes After Alice a bit…well…odd. It’s hard for me to criticize Maguire’s work (because I really do think he’s a genius) but I can’t help feeling like After Alice is a bit rushed. The majority of the story takes place above ground in Victorian Oxford. A place which, let’s face it, is considerably less interesting than Wonderland. I found myself hoping that the next chapter would rejoin Ada down under but was disappointed to find another chapter set in the grounds of Alice’s home. It feels like Maguire has wasted an opportunity to Oz-ify Wonderland – expose the darkness and revel in the absurd. That’s what he does best. Ada’s encounters with the inhabitants of Wonderland – particularly the Mad Hatter and the March Hare – do feel wonderfully genuine and reminiscent of Carroll’s original creations. Maguire has certainly captured the quirky style of Carrol but too much time is spent in the real world. It feels like Alice is having all the fun in Wonderland and we’re stuck on the wrong side of the rabbit hole, missing out on one hell of a party.

It’s not that I didn’t enjoy this book, it’s just that I was expecting more from it. Wonderland, like Oz, is an impossible place and therefore bursting with possibilities. To get the chance to write in a setting like this is a writers dream and, whilst it’s clear Maguire has a lot of admiration for Carrol’s work, it feels like more could have been made of his opportunity to explore this world. There are some lovely moments – Ada’s freedom from her iron equipment, Siam’s decision to stay and a reference to Victorian’s needing a whacky fantasy novel – and Maguire has created a likeable character in Ada.

The Wonderland stuff works pretty well. It just feels like we should have more of it. The London based stuff is where the novel sinks slightly. A lot of conversations seem more like extracts from a thesis rather than a novel and I’m not really surely what the point of Lydia’s hinted relationship with Mr Winter was. It was an interesting touch to have Charles Darwin appear as a friend of Mr Winter’s and Alice’s father. Darwin and Carrol are two figureheads of the era so Darwin’s presence feels right. His final words on the human being’s capacity for imagination is also a neat way to end the story.

Overall, After Alice is a must for any fan of Maguire or Carroll but don’t expect another Wicked. The front cover declares it a ‘Christmas gift to the dear reader of Wicked in memory of Alice in Wonderland.’ I think this is pretty accurate. I’d be grateful to read any new work from Maguire, particularly if it’s within his fantasy style, and After Alice does feel like a love letter to Carroll’s work, but to not explore Wonderland further, Maguire is clearly mad. Then again, all the best people are.

This year I decided to take a leap back into my youth and re-read a set of books that were a permanent fixture throughout my childhood. I first read Harry Potter and the Philosopher’s Stone when I was 11 years old. Fourteen years later, and the same book had me gripped all over again. There is something magic about Rowling’s work. She manages to discuss so many adult themes within these books – loss, death, betrayal – whilst ensuring they are still appealing to that younger audience. Philosopher’s masterfully introduces the wonderful wizarding world and its inhabitants, setting us with up for a journey that will last a further six books. I think it is a faultless children’s book, offering plenty of escapism, without being too childish for us adults either. I used to dream of worlds like this when I was a child and suddenly there was a whole book based around that dream!

When I re-read Chamber of Secrets I was struck by the cleverness of the plot. It really is the perfect whodunit! All the subtle references to snakes and events of the past are tied up beautifully at the end and I was almost jealous of my younger self for reading the story without knowing the outcome. The reveal of Tom Riddle’s true identity is beautifully written and a real surprise (to my younger self).  Rowling finds a neat way of using her main antagonist without actually using him (if that makes sense!) which means fans don’t get bored of Voldemort (after the first book, he doesn’t actually appear again until the fourth, but his presence is certainly felt.)

After plunging back into the non-muggle world, I was keen to move on to Prisoner of Azkaban. Again, I could not put this book down, even though I knew what was coming. The world Rowling creates through her descriptions of Hogwarts and Hogsmeade is wonderful. It really fizzes through the pages in Harry’s third outing. The subplots of Hermione’s timeturner and Scabbers’ apparent illness also pay off in the big finale and prove to be more highly significant details that Rowling has seeded through book. She create a brilliant faux-villain in Sirius Black and it’s really heartbreaking when Sirius is forced into hiding, meaning poor Harry is sentenced back to life with the Dursley’s.

Reading these books reminded me of that excitement I would feel on the eve of a HP release. It was like Christmas Eve. My mum would head to town at midnight to buy the book for me, so that when I woke up it would be there. I remember the weight of it. Running my hand over the cover. Studying the artwork. Then the reading would begin. I would read at EVERY opportunity until I had finished. I have never loved a book like I loved the Harry Potter books. Now, as an adult and a writer, I can appreciate their brilliance on a whole new level. To all wannabe authors, Rowling is the perfect teacher. You can tell that she immersed herself fully into this world and truly loved creating these characters and their stories. When it comes to writing, Rowling is a wizard.

 29TH November 7.30am.

My alarm goes off. Fuzzy from the wine the night before, I burrow deeper into my cocoon of blankets and try to think whether it’s a week day and if I have to get up for school. (FYI, I don’t drink on school nights. Thought I’d better clear that one up).Then I realise – it’s Comic Con day! Suddenly enthused, I’m up, showered and dressed within half an hour.

I have loved Wales Comic Con since my first visit in 2013. This event has something to offer for everyone and we always consider ourselves so lucky that we have something like this so close to home. The entry queue is always enormous – a testimony to just how popular it is – but, weather permitting, the queue is one of the best parts. The buzz as the people begin to arrive is amazing and it’s great to see so many people putting in so much effort to cosplay. This is an event that people really care about. Each year we comment on what a lovely atmosphere the whole event has. There’s never any trouble, everyone is friendly and there to have a good time. People chat to each other in the queue as if they go back years. It’s a refreshing change and a great opportunity to meet some amazing people as well as try to spot Doughnut Guy (selling…not ‘dressed as’) as he mixes with the crowd, selling refreshments and cracking jokes. (OK. This might not be for everyone but it has become a bit of a tradition for us. Doughnut Guy is becoming just as much of a legend as the folks signing autographs….)

Once you’re inside the Con, that’s when things get even more exciting. The main hall is geek-central (doesn’t that sound like the best place?) with stalls and stars galore. The stalls this year were fantastic, as wi12313851_10156337727425381_3106644287043449912_nth every year, offering everything from homemade geeky trinkets (check out my Fourth Doctor Dragon courtesy of Goblin Dreams) to the most fantastic (and under-priced) fudge I’ve had in a long time.  If you’re after something quirky and interesting then this is the place to find it. There are also tons of comics, books, prints and memorabilia to buy – it’s dangerous time to have it so close to Christmas!

Now, I’m a Torchwood fan and the past few WCC’s have given me the chance to talk to (A.K.A., stand awkwardly in front of person whilst staring at the floor and muttering ‘hello’ like some sort of lunatic) the cast. Eve Myles, Naoko Mori and Gareth David Lloyd have all had the pleasure of seeing my most star-struck facial expression. (There was also an embarrassing incident with Shane Richie which I can never repeat. Ever.) Each one of them has been absolutely lovely and completely down to earth. I’m so used to seeing Gareth (first name terms there) now that he was stood right next to me yesterday and I didn’t turn into a gawping, stuttering mess. The teenage-me would never have thought I’d be so calm about standing next to Ianto Jones. Further proof that Comic Con is amazing.

Finally there’s the Q&A sessions. In the past we’ve only visited the Torchwood Q&A which never fails to be totally hilarious as well as totally X-rated. Yesterday was no exception with Gareth, Naoko and Kai Owen answering questions on everything from the best kisser to Ianto’s shrine. We also got chance to see the first WCC Doctor Who panel featuring Sylvester McCoy, Colin Baker and Terry Molloy. Watching them discuss google glass was like watching your grandads discuss technology and it was interesting to hear their thoughts on the new series (12 year old Doctors, CGI, Jennifer Lawrence and sonic sunglasses featuring heavily).

In recent years, WCC has become a bi-annual event, which is bloody brilliant as it means we don’t have to wait as long until the next one. I would recommend this event to anyone. It’s a fun-filled day run by people who genuinely care about your experience and, again, it’s incredible that we have something like this in Wrexham.

5.30pm

As the kettle boils, I look out of the window and spot a bunch of cosplayers heading from the direction of the Uni. They are huddled together against the rain but still have excited grins across their faces. The weather hasn’t ruined their fun. I admire my new dragon which is perched on the top of my bookcase. He’s looking pretty cool. As I settle down with a mug of tea, I look forward to April, when I can buy him some little friends.

 

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This weekend Clara Oswald faced the raven and bid a tearful farewell to the TARDIS. After months of speculation, Clara met a surprising end after risking her life in a fashion only the Doctor could survive.

In this house, a tear was shed when Clara realised the repercussions of her actions and bravely accepted her fate. Although, in my opinion, nothing will top the traumatic departure of Donna Noble (‘Binary binary binary’ *gasps*), Clara’s farewell did seem fitting for her character. Some might argue it was a demure, I would say it was chillingly humble, given the peril Clara has faced in the past. It just highlights how dangerous travelling with the Doctor can be and the vulnerability of his human companions.

Clara growing more Doctor-like has been a theme of this series and the foreshadowing of previous episodes certainly paid off. Over the last few weeks I have found myself cringing each time Clara has almost over stepped the mark and grown more and more reckless. That raven had her number from the start of this series and sooner or later it was going to catch her.

Clara has become the longest serving companion (since 2005) and she’s been part of many classic Who memories. Her first introduction in Asylum of the Daleks was brilliant! What an introduction. It was one of those surprise jump-out-of-your-seat moments that Doctor Who does so well. Clara (or rather…sort of…Oswin) was instantly likeable and the twist at the end was another memorable moment. Then we jumped to Clara running round the streets of Victorian London at Christmas, which was lots of fun, capped with another surprise twist…as Clara died. Again. Another great moment was the flash forward to modern day at the end of the episode, with the real (at last) Clara finally being revealed. Goosebumps.

There were some dodgy times in Clara’s pre-50th stint but one of her defining moments came in the cold open of The Name of the Doctor. Another amazing Who moment. That opening sequence was able to produce more squeaks of excitement than a whole episode and the idea of Clara being spliced through the Doctor’s time stream in order to save him was a remarkable move my Moffat. Clara was suddenly incredibly important.

Jenna Coleman had excellent chemistry with Matt Smith and I was worried about how Clara would work with Capaldi’s Doctor. Jenna and Peter have worked beautifully though and the way Clara has slowly moved from being the Doctor’s apprentice to carer to equal has been great to watch.

It’s also worth mentioning Clara’s tragic romance with Danny Pink. When Pink died, Clara was bereft and after initially severing herself from the Doctor’s life through her own grief, she was tempted back into the TARDIS this year. It was clear that Danny’s death had changed Clara. After initially being morose, she became intent on living her life to the full, even if it did mean throwing herself into dangerous situations.

It was this attitude that caused her downfall. The moment in Face the Raven when Clara recklessly dangled above London, laughing as she clasped to the TARDIS doors made me feel genuinely nauseous. Clara was heading for trouble. Confidently taking it upon herself to save poor Rigsy, without reading the small print, was an admirable but costly move for Clara. That finally conversation with the Doctor will be remembered for a very long time and it was a smart move for the writers to make the Doctor promise Clara he wouldn’t seek revenge. That was certainly a very Clara thing to do and reminded us just how much she knew the Doctor (‘You’re going to be alone now….and that’s not good for you…’ *sniff*).

Played perfectly by Jenna Coleman, Clara Oswald has made Who history for many reasons, and has given us some incredible moments that will never be forgotten.

Goodbye to The Impossible Girl.

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