Alice’s Night Circus

It may not be a Thursday, but I’m rather working from day to day and so cannot post to a schedule at this time.

Yesterday, I had the pleasure of listening to Alice’s Night Circus again (I first saw her live in Lincoln two years ago, and then last year as supporting for Steam Powered Giraffe) at the Lincolnshire Wolds Railway event. I cannot stress how wonderful her music is. Her melodies are entrancing, her lyrics explorative, and her voice is powerful.

The below song, Curious World, is the debut and the classic show-opener, of an alternative Alice in Wonderland as she delves into a midnight-shadowed peculiar – a place we can all call home.

She’s still an independent musician, so any listening and sharing is always appreciated.

Loreley Folk

I am delighted to share today for this music-y Friday, the folk duo Loreley, formed of good friends of mine, Maddy Glenn and Simon James Chisholm. Brought together in our first year of university by writing, and by subsequent modules in later years, it was clear that Maddy and Simon have a strong bond with music; and their almost dream-like arrangements of traditional fables and lyrics with the heartbeat of strings like the mandolin and dulcitar create an interesting blend of folk.

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Their newest, and third, album came out a couple of weeks ago. You can purchase THE FROZEN NORTH or listen to tracks from it on Loreley’s Bandcamp page. You can also see their stuff on their website. The duo are self-funded, so every contribution to their fabulous music counts.



It really does feel like I am spending all my time in a theatre. And it’s marvellous.

Yes, I am aware of how much energy is sapped and how I feel so unfit because my limbs ache when I do the usual daily walking et cetera – but these are the risks I chose when I desired to be a performer. My entire schedule is squiffed towards what I can do whilst I am confined to a green room and dressing room.

Well, ‘confined’ is perhaps too strong a word. But it does mean that the stage takes priority when it comes to working out how my week goes this week. I have responsibilities, and there is no way I will not uphold them.

One thing I know – or I like to hope in any case – is that the final photos will be glossy and glorious. Working on such a big stage with proper lighting and management leads to some great I know because I’ve seen it on the monitors.


If my phone had not given up on me/y’all, I would happily have shared more photos on my Instagram… Instead, here’s a blurry-as-shots-come webcam photo of my as an Essex girl just before Friday’s dress rehearsal.

The opening night is tomorrow and I’m as worried as the obsessive perfectionist. I feel like I am aware of the little pieces that need tweaking and the acting and singing that I could be pushing myself to make even better. We had some costume adjustments for the final act – which, without giving away too much of the artistic direction – is a complete u-turn from the previous three acts, visually and socially. For anybody who knows the history of Verdi’s opera Aroldo and its previous manifestation as Stiffelio, they clue is in the additions Aroldo made on Stiffelio.

But anyway, this means that costumes have had to be changed, and with that comes an uncertainty about whether they will be there in time, whether – and, of course, whether I will have time to acquire the necessaries of my own costumes. Most have been provided, but then there are the little things that one needs to consider. For instance, in the first act, the ladies wear a lot of makeup, and of course I am set constantly wondering if what I have done is enough or even correct.

But we continue on. There is time. Even with the opening night coming up, I still have time before the performance itself to do a final costume check, tune myself up, and go back through a listing of the dance moves. Those crazy dance moves…

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There are still tickets left if you’re around in London the 20th-25th March (ie. Monday, Wednesday, Friday & Saturday this week), 7pm at Stratford East Royal Theatre. You can get tickets here:


I love keeping busy, and it’s something I’m good at. I have a mind that doesn’t turn off often (and when it does, it takes a while to ‘boot up’ again), and I get restless/bored easily if an event doesn’t stimulate my mental capacities. To that end, amongst all the other things I’ve been doing, I added to that by taking part in my university’s opera: the University College, London performance of Verdi’s AROLDO. This is the story of a young soldier who returns home from battle unexpectedly to find that his wife, the daughter of the chieftain, is hiding something from him, namely her affair with a man of lesser standing.

In Verdi’s amendment of his original opera, the first three acts show Aroldo’s suspicion and discovery of the affair, his heart torn between forgiving and escaping, and then his anger towards , all wrapped up between wife Mina’s unpitiable guilt and her father’s fury. He’s all for the well-met match of Mina and Aroldo, so an affair with a man who essentially runs the castle bar is scandal personified.

In the script, honour is prevalent. When Mina breaks her sacred marriage bonds, she not only damages the honour of being the chieftain’s daughter, heir, and her late mother’s double, but she is also aware of the risk against God she is taking. And yet it is God who stops Aroldo from taking the life of her lover.

If short on plot – which it must be for the lyricism to unfold – it is a well-written opera that delves into the human condition. It has a depth that, being a member of the chorus, is hard to find at times.

“My crime appears before me like a ghost everywhere!”

But, you know, in Italian. Which is a great fun to sing. As a Latin scholar back in my day, I naturally feel a pull towards Italian language, with its open front vowels and precision-articulation (comparatively, English is as sloppy as sloppy gets).

Nevertheless, this diversion harks me back to the acting and singing days I did during school. There was an annual play, alternating between musical and straight play, and other acting opportunities in addition. Sure, at Reading Uni, I took part in the 24-hour charity musical each of my three years, but that was filled with frivolities, and the audience almost expected fluffed directions and missing lyrics. With the Opera… Well, let’s just say that the UCOpera is in its 60th year now.

It’s serious business.

You know, I like that. It helps my overactive mind. Give me something to do; and make it about performing. Like writing, it’s a way to spend my time that my brain doesn’t translate into wasting time. After all, anything with culture and music (and both!) is never a waste of my time.

For this year, the production team have decided on a dystopian setting, of a castle in the middle of a somewhere-place, home to never-ending parties and the debauched like. Which involves as the costume designer put it to us “grungy clubbing”.

Suffice to say, I do not possess grungy clubbing. Most of my clothes are, in fact, too beautiful to fall under that moniker. Well, at least I can borrow The Fiancé’s leather jacket. It’s amusing, strange even, that my first venture into the operatic circles should come at such a length of time after I first started acting and, separately, singing chorus and discovering about the performances of old, through the power that is a Drama education in my younger years. It’s amusing/strange that my first foray should be something dressed so differently from what opera has come to be seen as, all flowing skirts and crowned gentlemen.

That said, I am really looking forward to seeing the set in all its glory next week, and, come Friday, doing the dress rehearsal with even the principles in their outfits.

Wish us good fortune!


And here’s proof that I can fit said leather jacket. Circa 2014, so sorry for the dazzlingly tilted photo.

And, while we’re on it, I’ll allow myself an advertisement break. If you want to catch the UCOpera, it’s on for four nights from at the Stratford East Theatre, London. 20th, 22nd, 24th, 25th March. Tickets from here:

Photo of the Week: Masquerade

Sorry for the radio silence. It wasn’t my intention of course to not be online – I feel as if I have given little time to blogging despite myself.

Certainly, part of my absence was due to being away for the weekend. The Boyfriend and I went to Sheffield for a masquerade ball, which was a deal of fun. I made my own mask – a challenge in itself, but good fun. As you can see below, I used a card bag featuring gold glitter stars overlaid with part of the score of Holst’s St. Paul’s suite and special 3D ink painted bronze with glitter, and feathers to decorate one side. The fabric teal support band around my head is from the same cut of fabric as a Steampunk dress I designed and a friend made.

Alex B_Masquerade

Photo of the Week: Song of the Shield


(Yes, it’s upsidedown. It’s artistic. :P)

It’s Reading University’s 90th year and we are having some internal celebrations, which is lovely to be part of. Our Chamber Choir has been asked to sing this traditional song found in the archives at the court meeting on the main day of celebration this term. So, we’ve been rehearsing it, and generally chuckling over it.

One More Step Towards Recovery

When I was fifteen, I wrote this song. It wasn’t the best I’d written, but it was far from the worst, both in lyrics, melody and accompaniment. It was meant to be about a relationship falling apart; but listening to it now, I could say that its lyrics mimic the recovery one takes from mental illness. In these drear times of war and violence and pessimism, it can be hard to stay optimistic about the future and confidence is easily dampened. However, we must keep our chins up and take one step at a time up that mountain of recovery.

Help me escape from this strange place. Let’s take it one more step at a time.