Saturday, 1 July 2017

My First Ballet: Cinderella

For the second year, the girls and I returned to the Peacock Theatre in London to see the young and talented dancers from the English National Ballet School perform for the tiniest aspiring ballerinas. Now in its sixth year, the My First Ballet series features a classical ballet, specially shortened, adapted, and cleverly narrated to suit children as young as three. 

Marina Minguez as the Fairy Godmother (c) Photography by ASH


 Maria Isabel Trabalon Sanjuan and Jeong Eun Park as the Stepsisters (c) Photography by ASH

Although arguably the music of Cinderella, a Prokofiev classic, is a little less memorable than Sleeping Beauty (last year's lovely production), the rags to riches tale is firmly fixed in the fairytale canon and lent itself very well to this adaptation. The narrator, now older, takes us on a journey back in time to a story from her youth and we meet the young Cinderella through the older Queen's eyes. This year's story had a real element of humour and the stepsisters, full of character, stole the show. 

Remi Nakano as Cinderella and Yuki Nakaaki as The Prince  © Laurent Liotardo

One of the best elements of the My First Ballet productions are the interweaving of narration and dance. Carefully and intentionally, the dancers illustrate that many of the ballet moves that we might usually miss with the whirl of limbs and chiffon have specific meanings. These are deliberately emphasised throughout and outlined in the well designed programme. Miniature audience members are invited to spot certain gestures and specific moves throughout the ballet. At crucial junctures time is slowed so we don't miss a crucial exchange. I'm always learning something new alongside my little women and enjoy these productions just as much as they do.

Remi Nakano as Cinderella and Yuki Nakaaki as The Prince  © Laurent Liotardo

Marina Minguez as the Fairy Godmother 

& Mar Bonet Sans as Cinderella (c) Photography by ASH


This unique collaboration between English National Ballet and English National Ballet School is always particularly exciting for Culturebaby as we are lucky enough to be able to attend ENB's Junior ballet school. These brilliant dancers therefore demonstrate in a connected and tangible way what is possible for the very youngest of students. The classes, run by highly trained professionals and featuring a real pianist, come highly recommended. No auditions are necessary but the quality of teaching is excellent. We are heading over to Chelsea tomorrow to take part in the annual performance for the Juniors, which last year was hugely impressive. It's a class worth travelling to. 


Remi Nakano as Cinderella © Laurent Liotardo

ENB has worked with Widgit to produce resources that can be easily used by the young but also by those with learning difficulties or disabilities. The My First Ballet: Cinderella Symbol Resources are designed for use before, during and after performances. You can download these here at the links below. Some of these flashcards in particular are brilliantly useful and I'll be producing a set for the girls soon:


Remi Nakano as Cinderella  © Laurent Liotardo

Another great accompaniment to the performance is James Mayhew's beautifully illustrated picture book Ella Bella and Cinderella. It is part of the ingenious series where the little ballerina Ella is transported, with the aid of a magical musical box, into a series of ballets; supporting the characters and saving the plot.

Although the ENB school dancers have finished their run for the year, performances continue over the summer at two locations. For further details and booking information see the website at www.ballet.org.uk/myfirstballet

Anita Wolleb as the Fairy Godmother  © Laurent Liotardo

The Peacock, London
18 – 23 July 2017
Box Office: 020 7863 8000
Tickets: £10 - £25

 Manchester Opera House
26 –30 July 2017
Box Office:
0844 871 3018
Tickets: £11.50 - £29.40



Disclaimer: We received press tickets for the purposes of review from English National Ballet. All views are, as always, our own. Photographs are courtesy of ENB and the specified photographers - with thanks.

Monday, 29 May 2017

It doesn't happen every day, that a Tiger comes around to play...


It doesn't happen every day that a Tiger comes around to play...

Sometimes it is the longeivity of a memory, months and months on, that points to the success of a childhood experience. As we ambled past the poster outside Richmond Theatre for the 2017 tour, the girls started to sing the theme and to talk about their memories of visiting Cadogan Hall last summer to watch the performance - requesting to book again this year.

We have seen so much wonderful theatre over the last few years, but there is little better than seeing much loved characters come alive on stage. Judith Kerr's 50 year old classic seems to hold an enduring fascination for children, with a formula and illustrative style so successful, that I can imagine few children would fail to recount the tale.

Its genesis is equally interesting. Judith used to enjoy trips to the library with her young daughter Tacy, but reported her ongoing disppointment that there was very little for children between "here is a horse" and long and dull stories with unfamiliar words (happily due to the legacy of these intrepid early picture book pioneers this problem no longer exists). Kerr noted that it seemed extraordinary that there were so few books with proper stories in simple words that a two year old could understand.

Keeping themselves occupied with trips to the zoo whilst her husband was away filming, and meanwhile hoping for visitors and "that something would happen", between mother and daughter the story of a Tiger who came calling at the house was born. It was Tacy's favourite and soon it was retold by heart. Later her son also loved the story, but it wasn't until both children were at school and work was able to resume in earnest that Judith finally started to turn it into a picture book.

On the advice of a friend from Central St Martins (art school) she experimented with inks to give a layering and richness, and she observed and sketched tigers live at the Zoo. She based the book on her own kitchen and on Tom (her husband), Tacy and herself. Following some re-working with the editor (and Tacy being re-christened Sophie) - though it seems Judith won the battle on the Tiger (improbably) drinking all the water in the tap (her son's favourite) - it was published to encouraging reviews in 1968. Little could she have known its consequent impact.





I was perhaps surprised that such a simple tale could be turned into a 55 minute musical but Olivier Award Winner David Wood OBE, a leading writer and director of plays and musicals for children, has done so successfully. With genuinely memorable tunes and humour, the stage show also retains much of the magic of the classic book with its '60s decoration, clothes and routine - and crucially the original story.

In the gorgeous book "Creatures", Kerr's autobiography, she describes the approach from producer Nick Brooke, who wanted to turn the three minute book into a one hour play... "At first I just thought it was ridiculous, but then I thought, why not, and made an appointment to go and see him. He was clearly very professional, and totally serious...." After a further tea and discussion with David Wood, she agreed to give it a go. At a visit to an early rehearsal Kerr notes that she was "brought up short by the set, which looked exactly like the drawing in the book. There were two young actresses playing Sophie and her mother, and a very good young actor called Alan Atkins playing the tiger, the father and three other characters, and the whole thing just felt effortlessly right." It opened to immediate success at the Bloomsbury in 2011 and was later nominated for an Olivier Award.


As Kerr herself observes
"It is oddly moving to see a theatre full of three year olds spellbound by this singing and dancing version of a bedtime story I once told my little daughter so many years ago." 
In the words of The Times "It's the Cat's Miaow", as is Kerr, who with her family fleed the rising Nazi party in Germany due to her writer father's liberal, anti-Hitler work. Whilst Tiger is no work of political criticism (though some have argued it is), it has demonstrably endowed many a young mind with a love for the arts and literature. As writer Ann Patchett notes: “Reading fiction not only develops our imagination and creativity, it gives us the skills to be alone. It gives us the ability to feel empathy for people we've never met, living lives we couldn't possibly experience for ourselves, because the book puts us inside the character's skin.” With training such as this for all of our children, 80 years on from Kerr's experience, the forces of bigotry and intolerence would have a far tougher fight ahead.

This year's tour details can be found here:

Dislaimer: We received tickets to the performance in exchange for an honest review. We are very grateful to Cadogan Hall for the opportunity. You can view their fantastic programme of family events here.


Friday, 14 April 2017

Understanding Easter for little ones

As the girls get older I've been collecting picture books that, in a variety of accessible ways, tell the story of Easter - tales of infinite love and care, great sacrifice and salvation.
 
When they were youngest, I found that the simplest way to introduce the fundamental idea of a God who would do anything for his children, was through the simple parable of The Lost Sheep. Culturebaby loved imaginary play and little models, and to accompany the story I created a simple play landscape for the lost sheep to venture across on his own, complete with perils for his master to overcome in carrying out his recovery. After numerous "again!"s and two versions of the tale with slightly different props, Culturebaby began to recount the story herself. We filmed it and watched it back, and I even overheard her acting it out to her soft toys from the other room as she settled down for a nap. The two excellent versions of the parable we use are the lighthearted version from Stories Jesus Told by Nick Butterworth and Mick Inkpen. This compilation is a current favourite with Culturebaby, who loves the simple moral tales re-told here in accessible form. We also really like the cut-out board book The Lost Sheep, which is slightly closer to the original and equally accessible.


Then, a little later, Culturebaby fell in love with Aslan, Narnia and all things beyond the wardrobe. I found that, even at three, Culturebaby instinctively understood the parallels in the unwaivering faith of Lucy, the forgiveness of Edmund, the sacrifice of Aslan and the defeat of the White Witch. There are many wonderful simple Narnia books for children (particularly relating to the film with photographs and simple storylines - we have rather a collection) but one of the best is the beautifully illustrated Harper Collins version of The Lion, the Witch and the Wardrobe, illustrated by Christian Birmingham, abridged well and with an extensive story. Culturebaby has rather a high tolerence for challenging and dark themes and she therefore gained a lot from the Disney film of the book. Whilst the retelling isn't perfect for the purist, from the moment she accompanied Lucy through the wardrobe she was hooked. Their world became hers and she inhabited Narnia in imagination and in play. We made a play-tray, which has been out ever since. The film was watched in part almost daily for almost a year. "Once a king or queen of Narnia, always a king or queen..."


"But what does it all mean?" asked Susan when they were somewhat calmer. 
"It means," said Aslan, "that though the Witch knew the Deep Magic, there is a magic deeper still which she did not know. Her knowledge goes back only to the dawn of Time. But if she could have looked a little further back, into the stillness and the darkness before Time dawned, she would have read there a different incantation. She would have known that when a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards."
 C.S. Lewis The Lion, The Witch and the Wardrobe
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Then came the story of Easter itself and we have found a number of great first illustrated books re-telling the (very difficult to explain) journey from Palm Sunday to the Resurrection. Firstly Usborne's Book of Bible Stories is a gorgeous volume with a number of essential bible stories and parables. This is a perennial fixture in our mass survival bag and was the primary introduction for Culturebaby to some of the iconic characters from the Bible. She loves the format of these Usborne productions with their simple and engaging images and accessible text. The Easter story is the culmination of this volume.

More recently Usborne has also published, as part of their brilliant Picture Book series (which tackles a host of classic stories for young readers), The Easter Story illustrated by John Joven. Taking the key elements of the story, told sensitively and simply, this version has been with us to the Good Friday service today.

We also received as a gift a few years ago, a gorgeous little Easter Bible Storybook board book featuring photographs of toy models acting out the excitement of Jesus' followers as they discover that he is alive. The characters are adorable, and with the repeated phrase 'Jesus is alive', this one really stuck in the girls' consciousness and they are able to take part in the telling of this story again and again.

Finally, Culturetot's Godmother bought her a simply stunning version of a classic folktale The Tale of the Three Trees. Told from the perspective of three trees, who respectively each have dreams and aspirations to hold treasure, become a great ship, and simply to be left to grow tall and point to the heavens, each (initially disappointed), finds that they achieve more than their hearts' desires. One, thinking it was merely an animal food box becomes the manger holding the Christ child. The second, initially a simple fishing vessel, carries Christ to calm a storm. And the last, crudely crafted into an instrument of torture, finds that from it hangs Jesus as he points the way for all to the heavens. It's a profound and beautiful book and the girls love it.


A couple of years ago during the final week of Lent, we created a Resurrection Garden table centrepiece that I'd seen on another blog and loved and have done it most years since. The model presents calvary and the tomb; complete with stone blocking the entrance, which can be rolled away to reveal the empty tomb and figurines. This was extremely simple to make and was a helpful way to act out the stages of Holy Week.




Start with a large plant pot base and a smaller ceramic plant pot or piece of pipe turned on its side. Build up earth around the pot into a mound with the top of the plant pot forming a cave-like entrance surrounded by sand or gravel. We created 3 small wooden crosses from branches bound together with thread and placed these on the top of the hill. We then added cress seeds (you can also use grass seed if you have longer) which grew over the course of the week and was a visible symbol of the resurrection. We also added figurines of Mary and a Roman soldier.



https://images-na.ssl-images-amazon.com/images/I/51xi4hUlzeL._SY395_BO1,204,203,200_.jpgI've also discovered other classic and newer titles that unpack brilliantly aspects of the Easter Story. The Selfish Giant by Oscar Wilde was one of my favourite childhood books and comes in a number of versions. With Wilde's beautiful prose and the message of Easter through the eyes of a child, I eternally fail to get through this classic without a hankie. A hard-hearted giant throws children, who have nowhere else to go, out of his garden; it is his garden and his alone. But without joy present the frost and snow and hail and wind move in, bringing with them a perpetual winter. Then one day the giant is awoken by birdsong; the children have broken into the garden and with them comes the spring - the trees bloom and flowers spring up. However, one corner of the garden remains in winter - a spot where a small child is unable to climb into the tree alongside his peers and reaches up to no avail. The giant's heart is melted and he goes to the garden and helps the child reach the trees, which immediately bloom. His kindness is rewarded with a kiss and the giant is healed; he knocks down the walls and the children make his garden their playground once more. The children return daily, except the little child he loved the most. The giant grows old and frail with the children all around him, but he is always hoping that the small one will return... and one day he does, but scarred with wounds on his hands and feet. The giant, enraged, asks who has dared to hurt his friend, but the child tells him that these are the wounds of love. Once he let the little child play in his garden, and so today the child explains that he will be taking the giant to his own garden - paradise. The version of this story we discovered beautifully illustrated and abridged by Alexis Deacon stops at the point the Giant bestows his garden upon the children and all find happiness. This in itself is a beautiful and profound tale for the very young. However, for 5 year old Culturebaby we also love the full version. I have a vintage version illustrated by Michael Foreman and Freire Wright from 1978, but there are others out there too.

Then another weepy, The Clown of God, tells the tale of a poor boy who finds he can juggle exceptionally well and spends his life travelling from Italian village to village entertaining the crowds. Over the course of his wanderings he meets poor Franciscans who tell him about their belief. He continues, content in the knowledge that he brings joy to those around him, until he becomes old and unable to juggle. The crowds begin to reject him and he becomes hungry and without purpose. He decides to return to the village where he began, but finds himself in a monastery faced with a stern statue of the virgin and child. He takes out his equipment and, to the horror of one monk, begins to juggle. He juggles and juggles, the best he has ever performed, just for the baby Christ before him. The monk returns with others to find that the old man has died juggling, but there is left a miracle - the statue is holding the juggler's most precious golden ball and is now smiling. It's a beautiful tale about the gift of joy, and giving all that we are, or just simply what we are able to offer, for the glory of God.

Finally a couple of beautiful secular books have come out this Easter. Firstly a stunning work of art from Prestel and Britta Teckentrup The Egg. For children and adults alike, this gloriously designed volume explores the humble egg in all its simplicity and intricacy through the eyes of an artist, and unpacks its integral role in tradition, science and art and the way this 'miracle of nature' has inspired artists from ancient times. Did you know that in the Orthodox tradition, for instance, eggs were died red to represent Christ's death, and it was once a custom to place eggs on Christian graves? Many artists have paid homage to the egg as a source of life and in many ancient myths gods and heroes have hatched from eggs. This unique and fascinating book is a great addition to anyone's Easter bookshelf.

Finally a bit of fun. Spring is the time of new life, of appleblossoms and glorious magnolia, a riot of colour bringing the positivity of warmth. Usborne has published a beautiful and detailed book of The Wild Garden with transfers and, if one were so inclined, the opportunity for detailed colouring and observation. It's a perfect Eastertime gift to combat the riot of chocolate and I'm looking forward to trying it out with the girls on Sunday. Here are a few further Springtime and Easter activities from the blog.


Disclaimer: Many of the titles we have covered in this post are our own, however, we are grateful to Usborne for providing their books over the last few years for review purposes, and to Prestel for the beautiful new title, The Egg. As always, all opinions are entirely my own.

Saturday, 18 March 2017

Cozy Classics - An Audience with the Authors

A while ago we wrote about a beautiful and original introduction to the classics, the BabyLit series by Jennifer Adams and Alison Oliver. These have been real favourites amongst many people we know, and Mr Darcy and Lizzie Bennett from the Pride and Prejudice playset regularly race each other round the room in the interests of creative persuasion for Culturebaby to practice her violin. We also wrote about re-creating the Georgians in this post about dressing up our dolls in easy-to-make Regency attire. This was one of the most effective and memorable activities Culturebaby and friends have enjoyed. The girls also love visiting the costume collections in the V&A Museum and the Museum of London and spotting the dresses they see in our books.

Fans of both these projects will be delighted to hear that whilst perusing the internet I fell across another utterly adorable and completely unique set of books designed to introduce the youngest reader to the great classics, this time through the idea of simple word association with particular scenes. The absolute joy of these gorgeous titles, collectively called Cozy Classics, which ooze character and creativity on the part of their creators, is that they contain photographs of scenes painstakingly created from felt dolls set up in natural environments. These exquisite characters seem to truly capture the essence of the titles that they represent. Also, a huge bonus, they follow the stories in order through a series of scenes, and whilst the titles do not provide the narrative, they do allow a parent who knows the tales to re-tell them simply and effectively. They are absolutely stunning additions to the girls' library, and whilst they are board books, both girls enjoy them. We will treasure this set beyond childhood.


We were very interested in the inspiration and creative process for these brilliant little books, so we posed a few questions to the authors. We hope you enjoy this unique insight into the creation of Cozy Classics from Holman and Jack Wang.


How did you come up with the idea of using handmade characters to illustrate a classic?


HOLMAN: When Jack came up with the idea for Cozy Classics years ago, I loved it. However, neither of us were trained illustrators (I’m a lawyer and Jack’s a creative writing professor). We didn’t think that anything we might draw or paint would stand out in the marketplace, so we had to think outside the box. I came up with the idea of needle-felting wool figures and photographing them to create our images—not that I had ever needle-felted before! So I jumped onto YouTube, watched a few videos, and taught myself the technique. Then I created some initial test images, which we thought were fresh and could give us a signature style. We’ve been felting ever since.

Why did you decide to focus on classic books for the very young?

JACK: The idea for Cozy Classics arose out of my experiences reading word primers to one of my daughters when she was very young. Early word books all seemed to be organized around concepts—shapes, numbers, colours, barnyard animals. All very important, of course, but not the most engaging reading for parents. I wondered to myself why word primers couldn’t be organized around narrative. I thought that creating extreme abridgments of well-loved stories would inject interest, irony and humour into the word primer genre, and I think we’ve done that. And if parents present one of our word primers to their children with just that little extra bit of enthusiasm, then we will have done our tiny part in helping parents model an engaged and affectionate relationship with books.

How do you decide on which story to do next? What would you like to cover in the future?

J: We decide our next titles based on an ever-shifting logic. Our first two titles, Pride and Prejudice and Moby Dick, just seemed like quintessential classics—one “girl friendly” and one “boy friendly.” Then we wanted to push our abridgements to the extreme by taking on massive tomes like War and Peace and Les Misérables, which also expanded the series into Russian and French literature. After taking on some moodier classics such as Jane Eyre, Oliver Twist and Great Expectations, we wanted to balance the series with lighter fare, so more recent titles include The Nutcracker and The Wizard of Oz. So there’s always a rationale, but it’s never the same. As for what we’d like to take on in the future, there are a few titles that are not quite in the public domain, like The Great Gatsby, that are on our list.

What sources do you use as inspiration for the costumes you create?

H: Costuming is always an interesting challenge because we obviously want our characters to evoke the proper sense of time and place for each book. At the same time, we want to bring our own design elements to a character. So we watch movie adaptations of the classics and research images of period clothing to draw inspiration. Then we try to design costumes that are fresh, but still resonate with popular imagination.

What do you do with the little figures when you've finished working with them? Do they live as a little collection together?

H: Most of the felt figures live in my garage studio in Vancouver, Canada after they’ve “retired.” Luckily, however, the figures do get out for fresh air sometimes! I take figures with me when I do school visits, and we’ve had museum exhibitions which have required us to fly figures around the continent. For example, our figures have been exhibited at The Strong, National Museum of Play in Rochester, New York, as well as The Original Art Exhibition put on by the Society of Illustrators in New York City.



What feedback have you had on the approach taken - using single words on each page? Do you find parents fill in their favourite stories using the scenes? Why did you go with this particular way of exploring the stories?

J: We’ve received a lot of appreciative feedback from parents who relish the opportunity to share their favorite stories and characters with children at the earliest stages of learning. Parents definitely use our books as storytelling vehicles. And as we like to say, there’s no “wrong” way to read Cozy Classics. Even if parents don’t know the original classics, they can always make up the story, or ask their child to. The only important thing is that parents and children bond over books, and the earlier the better!

Do you see a future series for slightly older children with simple versions of the stories themselves using the gorgeous photos in the originals?

H: We actually had this debate with our original publisher before the series was launched. They worried that word primer versions of the classics wouldn’t work, and actually encouraged us to pair each of our images with a couple of simple sentences. We resisted this idea. It diluted our “high concept,” discouraged parents from storytelling in an open-ended way, and opened us up to criticisms that the simple prose lacked the beauty or music of the original texts—criticisms that haven’t been directed towards our word primer versions. After Cozy Classics hit store shelves and met with early success, our publisher told us that Jack and I were right to stick to our guns. So, no, we don’t see a future series for slightly older children at this time. But it’s a great question!


You can watch a wonderful behind the scenes video here, narrated by the authors showing the creative process and how the scenes were made:

   

You can also access instructions for a great extension activity on simple felting provided to us by Jack and Holman. Click here to learn how to felt a heart.

We are hugely grateful to the publishers of Cozy Classics, the fantastic Chronicle Books, who sent us copies of the series to review and to the talented Jack and Holman Wang who took the time to answer our questions. We hope you've enjoyed meeting the authors as part of this post.

In the Night Garden Tour 2017

It will soon be that time of year when green spaces around the country grow a strange bubble-like snow dome and toddlers from Richmond to Manchester career around the streets grasping miniature inflated Pinky Ponks. We've re-posted last year's review of In The Night Garden Live below and we are hosting, until the end of March, a unique discount code for Culturebaby readers.

In the Night Garden Live runs annually and tickets can be booked at this site or on 0330 120 0123

This year's dates are as follows:

Blackheath, London 25 May - 10 Jun 2017

Richmond Old Deer Park, London 17 Jun - 5 Jul 2017

Cannon Hill Park, Birmingham 12 Jul - 30 Jul 2017
 

intu Trafford Centre, Manchester 5 Aug - 28 Aug 2017


Tickets: £12.50 - £35
Two separate shows throughout the run: The Pinky Ponk Show and The Ninky Nonk Show
Running time: just under 1 hour for each show with no interval.

Some things in life provide wonderful experiences because of their simple and arresting joy. In the Night Garden Live is an adorable production for the very young and rarely have I witnessed such unparalleled delight in little people as at the arrival of these household names in larger than life form before their eyes.

In The Night Garden is one of those utterly bizarre, and probably genius, Cbeebies programmes that have captured the heart of a nation. At the slightest whisper of threat to children's programming, parents declare war in defence of Upsy Daisy the pacifier and Iggle Piggle the entertainer of their miniature brood. I'm not sure a few years ago that I could have imagined I'd be writing an article about this surreal toddler wonderland, but there too leapt I into the giant showdome, pre-schoolers in tow, and found myself surrounded by the Richmond parenthood chanting along in one voice to the unintelligible but gripping choruses of Makka Pakka
, Akka Wakka, Mikka Makka moo! and Igglepiggle, wiggle, niggle, woo!  
I wonder what a future anthropologist falling upon some ancient footage might deduce from such scenes: who are these furry deities depicted on materials from dining equipment to painted bedroom walls, treasured in effigy and emitting strange and otherwordly chanting? But to the 2 year old, who sees true friends and companions in these colourful puppets, the whole phenomenon makes total sense.There are two shows available this summer, each covering a simple tale. Let's be honest these are not (for the adult observer) complex and gripping tales of adventure. In ours Makka Pakka travels around the garden, introducing a range of his buddies and washing their faces. At one point he loses a sponge. The sponge is consequently recovered. There are bubbles. There is dancing. But the joy created in this showdome is utterly infectious. It was a thoroughly happy event, with audible expressions of delight throughout from young and old alike. It isn't cheap and inevitably is rather commercialised, but it is a great child-friendly performance and good option for a first experience of theatre designed entirely for and on a perfect wavelength for the very young.

My four year old, who in hindsight didn't consider herself too mature for the whole experience, was particularly taken with the sense of scale and use of various sized puppets to bring the Night Garden alive. A larger Makka Pakka emerged alongside the Pontipines, whilst a smaller puppet was used beside the enormous Iggle Piggle. There were glorious moments when Iggle Piggle's boat appears amongst the waves, when Upsy Daisy finally danced onto stage, and when projections of stars onto the ceiling made the whole experience multi-dimensional.
As I circled my toddler's palm with my finger as the show began and witnessed her childish awe at the familiar spectacle unfolding before her, the emotion associated with the brevity of this tiring but wonderful phase rather bowled me over. I found myself wanting Oliver-like to bottle the whole experience. For In the Night Garden - for better or for worse - seems to be a right of passage for today's toddler and now, as then, I recall the immortal words of Evelyn Waugh:
"I should like to bury something precious in every place that I have been happy, so that when I'm old and ugly and miserable, I could come back and dig it up, and remember."

We received a family ticket in exchange for an honest review of the performance. As always all views are very much my own. Photographs courtesy of In the Night Garden Live.
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