Better late than never as they say. This book was well worth the wait as I waded through some family health issues, looking longingly for a time I would have chance to publish my review on a book that’s worth a shout out about. I thank Fly On The Wall Press, an indy publisher worth checking out their book, for a copy of The Water That May Come in-exchange of a review. All opinions are my own. Check out the synopsis and then onto my review below.
pic of the book taken by Louise Cannon near a water feature
Synopsis
As rising seas threaten to engulf Britain, four lives are on the brink: Pinko, a privileged heir clinging to decadence; Jane, a working-class veterinary nurse racing to reunite her family; her pregnant teenage daughter Ashleigh, grappling with impending motherhood; and humble young artist Gavin. With sanctuary beckoning across the Channel, each faces impossible choices. Who will they save? What will they sacrifice?
A lyrical, thought-provoking novel which blurs borders and challenges notions of identity and belonging. In a future where we all may become refugees, it asks: how far would you go to stay afloat?
Review
We all know that seas will rise, we’ve all known since the 90’s at the very least, but still it is happening right now and this book tackles that, in part and a very human story.
In some ways, it feels dystopian, but the sad truth is, it’s all closer to reality than you may think or dare to realise, with seas rising faster than what was predicted. This book shows not just the environmental implications, but the very real human cost that knows no boundaries nor class.
Set between 2023 and 2032 in diary form, in Pinko, Jane, Ashleigh and Gavin, we see a mixture of privilege, the working class, teenage angst and impending motherhood and a little of the bohemian in an artist. They are characters that easily compel you into the story of how life was and what life became. It shows how life is taken for granted in a way and whatever struggles people have now aren’t anywhere near what’s to come in the very near future. Identity and a struggle to survive against the elements and disappearing of everything people know, including cities are well written. It poses questions about how you may react to such huge environmental consequences and can you rely on those you could before? What happens to those loyalties and bonds that were formed in better times? The psyche of people is interesting and is more than highlighted in this book, especially at times of unusual stress, panic and displacement. It isn’t a preachy book, but it serves as a warning and does a fine job at it too. The end holds some surprises and could this be the first of many books we see of these characters?
I highly recommend The Water That May Come. It is better than I was expecting and I feel it has a lot to offer readers, including those in book clubs.
Interview with Abigail Hood about the theatre play – Monster
by Louise Cannon – Bookmarks and Stages
Welcome Abigail Hood to Bookmarks and Stages, thank you for your time. What has been created is an insightful interview as we delve into writing and performing a play with a full cast. We also delve deep into the play’s themes that deal with trauma and abuse, touch upon the research and a real case and self-care and more… There are great photos to show you, a little about the play and then onto the interview itself and how you can go and see this gripping, challenging sounding play. There will also be post-show Q&A sessions with representatives from Advance on Thursday 2nd and Thursday 9th October at Seven Dials Theatre. Please see further details after the interview.
Abigail Hood, Lauren Downie, Lisa Ellis, Steve Hay, Sarah Waddell, Kevin Tomlinson
Set in Glasgow in 2006, and following a story spanning two decades, Monster follows Kayleigh ”°Kay”± Grey, a teenager prone to trouble whose fierce loyalty to her best friend Zoe often tips into dangerous retaliation. When a single act of violence shatters the lives of everyone around her, the play asks searching questions about culpability, rehabilitation and whether forgiveness is ever truly possible… At its heart, Monster follows the devastating consequences of a violent act committed by 15-year-old Kayleigh Grey. Moving between the events that led up to the tragedy and her adult life, the play asks whether someone raised in violence is destined to repeat it – and whether true forgiveness or redemption can ever be found…
You are both playwright and performer of Monster, how does that feel to be able to have that much creative control and how does it feel to bring your play to life, when before, it was in your head and on a page?
It’s an exhilarating experience to be both playwright and performer of Monster. When I was writing, I would roleplay each character on my own—improvising their words and trying to get under their skin to understand their motivations and triggers. I always knew I would play Kay because I wanted to challenge myself, as both writer and actor, to make her as three-dimensional as possible—to explore someone capable of something terrible while still finding the humanity within.
As a performer, stepping into the world I created is both strange and wonderful. It started as a very solitary process—me with my laptop and research—and then suddenly you’re in a rehearsal room with a director, cast, and creative team who bring their own ideas and energy. The play stops belonging only to you and starts to take on a life of its own, which is the most thrilling part.
Performing and writing are two very different skill sets, what or who inspired you to both and do you ever find when you’re performing, that you do it differently from how you imagined when you first put your words down on a page?
My inspiration to become a performer came when I was nine years old and selected as one of the juvenile dancers in the annual professional pantomime at the Theatre Royal in Bury St Edmunds, my hometown. The whole process was glorious: Sunday dance calls, a week of intensive rehearsals in the theatre with the professionals before opening, and then eight weeks of daily performances—I was in heaven! We were only allowed to do one show a day, but I would gladly have done both. I loved everything about being in the theatre: the magic of the stage, the camaraderie of working together, and the joy of sharing the final performance with an audience. My mum still remembers how I could (and would) recite the entire pantomime, playing every role! Though I was a shy child in everyday life, on stage something else would take over.
I didn’t consciously decide to become a playwright, but I’ve always loved telling stories. It wasn’t until a period of ‘resting’ as an actor that I finally began to write. Still, I think the spark was lit much earlier, during one of my first professional acting jobs—playing Alice in the original production of Polly Stenham’s That Face at the Royal Court—when I witnessed the extraordinary impact a play can have. Seeing how it provoked conversations, challenged perspectives, and demanded urgent social reflection made me want to create work with that same power.
I’m also hugely inspired by the writing of Simon Stephens, Mike Bartlett, and Phoebe Waller-Bridge, who write with honesty and urgency about the world we live in now. For me, the impulse to write comes from a need to explore the “grey areas” of life—those complex, uncomfortable spaces that, when shared on stage, might help us understand each other a little better and, hopefully, nurture a more tolerant society.
This all said, I think I was always destined to become an actor and writer. A few weeks ago, I found some old schoolwork from when I was twelve: the task was to write an autobiography (an ambitious undertaking for twelve-year-olds!) and we’d been asked to brainstorm facts about ourselves. Under the ‘likes’ category, I had written: acting, dancing, and writing stories.
In terms of performing a role, it is often different from the way I imagined, as I am interacting with other actors who bring their own unique energy to their roles. They too are making choices and creating their version of the character, so the way a line hits you can make the response come out differently from the way you planned. Pre-conceived ideas often go out of the window once rehearsals begin.
Monster follows Kayleigh Grey, raised in an abusive household, hooks up with a bullied teenager who has a strong bond with her. How did you get inside the minds of such complex characters to make them realistic?
I did a great deal of research into abused children and children who had committed violent acts — reading biographies and autobiographies, newspaper articles, watching documentaries, listening to podcasts, and speaking to psychologists and criminologists. Research was just the starting point. After that, I tried to get inside my characters’ heads — finding out what made each of them tick: their fears, hopes, triggers, and complexities. To do this I did lots of character developing writing exercises and improvising dialogue with myself. In particular, I wanted Kayleigh to feel fully three-dimensional—to reveal her humanity and show she’s more than the violent act she committed.
What emotions did you experience when both acting and writing the part of Kayleigh Grey?
When I was writing Kayleigh, I felt a mix of sadness, empathy, and deep distress for the harm she caused and the fact that the worst part of her was allowed to prevail. I wanted to understand her fully—her fears, her hopes, the moments of light in her as well as the darkness—without excusing the harm she caused. She does something horrifying, but that doesn’t make her a bad person through and through. There are qualities in her that are recognisable, even likeable, and it was important to me that the audience could see that complexity.
When I play Kayleigh, those emotions become very immediate. I think about the many children I read about and researched who committed these kinds of acts—the people they were before, and the people those acts turned them into. You have to hold both sides in your head: the vulnerable child who made choices, and the consequences of those choices. I feel it is really important to show her both as a feral, abused teenager and then as a grown woman building a life but plagued by the guilt of her childhood crime. It’s emotionally intense, but it’s also what makes the role so fascinating to inhabit.
The play explores violence, trauma and forgiveness, which you say are urgent themes, why do you feel they are important themes to explore in a play?
I think they’re important because they’re so often talked about in headlines or statistics, but not always in a way that captures the human side. Violence, trauma, forgiveness — these are things that shape people’s lives in complicated, messy ways. They don’t fit neatly into boxes of right or wrong, good or bad. A play gives you the space to sit with all of that, to feel it rather than just read about it.
For me, theatre is about empathy. It’s one thing to know something happened; it’s another to be in the room with characters living through the consequences of it. Violence and trauma don’t just end when the event is over — they ripple outwards, shaping families, relationships, whole communities. And forgiveness, or the absence of it, is just as complex. People talk about forgiveness like it’s a single moment, a decision you make and then move on, but it isn’t like that. It can take years, or it might never come at all. I think a play can hold all those contradictions — the harm done, the grief, the anger, the humanity of everyone involved — in a way that feels real. These themes matter because they raise questions we don’t always have easy answers to, but I think they’re questions worth asking.
You drew upon some harrowing real-life cases, such as that of Mary Bell, what went through your mind as you studied her case and how did you choose what to depict in your play?
When I read about the case of Mary Bell, what struck me most wasn’t just the crime itself, but everything around it — the childhood leading up to it, the public reaction, the way the media talked about her. There’s the act, which is horrifying, but then there’s this whole story of neglect, violence, and missed chances to step in before things got so bad.
For the play, I didn’t want to retell any one real case. Instead, I wanted to capture the patterns I kept seeing across so many stories: children sometimes failed by the systems meant to protect them, the complexity of their inner lives, the tension between the harm they suffered and the harm they caused. It was less about the details of any single case and more about what those cases revealed about society, about responsibility, about what happens when intervention comes too late or not at all.
In Monster, Kayleigh isn’t Mary Bell or anyone else — she’s fictional — but she carries echoes of the things I read and watched: the loneliness, the anger, the tiny glimpses of hope alongside the devastation. I wanted to create a character who felt real, not a headline or a symbol, so the audience could see both the child who needed help and the person who did something terrible. Choosing what to depict was always about serving that balance — showing the roots of her actions without excusing them, and leaving space for the audience to sit with the complexity rather than be handed a simple answer.
In what seems like an era of “self-care”, did you take some time to digest what you were ultimately creating and how did you take time to separate yourself from the facts you were reading about and what you are depicting on stage?
I think when you’re writing about something this heavy, you have to find a way to carry it without letting it completely take over. Some of the real-life cases I read about stayed with me for days — the details, the families, the children involved. It was impossible not to feel the weight of it.
But I always reminded myself that what I was creating was fiction. It was inspired by real patterns and questions but Kayleigh and her story were my way of processing all of that in a creative space rather than retelling someone’s real-life pain. That helped me keep some distance.
I also gave myself breaks from the material when I needed them. Sometimes that just meant stepping away for a day or working on a different part of the script — something less intense — so I could come back to it with a clearer head. And I think the act of shaping it into a story, giving it structure and characters, was part of how I separated myself too. It stops being a list of facts and becomes something that can spark empathy, conversation, and understanding, rather than just adding to the horror.
What do you hope the audience will take away when they leave the theatre?
I would like audiences to leave the theatre understanding that things are rarely black and white. I hope they will warm to Kayleigh to begin with and then feel torn when they witness the devastation, and irreparable damage, she causes to the family of the child she kills. I hope the play prompts questions about society and encourages reflection on forgiveness and justice.
I also hope audiences think about how society treats vulnerable young people, and in particular young women, which I believe is an incredibly important issue. This is why the production is supporting and supported by Advance, a charity that helps women and girls who experience violence and abuse, which can in some cases lead to their being trapped in a cycle of abuse and criminality. Advance helps them break this cycle and regain control of their lives. As part of our work with this charity a number of young women will participate in workshops led by workshop leaders from Advance before watching the play. There will also be post-show Q&A sessions with representatives from Advance on Thursday 2nd and Thursday 9th October.
What’s next for you?
First, a holiday! After that, I’m looking forward to new projects. I’ve already written another play, so I’m excited to see where that might go, alongside other acting opportunities that come up.
Charm and wit are sealed within the pages of The Good Boy. I find myself on the blog tour for this chilled out read. Check out the blurb and full review below, thanks to Bedfordshire Sq publishers for sending me a copy of the book. All opinions are my own.
Blurb
A woman confronts her past and her unresolved feelings for the boy next door as they work together to reverse a wish gone awry.
On the eve of Genie’s thirtieth birthday, her grandmother gives her an unexpected gift: a wish at midnight. Genie, forever the family skeptic, laughs it off and, after an evening fending off invasive questions about her nonexistent love life, returns home to her empty house and her golden retriever, Rory. Who needs a boyfriend when she has a loyal friend like Rory? As she hugs him and gets ready for bed, she wishes to herself that he were human… at least then their conversations wouldn’t be so one-sided.
She really should’ve listened to her grandmother.
To her surprise, Rory is now a human with big Golden Retriever Energy–like a goofy, adoring Hemsworth. But he doesn’t like being a human. He doesn’t like wearing clothes or human manners, and he most definitely can’t manage a human job.
Genie needs to turn him back before it’s too late and enlists her oldest friend and boy next door, Miles, to help. Their quest brings them closer than they’ve ever been–and maybe, just maybe, her messed up wish is the key to granting her heart’s desire after all…
Review
The Good Boy is charming, witty and warm. There’s some relatability, with the questions surrounding having/not having a love life. There is as a bit of the Bridget Jones about it, with not just this being a running theme, but in the way you just fall into the book and get swept along. It unexpectedly captures you in its slight whimsy and suddenly, you find yourself at the end before you know it.
There are parts where you just have to let imagination take over and appreciate the creativity. The dog is also quite a character within itself and creates some of the fun. There are also cats and they are also shown to have personality and balances out the cat/dog person debate a bit.
In saying that, there is some substance, it isn’t purely whimsical as there are some big issues that are filtered through. They lead to characters to care about or, in the case of the gran, to be entertained by.
After a tiring week, The Good Boy is a book for those moments when you just need to chill out and relax the brain.
David Jarvis is an author who just keeps getting better and better in writing style. I recommend discovering his books. Do check out this latest one too, The Green Feathers. Check out the blurb and review below as I join the Hobeck Books blog tour. Thanks to the publisher for an e-book and blog tour spot. All opinions are my own.
Blurb
When a butterfly flaps its wings in the Caribbean, it causes storms in Europe.
The British King and Prime Minister have arrived in Georgetown, Guyana, along with the leaders of the other fifty-five countries in the Commonwealth, for its biennial meeting. Two shots ring out causing panic on the steps of the Mahaica Convention Centre.
The previous month, Tina Persad, an MI6 agent with Caribbean experience, had been sent to find out whether rumoured threats to the meeting were real or not. Then days before it was due to start, she had disappeared without trace.
Michaela ‘Mike’ Kingdom, a CIA analyst in London, may have been the last person to see her alive when they had a drink together in The Green Feathers. With Tina missing, Mike makes it her mission to find her friend, despite warnings not to get involved.
The butterfly may have already flapped its wings, but can Mike find Tina before the Heavens open?
Review
The butterfly being used as an analogy that filters through a book is often clever, and that rings true in this thriller.
As with previous books, The Green Feathers mixes crime with the current political scene. This time, it focuses on the Commonwealth and its meetings, which people threaten to sabotage and cause mayhem. A rumour turns out to be sinister as the hunt for Tina Persad, a member of MI6, is on…
There are also guns and drugs, increasing the criminal tones further as gangs are out in-force on an island that looks picturesque, but has darker activities going on too.
The pace is quick and flows very well, continually keeping interest in what’s going to happen next in this tightly plotted book.
Go down to The Green Feathers, or your local pub anyway, have a drink and get stuck into this book, that’s well worth reading!
BLOODY SCOTLAND INTERNATIONAL CRIME WRITING FESTIVAL, CO-PROGRAMMED BY SIR IAN RANKIN, CELEBRATES BEST YEAR YET COMBINING LOCAL ENGAGEMENT WITH INTERNATIONAL REACH
The Bloody Scotland International Crime Writing Festival closed its 14th edition with a huge thanks to its first guest programmer, Sir Ian Rankin. Not only did Ian invite a star guest list to the festival, he tirelessly volunteered to interview them too and was on stage for a total of six events. Audiences responded to his eclectic choices and in person ticket sales were the highest recorded in the festival’s history. The festival started earlier on Friday this year and ran until Sunday afternoon, with over 150 authors visiting Stirling over the weekend, which according to data collected by Go Forth Stirling increased footfall to the historic city by20,788 from the previous week.
Waterstones reported that book sales, already up by a staggering 41% last year increased by a further 29% this year. Some of the bestsellers were Mick Herron, J D Kirk & L J Ross, Jo Nesbo and Kate Atkinson, Kathy Reichs and the Reverend Richard Coles (all guests of Sir Ian Rankin). However, it is the smaller events at more intimate venues like Trinity Church and Central Libraryshowcasing the up and coming authors which are at the heart of the festival. This year Dark Islands featuring Scottish author Morag Pringle and two debut authors Ronnie Turner and Chris Barkley was one of the sell outs, as was the Bloody Scotland Debut Prize Panel.
The digital component increased the festival’s international reach, while the buzz on the ground included BBC Radio Scotland’s Nicola Meighan broadcasting live from the green room with her Kick Up the Arts podcast and Susie Green, host of In My Good Books podcast, recording an excellent overview of the festival – https://open.spotify.com/show/0PFPUtW7wcI36rDkGaHSq1
Collaboration is a key aspect of the festival. In addition to an ongoing relationship with The Glencairn Glass (sponsors of both the prizes), Bloody Scotland partnered with Lumo to celebrate the imminent new route between London and Stirling by sending three of Bloody Scotland’s crime writers on a trip to London and back the day before while writing a new collaborative story, signing books and engaging new audiences en route.
The festival encourages local engagement. On the opening night a new ‘Day of the Deid’ procession led by Stirling and District Schools Pipe Band and actors from local theatre group, Rubber Chicken Theatre Company, carried an effigy of guest programmer, Sir Ian Rankin to his event at The Albert Halls. Ian himself walked at the front of the procession with the Lord Provost Elaine Watterson and Council Leader Gerry McGarvey accompanied by the winners of the McIlvanney Prize and Bloody Scotland Debut Prize.
Stirling Central Library is the focus for supporting up and coming writers with the Debut Prize panel on the Friday and Pitch Perfect and a Poacher turned Gamekeeper panel which this year featured E C Nevin discussing her new book, A Novel Murder, set appropriately at a crime fiction festival. The winner of Pitch Perfect – which for the second year had a prize of £1,000, in memory of journalist Rae Stewart – was won by Edinburgh based author, Marco Rinaldi with Dark Waters. The festival drew to an end with the entire team on stage at The Albert Halls presenting Sir Ian Rankin with an engraved bottle of his favourite whisky to thank him for his outstanding work as guest programmer.
Stirling Council’s venues team managed box office and ticket sales for all events. The historic Albert Halls was again the largest venue at the festival and the team welcomed over 7,000 ticket holders through its doors over the three days.
Stirling Council Leader, Cllr Gerry McGarvey said:
‘Bloody Scotland 2025 was another wonderful celebration of the best crime writing talent around. Authors and visitors from around the world mingled with residents in Stirling’s venues, bars and restaurants to create a fantastic atmosphere across the city, not only boosting the local economy but also enriching our cultural life.
The colourful ‘Day of the Deid’ parade on the Friday evening, led superbly by the Stirling and Schools District Pipe Band, was an enjoyable new addition to the programme and added to the buzz in the city.
Stirling is proud to host this world-class international festival that continues to grow in popularity and prestige year on year, which is testament to the hard work of all those involved. My congratulations to all the prize winners and we look forward to welcoming everyone back again for Bloody Scotland 2026 and to our other cultural events and festivals.’
Bob McDevitt, Festival Director said:
‘As I walked around the streets of Stirling to attend our events this year, I was struck by the incredibly positive and upbeat atmosphere. From buzzing authors who’d just been on a panel, to our eternally smiley volunteers and from publishers enjoying a cheeky day out of the office to our army of enthusiastic readers, the whole city felt infused with the Bloody Scotland spirit (and I’m not talking about our exclusive whisky bottling!). It’s great to see that so many are looking forward to next year already.’
Alan Bett, Head of Literature and Publishing at Creative Scotland said:
‘Bloody Scotland set the stage in Stirling for a celebration of Scotland’s finest crime writing, thanks to support from The National Lottery. The debut prize shortlist showcased a thrillingly diverse array of murder mysteries – from prison corridors to distillery floors – and across contemporary and historical settings. This, alongside pitching opportunities and spotlight slots, underscores a deep commitment to nurturing talent. That commitment is paying off: former debut winner Tariq Ashkanani clinched the 2025 MacIlvanney Prize, from a shortlist featuring some of Scotland’s best known crime authors.’
Bloody Scotland International Crime Writing Festival is supported by the National Lottery through Creative Scotland. Next year it will run from Friday 18 – Sunday 20 September 2026.
Interview with comedian and actor, Lucy Pearman Lunartic
Interview by Louise Cannon
It gives me great pleasure to be interviewing about her new comedy show, Lunartic, which is transferring from a sold out shows at the Edinburgh Fringe Festival Theatre to Soho Theatre from Monday 29 September – Saturday 4 October 2025 at 9:15pm. Please find how to book at the end of the interview. Thank you and welcome to Bookmarks and Stages, Lucy Pearman.
Lucy Pearman’s latest show, Lunartic was nominated for the Malcolm Hardee Award for Comic Originality and nominated for Best Variety Show at the Leicester Comedy Festival Awards. She has also wrote and starred in BBC Three’s Please Help, which was nominated for a BAFTA following its release. She has appeared on Red Dwarf and other tv shows. She was nominated for Best Newcomer at the Edinburgh Comedy Awards in 2017 for her debut full-hour show Maid of Cabbage. She has successfully had other shows transfer from the Edinburgh Fringe to SoHo Theatre, such as Baggage.
Before the interview, which contains fascinating and entertaining insights into the themes of the play, the BAFTAs, Red Dwarf and some humour, here is a bit about Lunartic.
In Lunartic, the Moon is putting on a show. But, as the Sun keeps reminding her, the Moon will never be a star – and without him, she’d be invisible altogether. Through her trademark blend of surreal character comedy, joyful audience participation and prop-fuelled silliness, Pearman takes us into a huge-hearted story about loneliness, big dreams, and wanting to be seen. As the Sun threatens to switch off the light altogether with a total eclipse, the Moon faces the dark – and the audience is invited to join her in a wonderfully daft celestial adventure.
Without further ado, here is our interview:
Lunartic, it’s a clever, playful, fun name, what inspired you to call your show this?
I quite like using references to madness because I’ve very often been called those things. My 2018 show was called *Fruit Loop*. So I think the titles just come from all the things I’ve been rightly or wrongly called along the way.
2. Lunartic was a sell-out show at the Edinburgh Fringe Festival and has now transferred to Soho Theatre. How does that feel, to know your show has life beyond a major festival, and what does it take to tour it?
Incredible! I’m so, so happy that I get to make what’s in my brain and people fancy coming to watch it.
I think the key to touring something is being sure people will come. I’ve started a mailing list, maybe that will help!
3. Interestingly, the characters in this play are the sun and the moon, with the moon putting on a show and the sun reminding it that it is also required. What inspired this concept?
Well, I sort of thought about the moon and wondered if she minds that, if the sun switched off, she’d just be a sort of big rock in the dark.
I’ve had times where I’ve felt a bit like a big old rock in the dark, so I sort of connected with that idea.
I like the thought that everybody loves the sun so much and is so happy when it’s around, but what if he was a bit of a dick, the villain of the piece I guess.
4. The themes are loneliness and big dreams. How did you weave these into such a celestial storyline, and why do you feel they’re important themes to focus on?
I have always felt like the moon looks so isolated and sad… I would always talk to the moon after gigs like a really trusty nocturnal colleague.
I liked the idea that she worked nights but also love the way she pops out in the day sometimes, and I imagined the sun being a bit cross about that, like she’s stepping on his shift a bit.
5. Since your show covers big dreams, what is one of your big dreams and why?
I had an actual dream that I was a clown wobbling around Liberty, that was quite nice, that feels within my reach. But career dreams… I would love to work with Julia Davis or make film, but also, hand on heart, I’d like to buy a pig.
6. What do you hope people take away from the show?
Well, nothing, because I will need all the props for the next night. It’s too stressful when people take everything home with them.
7. You were BAFTA nominated for Channel Three’s *Please Help*. Did you go to the party, what was that like? If you didn’t, what did it feel like to know you were nominated for such a prestigious award?
I did go to the party and I felt like a competition winner, but it was bonkers and amazing.
My mum lost her shoe, not because she’s such a liability, but the cloakroom threw them away, which wasn’t ideal, to be honest with you.
8. You starred in Dave’s Red Dwarf feature-length special. What was your best experience within this show?
Oh God, walking on set, meeting the cast, wearing fake custom made fang teeth, pretending I was in space. But my favourite bit was probably eating croissants with Craig Charles.
9. What’s next for you in your successful career?
I think it’s: buy a pig, then off to Hollywood… with the pig. Me and the pig, the pig’s flying and I’m holding on for dear life… could happen!
You can take a trip to the moon, via Soho theatre by checking out the box office here: https://sohotheatre.com/
Follow her Lucy Pearman here: Instagram: lpeaman Website: lucypearman.com
Bookmarks and Stages by Lou 