Shaking Up Shakespeare, One Bop At A Time- & Juliet Review

 To a casual observer, the Romeo and Juliet tale has been told and told again, in so many different formats. It is hard to argue with this, as there have been multiple reincarnations of this tale, from theatre performances, to film adaptations, to musicals, and even different media interpretations that take the skeleton of the story and apply it in a different time and setting. You can understand why people may show skepticism when a new version of the tale is told, but hear me out:

&Juliet is a glorious reminder that a different spin on a classic tale can make even a well known story seem brand new. The familiarity can often help sell the story even better, as sometimes it can be hard to connect or relate to characters when a new story and new characters are presented to us. 

I had seen this show before, back when it had a home in London, the Shaftesbury Theatre to be exact, and I'm thrilled the tour production in Leicester was a match if not an even more powerful take on the tale. It is basically a twist on the Romeo and Juliet tragedy, which follows a very much alive Juliet on a journey to discover who she really is, and what she really wants, when she survives and her beau, the famous Romeo, doesn't. It is a jukebox musical, meaning it takes popular songs already in existence, and weaves them into the fabric of a story, the most famous other example of a musical of this genre being Mamma Mia. 

This particular version starred Gerardine Sacdalan as Juliet, and she displayed the many facets of Juliet's character very well, from the teenage excitement of being young and free and single, to the maturity of the young adult searching for a purpose. Her nurse and confidante was played by Sandra Marvin, and she provided the character a blend of sass, vulnerability and wisdom that made her such a maternal figure you couldn't help but want to share a hug (and maybe a drink or two) with. 

Without spoiling too much of the plot, of course even in this tale of female - and even at times male - empowerment, we can't miss out the Romeo character. Liam Morris took on this notorious role and was a joy to watch, delivering the lines in a sappy but likeable way. It would've been easy to turn Romeo into the villain, given the theme of the show and what the first few scenes were about, but the show, and Liam, made him into a likeable character you still rooted for even by the end. 

William Shakespeare and Anne Hathaway were the characters very much the narrators / puppet masters steering the characters one way or another. Jay McGuiness (from the Wanted), and Lara Denning, played these roles exceptionally well, with Lara tugging at everyone's heartstrings with a powerful rendition of That's the Way It Is a pop ballad formerly sung by the powerhouse that is Celine Dion. Both of them tackled their roles with a seamless blend of comedy, drama and silliness. 

Other characters added into the tale were May, played by Jordan Broatch, a character created specifically to be Juliet's best friend, and Francois and Lance, a father and son based in Paris who cross paths with Juliet and her company. Francois and Lance were paid respectively by Kyle Cox and Lee Latchford-Evans (from Steps), and whilst it must be incredibly hard to portray a new character in an established tale that has literally been around for centuries, all three of them didn't let it phase them, and just had fun with it, and you can tell with all of the cast that they had an absolute blast making this show, which always elevates a show to new heights if you know the performers enjoy it too.

& Juliet is a remarkably fun musical. It features a range of hits such as I Want It That Way, Roar, I Kissed A Girl, Teenage Dream, Larger Than Life, and many more pop hits that are sure to have you dancing in your seat. The only criticism I had was that the initial scene, which has the entourage of supporting cast members walking on stage and greeting the audience until it was time for Shakespeare's entrance, dragged on a little long, and I don't think it was really clear what the purpose of the scene was. 

I think this was a fantastic show, and it is on at the Curve for two more performances until 21/02/2025. After that, it continues its tour across the UK and Ireland, so please do check it out if you get chance. All the details can be found on the website: https://www.andjulietthemusical.co.uk/

My final thoughts are that musicals that celebrate both female and male empowerment are few and far between. As well as being a diverse cast, with diverse and unique characters, it still celebrated love and marriage, whilst at the same time promoting the idea of independence and learning to love yourself. I hope this musical does find a home in the West End again, I think - and hope -  it will continue to "Roar" for many years to come.

⭐⭐⭐⭐

Musical Quote of the Moment

  "I think that when people meet in the middle of a war, it feels like it means something more. So who needs a medal it's this that we'll keep fighting for" - Jean and Hester from Operation Mincemeat

A Musical With More Than Just "A Little Life" - The Curious Case of Benjamin Button Review

 

To a casual observer, The Curious Case of Benjamin Button is only known for being a film starring Brad Pitt, with it being common knowledge before this it was a tale composed by F Scott Fitzgerald (author of The Great Gatsby), and never would you think it had the content to make a musical, and one that has an amazing amount of heart and soul. 

I shared the sentiment, until I took a trip to see it in London after hearing from many reputable theatre reviewers and bloggers that it was an absolute must see. I was curious to see how they would stage the story, given the plot is around a character that ages backwards. Would this be a role that was split between actors? Would there be special make up / costume effects that disguised the same actor as the story progressed?

I won't spoil it for anybody that does want to take a trip down to see it, but what I will say is that it was done in a way that makes you marvel the sheer talent of people in the theatre business, because it was done so simply, you didn't even really notice the changes, however you still could see the evidence of the passage of time, albeit in reverse. 

What was so wonderful about this musical was the western country style of music that flavoured the soundtrack. You also had the cast, chorus and ensemble all playing instruments, making up the orchestra as well as multiple characters that featured in Benjamin Button's life. This not only gave this piece of theatre a soul you rarely find in any other musical, but it gave a centre stage to the instruments and the people that play them in a way I think a lot of theatre shows are now implementing, but in a way that fit in with the setting and story they were all trying to tell. 

It feels hard to pick out a favourite moment, but I loved the comradery and community spirit that lived in songs such as "When E're She Looked At Me", and the darkness and tragedy that seeped through every word in songs such as "The Kraken's Lullaby". I also felt really inspired and roused by the song "A Little Life", which I think was a teaching moment reminding us that no matter how short or long our lives are, it's important to pack them full of life and love. 

The love story between Benjamin and Elowen was beautifully told as well, and their initial meeting was a wholesome and organic part of the story that I wished was more true of real life today. You just couldn't not root for them to be together and grow in the way that time permitted them to. I always think for a love story to work, whether it's a play or a musical theatre production, you have to have a degree of likability towards both of the characters, otherwise it is just so easy to lose interest in the story and not care what happens to one or both parties. Luckily, the characters were just instantly likeable from the word go, and this was helped in part by the talents of John Dagleish and Phillipa Hogg, a fantastic Benjamin and Elowen.

I don't know how long this musical will be around for, but I hope it continues to find a home even if / when it leaves the West End. The staging, sound effects, and lighting all helped create the real Cornish atmosphere it was trying to replicate, as this was where the story was set for this particular version of the tale. I think this made it even more relatable than had it been set in America, and therefore you could connect to the characters a lot more. There were heartbreaking and gut-wrenching moments, as there is in life in unfortunately, but there were far more comedic and light hearted moments, and by the end, despite the show being 2+ hours long, you came away feeling like you had genuinely seen someone's entire life flash before your eyes. How many shows can you say that about? 

Overall, I went in without knowing a thing about this production and I came out with a new spring in my step, determined to enjoy life. If you enjoy shows where the ensemble is a main character in and of itself, where the music gets your toes tapping and your heart singing, and a love story that literally transcends the physical properties of time, this is 100 percent the musical for you.

⭐⭐⭐⭐⭐

Hadestown - A "Hellishly" Good Time - A Review

 To a casual observer, theatre shows about mythology are few and far between, and maybe for good reason. If it's not in the bible, or a new take on an existing classic film/novel, a lot of the really good and tragic tales that have come from cultures all over the world are not easy to convince an audience to see on stage without that prior knowledge.

Hadestown is a musical based on the Greek mythology around Eurydice and Orpheus, two star-crossed lovers that are separated when Eurydice ends up in the underworld, a kingdom that is famously ruled by Hades. Orpheus, having fallen in love with Eurydice, attempts to rescue her. 

There was a lot about this musical that impressed me straight off the bat, such as the musical score, the staging, and the sheer talent of the cast. With such strong leads such as Melanie La Barrie, Rachel Tucker, and Trevor Dion Nicholas to name but a few, the production was never going to fall flat musically, and indeed each of them gave powerful performances that never failed to evoke an emotion to some degree. I was also particularly impressed by the women who played the Fates, namely Bella Brown, Francesca Daniella-Baker, Lauren Azania, as their harmonies were just outstanding. 

I think the volume of the music did drown out a little some of the lyrics that were being sung to narrate the story, so I did lose a little bit of the story from the first act, and that maybe was why narrative wise I wasn't completely sure who was what, and what was going on. I did manage to pick it up and the second half was a lot stronger narrative wise. 

Not all of the songs I'd say are particularly gripping or memorable, but the ones that were, stay with you long after you are home for the evening. "Wait For Me" in particular was a personal favourite, and it is a fan favourite as well if you know anything about musical theatre fandom, but I also enjoyed "Why We Build the Wall", which I thought had some powerful lines that represented the rich vs poor culture we see even to this day.  

The turntable is a particularly favourite tool of mine that is used in a lot of productions, Hamilton probably being the most notable in recent years. I really liked its use in scenes when any of the characters had to undertake a journey, as with the combined low lighting and gentle accompanying music, it was very easy to feel like they were really walking a great distance, and not just following the movement of the turntable. 

I do love as well that it is becoming more and more of a thing to have the orchestra become part of the cast, and be present on stage. Not only does it bolster the sound, but it is also really lovely to see the faces behind those that help produce the scores and sounds that bring life to the stories that are told within the walls of our favourite theatre. 

I think it is important to continue to acknowledge in theatre the key roles orchestras, sound engineers, lighting and technology specialists, as well as costume designers, hair and make up specialists, amongst so many other jobs behind the scenes, play in helping sell a story to its audience. 

I do feel Hadestown was slightly overhyped but what it was, but I do have to commend it on it being something different, whilst also remaining respectful to the origins of the tale. The talent of the cast and crew is second to none, and I think there is a lot for audiences to enjoy, even if you aren't familiar with Greek mythology. 

I do also think that Madeline Charlemagne and Dylan Wood, who played Eurydice and Orpheus respectively, also were extremely talented and hopefully have even further to go in the world of musical theatre, as they gave dynamic performances and commanded the stage in their own ways, and just worked really well together as well.

Overall, a really enjoyable show, and a good piece of theatre which entertains and educates about the power of love, but at the same time cautions against the cost one can occur from a broken promise and contract. 

⭐⭐⭐

2024 - A Year In Theatre - Amy's Highlights

 

To a casual observer, theatre is a nice treat every now and then. To a slightly obsessed observer, theatre is an activity you pack in every chance you get, because sometimes the show you want to see disappears for a few years, resurfacing in a different theatre, on a different type of stage, with a different take on the performance. Sometimes, just the thrill of being in a room with like minded individuals is the adrenaline rush you need to get through the rest of the day/week/year. 

2024 has been a fantastic year of theatre for me. I have seen so many fantastic performances, not just at the West End, but also from my local theatre as well. I cannot understate how crucial and vital local theatres are. They not only put on some fantastic and varied shows, but also help introduce children to the theatre, and help grow and nurture the talents of maybe future West End or even Hollywood stars.

I am certainly lucky to know more than a few of these talents, and some of them have even appeared in the shows referenced below. Theatre may be expensive, and sometimes inaccessible, but I hope for as long as the world is spinning, people will continue to tell their stories on a stage. There really is nothing like being in the room where it happens. Couldn't resist a Hamilton pun. Just couldn't throw away my shot!

Theatre puns aside, and to round off the year, here are my top 10 shows I’ve seen in 2024.

10) 2:22 A Ghost Story (Olympic Theatre, Dublin)

Having seen the play a grand total of 4 times, this time was special for a number of reasons. Firstly, it's always special to see an actor you admire in a role you know fairly well. Colin O'Donoghue was a superb Sam, and played the role immensely well. Secondly, the play takes a new meaning every single time I see it, and this time was no exception. Every new cast seems to elevate the meaning of the play, and provide a, pun completely intended, haunting new take. Finally, it was my first trip to another country based purely around this particular show and cast. I think it makes it so special to get to go to another country just to go to the theatre, because you get to experience a new theatre, a new venue, and a new cast bring their take on the script to life. I thoroughly enjoyed not only getting to see this again, but also introducing my friends to it, and this is why this show had to make it on the top ten list.

9) Dear Evan Hansen (The Curve, Leicester, UK Tour)

I will be honest, the storyline in this is not my favourite. I think it was a bit too stressful a watch at times, however it has a powerful soundtrack, and I will never get tired of Ryan Kopel playing an underdog character we can’t help but root for, even if they may go about things the wrong way. He is an extremely talented performer who will continue to go from strength to strength. Alice Fearn is also a treasure to watch, playing Evan’s mother with all the raw vulnerability and strength that the role demands. Overall, whilst I may not go rushing back to see the show again, it is still an important one that reminds us of what it means to be human, and why we need to take care of the people around us before we lose them.

8) Next to Normal (Wyndhams Theatre, London)

This was a powerful show about mental health, and the impact a loss can have on a family. It tells the story of a woman who tries to cope with her own bipolar disorder, but through this show you also see how the other family members around her are also affected, and also have their own internal struggles/battles. With a strong soundtrack, with most of the songs sounding like they could’ve been recorded for a rock band / artist, this is a dark musical that isn’t afraid to shy away from tough topics. A great, if tough, musical to watch.

7) Pretty Woman (The Curve, Leicester - UK Tour)

I have yet to see the film this is based off – I know, very shocking for someone who loves a good romantic comedy – so I went into this with a blank mind and open eyes, having no previous frame of reference to compare to. The story was easy enough to follow, and actually had some very stunning sets, considering it was a tour production I did have an expectation that it would be a smaller production than it was. The dance numbers were terrific, and it had a great cast you couldn’t help but fall in love with.

6) Why Am I So Single? (Garrick Theatre, London)

The title alone could be the title of my own autobiography, so I was very intrigued by the concept of the show. The two main characters were very relatable, and funny, and it was a terrifically performed show, with the background dancers/cast making up a lot of the props, which was a unique and well executed idea. The songs were all songs you could either bop along to, or relate to, but as this was written by the same writers who created “Six”, I was not surprised by this at all. Even a musical based around six Tudor queens, you still found yourself identifying to one or more of their struggles / stories, so it was no surprise that the writers would find a modern day plight – in this case, the dating scene – and make it so that everybody could relate to something within it, whether it’s being hung up on an ex-partner, or trying to forge a connection with someone on a myriad of failed dates; there was always going to be something you could go “That’s me, that’s my struggle!” to.

5) Six the Musical (The Curve, Leicester - UK Tour)

What’s not to love about a short show with some amazing shows spanning different styles of pop music covering six of the most famous queens in history – even if they were only made famous by a man with a bigger lust for life (and beheadings) than any other monarch in British history. The tour cast put on an amazing performance, having fun in one breath, then pouring their souls out with another. I will always love how fun a show this is, and always ends with the empowering message that women are amazing, and we will not be erased from our own narratives no matter who or what holds the pen.

4) The Curious Incident of the Dog in the Nighttime (Concordia Theatre, Hinckley)

This show astounded me, not only because of the sheer talent of the cast, but because it contrasted some powerful performances against a simple but effective set that could be easily moved around to convey a different setting, a different moment in time. I was absolutely mesmerised by the story and felt uncomfortable not because the lead actor was neurodivergent, but you felt uncomfortable for him, which I think says a lot about how far theatre has come where a character of neurodiversity can be played for empathy and not as a means of ridicule and scorn. Every cast member played their part effectively, so that you felt sympathy and anger in equal measures in some cases, and affection and love in other cases. The main message I got from it was that we all have our own strengths and weaknesses, but we need the right support, the right love, the right environment to allow us to thrive and survive.

3) Operation Mincemeat (Fortune Theatre, London)

Take a cast of five performers, give them multiple roles each to play, with multiple costume changes (some done halfway through a song / dance), and set it during World War 2, and you have Operation Mincemeat. On paper, this probably sounded like a mad idea, but in the right hands, it was executed amazingly well. The songs were catchy, emotional in places, and moved the story along at the right pace. I was so impressed that the five performers, which is all the show had cast wise, could keep up with all the costume changes, and all the different accents to represent the different characters portrayed, that it just remains to me a testament to what theatre can achieve. 

2) Joseph and the Amazing Technicolour Dreamcoat – (Concordia Theatre - Hinckley)

Anyone who knows me knows this is the musical I know inside and out. This is ironically my favourite musical, despite not being religious in the slightest. It just is always a magical production, and I’ve never seen a bad performance of it ever. This version was just transcended by the fact it was performed by an amateur group, who performed this at West End level and beyond. Every dance number was joyful to watch, every song was sung with passion, and every prop, set, and use of lighting elevated the show even further. It was just an absolutely fantastic show that I miss every day.

1) Starlight Express (Wembley Theatre – London)

I am always thrilled to see a performance staged in a different way, or in a different style. I loved Newsies when it was staged there previously, and Starlight Express was only a show I’d ever heard referenced in other shows, so I had no idea what to expect when I came to see this. I was blown away just by the main entrance alone, and then the auditorium itself was just astounding to see. It was set out like a racetrack, complete with ramps and a centre circle that made up the main stage. I must admit, the first half had me so stressed just because I kept envisioning the cast on skates falling, as there were some elaborate moves and jumps that had me paranoid. The second half I could relax more and fully appreciate everything, from the lighting to the songs, to the sheer talent that oozed out of every pore of these cast members. To nail singing and dancing is one thing, but to do it on skates – I just could not have been more astounded by the skill of the cast.

Honourable mentions:

The Little Big Things (Soho Place, London)

Never got to catch this show when it was in theatres, but so thankful I got to see this on National Theatre player. It’s an amazing musical based on the life of Henry Fraser, who had a promising rugby career before his life was changed dramatically through an accident, which left him with near total paralysis. The story was all about his and his family’s reaction to the accident, and how they had to adapt and change and, eventually, nurture a surprising new talent that emerged and eventually became a whole new path. It was so inspiring and the songs were so rich and powerful. It was also one of the few, if only shows, that featured genuinely disabled cast members, and subsequently helped open up so many dialogues about accessibility, not only in theatres but in real life, as when you understand the daily struggles disabled people go through, you can understand why accessibility is not just a tick box exercise, it’s a vital way of ensuring inclusivity for people with a wide range of needs.

Guys and Dolls (Bridge Theatre, London)

This is one of those productions I never had any intention of seeing, not out of lack of interest, it just wasn't on my radar. When I saw it and the way it was staged, with a lot the audience on the floor around where the stage was, I was in awe. It was a truly immersive piece of theatre. The songs were on another level, and I was just so impressed with the way the story was told. Every audience member, whether on the floor or on the seat, had a good view of the action. I do think that's an underrated aspect of the theatre, having a wide choice of seats that allow you to see what's going on, and that there is no bad choice in terms of where you perch yourself. Overall, an amazing piece of theatre

All in all, theatre has never looked better, bolder, or brighter. I can't wait to see what 2025 brings. In the meantime, wishing all of my family and friends and readers the happiest of new years. Let's make 2025 a bright and beautiful year. 

Why Am I So Single ? More like: Why Am I So In Love With This Show?

 To a casual observer, the idea of love and rejection in a musical may be seen as a bit of an overplayed concept. It is not everyone's cup of tea to have two and a half hours spent watching a couple go through the motions until they reach their ultimate will-they-won't-they moment, before either something goes tragically wrong, or they reach their happily ever after.

This is why the musical "Why Am I So Single?" is a breath of fresh air. It actually encapsulates a lot of people's internal struggles around the dating world. It asks a lot of difficult questions, such as "Is it me, or is my perception of the very notion of love just so skewed?", or "Am I pushing love away on purpose, or is it my own behaviour, my own attitude, that's pushing other people away from me?" 

The story is centered around Nancy and Oliver, and was penned by the same writers as the hit musical, "Six", Toby Marlow and Lucy Moss. They are two best friends who are trying to write a musical about love, but end up reminiscing about their own dating failures, which leads them to trying to work out just why is that they are both so single? 

The production itself was cleverly staged, with the ensemble members not only doing a lot of performing and reacting, but also doubling up as props, which was just a delightful and quirky touch to an equally delightful and quirky show. The show numbers were on two extremes, one end being absolute bops that lifted the entire theatre with a sense of community and joy, and then on the other end being absolute heart wrenching ballads that touched your very soul. At one stage there was even a song that, on paper, sounded like it was all going to be happy and joyful, but then actually unleashed a powerful internal struggle of one of the characters, the unravelling of which made the entire audience just thunder with applause when it reached the end, because you knew the message of the song, and you knew it would resonate with people not only on stage but in the audience as well.

I was lucky to have seen a preview of the show at Musical Con 2024, with the leads Jo Foster and Leesa Tulley, who both did an amazing job showcasing the songs "Why Am I So Single?" and "Just In Case" but when I saw the show later on that day, it was a treat to see an understudy take on the role of Oliver, and this was Jordan Cambridge-Taylor, who absolutely nailed their part. I saw an amazing chemistry between both pairings, and in both cases it felt like they had cultivated off stage a beautiful friendship, as it certainly manifested itself so purely on stage. 

What I liked especially about the show is that it was playful when it needed to be, but when it came to delving into serious topics, such as around how queer and non-binary people navigate the world of dating, in a world that is too often unkind and uncaring, it went for those hard hitting lines, both in the music and in spoken words, that I think actually helped me understand a little more the different ways a person can be rejected, and what defenses a person has to rely on and build up to help navigate the cruelty of the world. I actually found myself holding my breath at times until it felt like a safe place to release and relax.

I have always thought a good musical theatre show makes you forget about the world but a really good musical theatre show makes you remember what the world really is, and what good and bad can bleed from it. 

This was a delightful piece of theatre and one I hope extends its run so it brings hope and laughter to more people. For now, I will sign off by saying I hope if there's one thing theatre teaches people, is that love and acceptance are the best things we can bring to the world as human beings, and with the right people in our lives, the question is no longer "Why Am I So Single?" but "Why Am I So Lucky?"    

🌟🌟🌟🌟

The Art of Being A Solo Adventurer

 To a casual observer, and for a certain period of time, going to places on your own, particularly places that you would normally deem a group activity, was more for the oddball of society. Now, however, and thankfully, it is becoming more and more popular for people to do things and go places alone. 

I honestly cannot recommend it enough, and I find it is a lovely adrenaline rush when people compliment me on the bravery of going out alone. This is a post long overdue, because I want to share some tips and tricks for those who want to try going out somewhere, or doing something on their own, particularly in an ever changing world whilst some things may be safer than ever, it is still a relatively unsafe world in places, but for someone who once was convinced she would never go to places like London on her own, take it from : you are brave just for being yourself, no matter what that looks like.

So, without further adieu, here are my top ten tips for starting your own solo adventures, whether you embark on an entire voyage alone, or if you just want to have the courage to go to a theatre show alone. 

1) Start small. People have different comfort levels. If you are too nervous going out of town on your own, start simple. Go to the end of the road on your own. Go for a walk on your own, to an area that is familiar to you. Once you conquer your own back garden, so to speak, you can then venture as far or as close to home as you feel comfortable. You'll be surprised how, over time, the boundaries of your own comfort zone start to stretch to encompass more and more of the world. 

2) Set goals. Work out what it is you really want to do on your own, and create smaller goals that help you build up to achieving your bigger dream. If you want to go abroad on your own, for example, start visiting cities in your own country, and venture further and further out until you have the confidence to move on a step. If you want the confidence to dine out alone, start by cooking yourself a meal and setting yourself up in an area that looks and feels like a restaurant, maybe put on some background music. Create the ambience of a restaurant. You'll be surprised how quickly, over time, your little steps evolve into big leaps. 

3) Plan for adventure, but leave room for spontaneity. Make sure you plan, plan, plan for the basic things, such as getting to your destination, booking tickets for the activities you want to do, etc. but don't book yourself into such a tight box that you can't fit anything else in. Sometimes the biggest surprises come from spontaneous experiences. If you still need that organised structure to your adventure, then block out an hour or two for miscellaneous activities, and don't put any other label on it. Use that time to explore, learn a new skill, or meet new people. 

4) Don't be afraid to stop something if it doesn't feel fun anymore. Don't put pressure on yourself to try new things for the sake of trying something new, particularly if doing so is going to set you back mentally. Your mental health comes first. Even if your halfway through something, give yourself an out. I would even say before you do anything, make sure there is a stopping point, or an escape route if you need to leave and take some time to gather yourself. Money can be replaced, you can't. No new experience is worth it, and you can always work up to trying again in the future. 

5) Speak to other people. People, for the most part, want you to succeed. If you have got something you want to try, you might know someone who can give you tips or tricks to help you. If you're going on a solo trip, people may know good places to visit in that vicinity, or they may show you places to get discounts. There are only a handle of activities that only a small number of people will have ever done, so there is always a wealth of knowledge and experience you can draw upon to get you the most out of whatever it is you want to do. 

6) Don't worry about what other people think of you. A good thing to remember is that doing things alone doesn't make you a weirdo, or a loner. Only you know yourself. If you always worry about what other people think, you'll never get anything done, and it is exhausting managing your own thoughts, let alone the thoughts of everyone else. Be proud you want to take control of what you want to do, instead of arguing about it in a group of other people. 

7) Take photos/videos. Document your experience, whether it's taking one photo, or a hundred. You may end up discarding them after, but it's a good thing to look back on and see what you've done, and who you've become. I still look back at all my photos of my many adventures, and sometimes it strikes me that I have visited so many places, seen so many shows, that I can't quite believe I'm the same girl who used to be so shy she could barely look a person in the eye when talking to them. 

8) Always give yourself something to look forward to. In a world where it's easy to despair or feel scared of what is going on around the globe, we have to create our own victories, our own moments of glory in just being alive. Take advantage of opportunities to create your own happiness. Once you plan one activity, the rush will compel you to plan many more and it takes a new life of its own. 

9) Keep your phone charged, but disengage from it whenever you can. By this I mean, make sure you have a way of contacting people if you need help, but don't sink into your phone and forget to take in the world around you. Enjoy just being part of the fabric of the world. 

10) Encourage yourself. You are your own cheerleader, and if you believe you can do something, you can. The more you encourage yourself to take risks, experience new things, the more likely you are to grow as a person, and you may even one day share your own knowledge with other people in the hopes of encouraging them to do as you have done. 

We may not get a lot right as a species, but when we believe in ourselves, we can light a fire in ourselves that doesn't easily get put out. All we have to do is keep fanning the flames.