Every Brilliant Thing – @sohoplace – Saturday 23rd August 2025

(Rated 10/5) Often – though not quite always 😉 – I’m drawn to a show because someone I like is going to be performing in it. It occurred to me just before I started to write this, that there is a clear reason from my own childhood as to why that is the case. I am the child of a mother with bipolar or manic depression. And amongst the ways I developed to navigate that (and other associated challenges) starting from maybe 7/8 years old was to imagine, and later write down my own stories. I realise looking back that that was my key ‘Brilliant Thing’ to help me escape. Of course, that in itself is a very common childhood device, but for me it became about writing plays so that I could work with the performers I liked at the time… R2D2, then Harrison Ford in conjunction with my first girl crush Carrie Fisher as Princess Leia. ‘Star Wars’ of course on my own Brilliant Things list!! Someone I feel has been around my whole life, and well he has, but when I was about that age, and the age of the narrator in ‘Every Brilliant Thing’ by Duncan MacMillan and Jonny Donahoe, (now Sir) Lenny Henry first appeared on television. That first impression by Lenny of Frank Spencer on ‘New Faces’ happened when I was 8 years old. But then Lenny went on to do absolutely everything anybody could possibly do in the entertainment world almost – Kids’ TV, stand-up comedy straight acting, Shakespeare, singing (including on the Brilliant Thing Kate Bush’s album ‘Red Shoes’), screenwriting and playwriting… perhaps the only thing he hasn’t done is dancing… come on ‘Strictly’, sign him up… he clearly can dance. And that isn’t even mentioning his numerous charity- works, especially being a founding member of ‘Comic Relief’… and even more recently swimming with Sharks in ‘Celebrity Infested Waters’! He is someone around whom I feel happy and safe whenever he appears on screen or stage, and has the best smile ever. Another Brilliant Thing ‘Lenny Henry’s cheeky grin’ 😊 So, yep, you’ve guessed it, Lenny was the draw for ‘Every Brilliant Thing’, and to be honest, I only wanted to see it with him though I’m sure all the others are great, then second looking at the subject matter, and being a child who spent so much of their life wanting to fix my Mum, make her happy and save her from suicide, well ‘Gotta do it’!

However, then came a slightly scary discovery. ‘Every Brilliant Thing’ involves audience participation. Now you might think that the Restricted Reviewer would relish that, didn’t she just write that was the Brilliant Thing in her head as a child, which helped her feel happy. And yes, that’s true, but, being an adult, it can be a totally different matter. Which, ironically is addressed in the play itself, though not so ironic, given this play addresses Every Single Brilliant and not so Brilliant Thing about life, depression, highs and lows… a comedy about depression, well yes… which brings to mind my absolutely Brilliantest Thing as a child would be my Mum’s laugh, smile, cheeky chuckle and the way her whole face lit up when it happened. So, given adult Me and even more so my theatre-going friend for this one both felt pretty scared at the prospect of participating, we avoided booking ourselves into the audience participation front row seats. Little did we know, and only discovered when we actually went into the auditorium to take our seats, anybody could be asked to ‘do stuff’! The front row was indeed for people who might be asked to improvise with Lenny – be his character’s vet, counsellor, father or love interest… OMG if only I’d been brave enough to be the love interest lol. But other people are asked to lend pens, books, jackets, take their shoes and socks off (well go see if you’re interested to find what that’s all about), and mainly read some item from the list of ‘Every Brilliant Thing’. As we went in, we spotted Lenny talking to people over the other side of the space. He then turned and we waved. He started coming over. My friend was giving me ‘Oh no, he’s going to ask us to do stuff’ vibes, and I was feeling both nervous, yet also super-excited. And he arrived, and I beamed “Hi Lenny”. He asked if we had loud voices, my friend said she really didn’t and of course there would be no way he should ask her to do anything – to that effect anyway. So, he turned to me. Could I read a long piece? Yikes, no, not a long piece, but yes, to something – all of which I didn’t quite say, but I think my face implied. So, he gave me Brilliant Thing Number 320 and explained I was to say it ‘loud and proud’ and with enthusiasm when he gave me the cue. And off he went. And I turned to my friend – or was she anymore landing me in it 😉 – and asked if I have a loud voice. I really don’t have a loud voice. Oh crikey, but does that actually matter maybe as I’ve just had a conversation with one of my heroes from childhood right through to adulthood – Lenny Henry – Knight-of-the-Realm/Legend/National-Treasure, and he asked me to do something and of course I – Inner Child - was going to say yes, but OMG now I actually have to do it!! And breathe…

And so, Lenny started the show, and straight away, someone went wrong not coming in with Brilliant Thing Number 1, when he said ‘1’, causing enormous hilarity as he reacted to that and said he would have to start again. Similar happened with 2 or was it 3, and again Lenny reacted with wonderful humorous tellings-off and restarting, immediately engaging absolutely everybody in the room. There were a catalogue of mishaps – the guest support cast not doing as requested or needing directions he implied he didn’t think they’d need. But, of course, all of that was what made the performance so special and so inclusive. It all felt so natural – even though I have a sneeky suspicion some were sort of set-up, but none of that mattered at all. Lenny worked the room and all of us to perfection. “It’s your show!”, he had said to us before he started and we really were all creatives in it. ‘Different Every Night’ is a book on performance that I love, and in this case, for this show, and all the gazillion (maybe) times it has been performed with multitudes of people across the whole world, naturally it’s going to be different every single time. And that is one of the Brilliant Things about it! And with all the hilarious poignant bonkersness going on, I sort of forgot to be nervous. But, I was still listening carefully for my cue. It turned out that not Every Brilliant Thing is actually spoken in the show, so there are jumps, and even numbers out of order. So, I certainly couldn’t be sure when mine would come. Then seemingly suddenly, Lenny was at 317… 318… my heart racing, internally trying to raise the volume switch on my voice… 319… the 319 person saying their Brilliant Thing… Lenny: “Three Hundred and Twenty” Me: “Making up after an argument” And, I don’t actually remember doing it, or have any idea if I was loud or proud in my delivery, but my eyes were fixed on him, and he was clearly actively listening and reacted to it, nodding and seeming to embrace it inwards, which I could see on his face and through his body. So simple yet so special! I’d acted with Lenny Henry. Definitely a Brilliant Thing <3

I’m certainly not going to negatively criticise those much braver folk who played the supporting roles from the front row, but feedback-wise from my POV the counsellor lady was the best, the father was hilarious in his efforts at mime, which Lenny repeatedly told him to stop, the vet man didn’t know where the thigh on the dog was to inject the poor pet with a pen, but then again how could you when the dog was someone’s jacket! I can’t remember a great deal about the university professor man, except he kept being interrupted by Lenny lol! It was a shame that the lady playing love-interest Sam seemed to feel awkward, but I’m certain if I’d have had that opportunity, I’d have been far more awkward and struck dumb with nerves and awe! The brave participant who read out the incredibly long and complicated Brilliant Thing did very well I thought. And stood up to deliver it too.

A few stand-out moments for me: One of the books Lenny received from the audience as a prop was Julian Clary’s ‘Curtain Call to Murder’ with a review on the back, which he read out, from Lenny’s own ex-wife Dawn French! (For anyone who doesn’t know, as I understand it Lenny and Dawn are still very good friends, and he even gave her support with her new dating after they split, but sadly it was Lenny’s own depression and mid-life crisis following a series of close bereavements, which broke them up.) His expression when he said her name was priceless 😉 Lenny’s powerful performance as the closed-off father in response to the series of ‘Whys’ from the father-playing-audience-member, who played his character for a little section – it reminded me of the range of Lenny’s performance skills. Lenny Henry saying ‘Mr Potato Head’ 😊 Brilliant Thing ‘The seventh track on all the greatest albums’ – I need to check that one out. Sam calling their black Labrador dog ‘Metaphor’ – I mean and how Lenny delivers that again! The joke from the counsellor lady – ‘Knock, Knock’, ‘Who’s There?’, ‘Bear’, ‘Bear Who’, ‘Bear Bum’ – don’t know if that was her own joke or from the playscript, but lovely improvisation if not. And particularly poignant for me a section around as a child of a depressive suicidal parent not really being able to enjoy the ups in the knowledge the downs would come after, and trying to just keep things calm and stable – I can so relate! Additionally in that section on how neuroscience shows the brain of that child to be literally changed as a result of the experience. (I have already got myself the play script and looking forward to taking in all this again.)

It's difficult to know – and again as I haven’t read it yet I can’t say – how close Lenny’s performance of ‘Every Brilliant Thing’ was to the original script, though apparently also each performer worked with Duncan MacMillan to develop their own version. Of course, in performing it on each occasion new things will always come up and the main performer is going to have to work with that and adapt to it. Lenny gave us the wonderful whole variety of his skills in this – adding to his obvious repertoire (listed above) playing keyboard and dancing too. We had Every Brilliant Thing about Sir Lenworth George Henry! (Forgive me 😉)

As an experience for me in the embracing intimacy of @sohoplace, in the power of all it brought up for me – Happy and Sad – and in realising a Childhood Dream this was a Brilliant Thing deserving of a Brilliant 10/5!!!

EveryBrilliantThing – Review by TheRestrictedReviewer © 2025

Anne Boleyn – Hever Castle – Saturday 9th August 2025

(Rated 4/5) ‘Anne Boleyn was his second wife, He swore to cherish her all his life, But seeing a third he wished instead, He chopped off poor Anne Boleyn’s head…’ To any non-Tudor fans, or those with little knowledge of history being the second of King Henry VIII’s Six Queen’s and being beheaded on his order (‘Divorced, Beheaded, Died, Divorced, Beheaded, Survived’) are likely the only two of three key things they know about Anne Boleyn. That and being the owner of the womb, which carried Queen Elizabeth I! But who was she really? Well, to be fair, none of us can really know for sure. But she tends to be portrayed as conniving, scheming, fiery-tempered, ruthless, strong-willed, ambitious, a temptress, selfish, a slim-build Tudor beauty with a love of the French fashion of the time and having a ‘very small neck’. The last likely the case as she reportedly said as much herself, and in facing the executioner’s sword it is a testament to her wit even in such a dark moment! The rest – the reporting of others – their perceptions of her and perhaps clouded by their own agendas?

I am an out and proud Tudor fan. And Anne Boleyn is the mother of my favourite Queen. So, I lap up all things related to her and her daughter in any way. To see a musical of her life story set in the grounds of her childhood home of Hever Castle was a very quick ‘Yes!’ Full disclosure, I have already given you spoilers to the most famous aspects of Anne’s herstory and this review will contain added spoilers to some maybe lesser-known aspects as well as spoilers of the staging and happenings (historical or not) in the musical, so if you’re bothered about that, I suggest you stop reading now 😉

It's quite a long-walk from the Lake View car park – with its not-quite view of the lake 😉 – to the purpose-built Historalia auditorium – roughly a third of a mile taking you through beautiful gardens so, aside from dealing with arthritic lower limbs in my case, it was very pleasant. You get given your headsets for the binaural sound as you enter the auditorium. I’m a little used to that after the most recent Macbeth I saw with David Tennant, and I couldn’t help thinking looking around after everyone had put theirs on, that we all resembled cybermen crossed with Princess Leia, with blue light buns as our ears 😉 The music from the choir and orchestra were pre-recorded, but all the individual characters were singing live, with little mics attached to their foreheads.

Appropriately, as we sit waiting, the first person we see is Emily Lane as Anne Boleyn (unmistakable with her ‘B’ necklace) walking as though from backstage right across the lawn in front of the castle onto the stage. I immediately felt my eyes welling up. Here is someone embodying Anne Boleyn in her childhood home. Perfectly poignant. And that is where she starts her story – with her father Thomas Boleyn (Clive Hayward), brother George (as an adult played by Joshua Oakes-Rogers) and a character Joan (of whom I’d never heard but played by Kim Ismay). Google tells me the Boleyns had a servant named Joan Wilkinson, who was a silkwoman and Protestant reformer. In this production Joan is used a great deal as a confidante to Anne right throughout, which I imagine she wouldn’t have been allowed to be in reality, but it’s a lovely helpful device 😊 It’s also an indication that the creators – Rebecca Night (writer and co-lyricist), Sam Kenyon (co-lyricist), Sam Gevers (composer) and Roxana Silbert (director) - have really done their research. More on that later.

For me Emily’s Anne was immediately different to the stereotype. Emily is fuller in the face (compared to the famous Hever portrait of Anne), and in manner there’s an added warmth, huggability (yes, I wanted to hug her!) or maybe better expressed as cuddliness and this Anne as she contemplates being Queen “If I Were Queen” really wants to make a difference and help her subjects. If this take on her story is to be believed – and the research done by the creators would suggest it is – she genuinely had compassion for the predicaments of her subjects as Queen. In 1536 the first Poor Law was passed and had been championed by Anne. In addition, this production suggests she played a more significant part in the reformation than perhaps most historical reports would have us believe. And I guess here is where you might ask who is right? I read a couple of reviews before going, which suggested her part was exaggerated – but how do they know?! Watching ‘The Chase’ yesterday – bear with me! – there was a mention of theatre critics who sit in the aisles so that they can escape early and don’t bother to give the full performance a chance – to be honest, I feel a little as though maybe I was reading those. Laziness! They also mentioned how a lot is packed in – racing through Anne’s story. But, yes, to cover her entire life, how else do you do it. And in true musical style every song and scene had their key messages and covered the crucial chapters in Anne Boleyn’s life. (For interest see synopsis & song list). Also for me, that we see so much of each stage of Anne’s life – from reluctance to leave home, her experiences and education in the courts of Margaret of Austria in Mechelen, Belgium and then in the court of France, exposure to the Renaissance arts and humanist thinking – she may even have met Leonardo da Vinci – and all of that even before she returns home and heads to the English court – creates much more empathy for and understanding of her. She was so clearly well-liked, ‘I find her so presentable and so pleasant…’ (Margaret) and ‘For her behaviour, manners, attire and tongue, she excelled them all’ (Lancelot de Carles). She was clearly witty and intelligent and embraced all she learned. She also learned sadly - through meeting with Wolsey (Clive Hayward again) and his prevention of her betrothal to Henry Percy (Chomba S. Taulo, who has an outstanding singing voice, which he also gives to the highly significant characters of Matthew Parker and Bishop Fisher) – that she would have to be strong and assertive. As someone dealing with being the wife of controlling and bullying Henry VIII and in Tudor Times, that would then so likely lead her to be considered difficult, a problem, or even worse, but for me this Anne Boleyn, and the real Anne Boleyn was surely a Tudor Woman of Substance and indeed, if she had been allowed to live, and the likes of Thomas Cromwell (Matt Bond) and Henry VIII himself (Mark Goldthorp), hadn’t felt threatened by her, what a difference she could have made to England. But, thanks to her, we had Queen Elizabeth I and what a difference she DID make to England and beyond. I will return to this.

For me – as with many musicals – I think they need to be seen and heard over a few times to get all the numbers. I could do a better review if I got that opportunity, but I imagine this is unlikely to get a transfer to the West End, and, of course, wouldn’t be the same! Some numbers felt so powerful lyrically though; “If I were Queen”, “Make It Happen” and “To Catch the Light” for example. We enjoyed the gold fanography by Queen Katherine of Arragon (Noah Sinigaglia) and her ladies accompanying “We are Queens”, but for me the lyrics were lame. “The King is Coming” came across as a little bit Monty Python-esque! Though the grey horse he was riding was exceptionally beautiful! And there were definitely some historical inaccuracies (Henry wasn’t the King of Great Britain), and some awful dialogue at points. In that sense it was such a bizarre mix of supremely good to pretty bad! Overall effect though of impressive outweighing rubbish 😉

Cromwell was back to his very stereotypical self, and a far cry from Hilary Mantel’s sympathetic “Crumb” in ‘Wolf Hall’. Mark Goldthorp very much reminded me of Damian Lewis’ Henry VIII in looks, but not such a nuanced actor – a bit too 2D in his swings from romantic suitor to bully. As already mentioned, I was impressed by Chomba S. Taulo. Everyone else was fine enough. Emily Lane was gorgeous as Anne – exquisite singing and a lovely performance. She doesn’t quite feel like my internal image and imagination of Anne Boleyn though, but a very adorable one!

In her final scenes Anne was dressed in white, gold and purple. As was I! My white top with gold sequins is now officially my Anne Boleyn top 😊 How did I know? Like how did I know to dress all in black – aside from my red sparkly boots – for ‘Kinky Boots’?! I like to think I’m somehow in tune. Oh, though as we were warned, it gradually became pretty cold, so over my in-tune-with-Anne Boleyn outfit, I wore my Alanis hoodie for the second act! Alanis kept me warm 😊 And here is I guess the biggest spoiler and historical inaccuracy of the night. Elizabeth was only 2 years & 8 months old when her mother was executed. Yet she appears with Anne at various points looking more like 5-6 years old. AND, most movingly from my point of view, after the symbolic execution of Anne, Elizabeth as a adult (Dona Atallah) walks a similar path to the one Anne Boleyn walked onto the stage at the beginning appearing behind her mother, and carrying on her mother’s legacy of light and substance into The Golden Age.

Elizabeth, Being the Daughter of Anne Boleyn P.S. We visited the Castle itself the next day. On arrival, there was another Anne Boleyn! Not musical Emily, and I regret I didn’t ask her name. She was lovely though and agreed to a pic together after I told her how amazing she looked – she in her beautiful Tudor dress, me in a jumpsuit 😉 Inside, was very busy with people – August and the month of the musical too so no surprise – so we kind of raced through. A real shame in a sense. But I was pleased to get to see Anne Boleyn’s ‘Book of Hours’ and Prayer Book, many portraits including of course the Hever Anne Boleyn and ‘Wolf Hall’ costumes currently on display there. Some of the rooms as original and some adapted for display I think. Very windy stairs again difficult to negotiate with arthritic limbs. But I did it! For merch I got Hever Anne Bear and her Hever portrait as a fridge magnet! 😊 Anne Boleyn – Review by TheRestrictedReviewer © 2025

Alanis Morissette – The O2 Arena, London – Sunday 27th July 2025

(Rated 10/5) I was 27 years old when ‘Jagged Little Pill’ was released. How amazing to see Alanis live for the third time on a 27th for the 30th anniversary celebration of that release. And just a month on another 27 – my birthday 😉

Words really cannot express how much this woman has come to mean to me. I need Alanis herself to do that with her wonderful ways with words. Her lyrics resonate with so many of my life experiences, and I know I am not alone. That resonation became even more evident when I studied for my counselling diploma and started writing essays – or in my case a few mini-plays – and used her lyrics to illustrate so many of my personal processes. It was almost a case of what didn’t fit or have a place in my story… my journey… all of our journeys! Just for example… ‘You Learn’: Learning from Life Experiences ‘You Owe Me Nothing In Return’: Carl Roger’s Core Conditions, especially Acceptance ‘Precious Illusions’: Dissociation to Cope with Trauma ‘Perfect’: Conditions of Worth ‘Hand In My Pocket’: Holding Apparent Contradictions ‘Utopia’: Group Work! ‘Ironic’: Except many cases mentioned were not actually ‘Ironic’, but what a hit! 😉

I don’t remember the date, or even the year I first went to see AM, but at a guess the early noughties. I recall my friend picking me up and dancing down the stairs from my flat singing “Do I Stress You Out?” (From ‘All I Really Want’) I can’t recall the reply aside from lots of laughter. My second time was 7 years ago (I do love the number 7!) in 2018 with one of my counselling trainee peers and good friend. We ‘sat’ – well except not as everybody stood up and danced for the entire concert – and sang along from almost the back of the venue. I could hardly see Alanis, but her hair was much shorter than in JLP days. Enormous fun, though, to commune with Alanis and fellow fans singing so much I lost my voice!

I saw AM was doing a world tour this year – and was even considering travelling elsewhere in the UK to see her – but happily the O2 date popped up. Initially I looked at seats ‘in the Gods’, but at the time I was considering it I was feeling really down. I can’t even remember why just now, but with encouragement from my super SFAM, I decided to go for it! Seats right up close – well third row ‘ground seats’ aka stalls I guess – and as personal as you can be in a huge arena! I got a ‘You Learn’ dress, but in the end out of that, my ‘Junkie’ T-Shirt and ‘Can’t Not’ T-Shirt, the latter won to be worn for the occasion 😊

It’s become ‘a thing’ with me and my SFAM now to do meal, merch, visit facilities, drinks and then seats! Lol! We had Wagamama Noodles then joined the Merch Queue. I’d checked Alanis’ own website before to get a kind of head’s up on what would be available and make a pre-choice. Except, that what was actually on offer was pretty different, so I had to re-evaluate 😉 The queue reminded me of the back n forth queue to see QEII lying in state! Though it took a small fraction of the time that took people for us to get to the front. There was a beautiful purple T-shirt and the expected Tour T-shirt with lovely pic of Alanis on the front and tour dates on the back. However, I settled on the “I’m High But I’m Grounded” Tank Top and a Hoodie with Tour Dates on the back too, but Alanis performing with that magnificent mane of hair covering her face on the front. Sold! Next stage battling the O2 App to get into the venue. I’d ‘practised’ opening it a lot with fear of it failing anxiety. And, yep, it did fail! A calm man told us to wait (by the bins as it happened) until my phone managed to connect to WiFi. Except that it didn’t! So, I tried my other phone (one is my personal and one ‘client’), and it worked – I was so nervous the tickets would disappear again, I shoved the screen into the man’s face, and he obliging scanned the QR code. Phew! That drama over. Facilities, obtaining of a pint of lager each – and then, realising we had unnecessarily gone up to the top of the venue, climbing all the stairs back down to the ‘ground’.

Alanis’ guest support was Liz Phair. She was Loud and Uninteresting from our POVs. Unfortunately, sometime during her set though, one of our pints got spilled, so we wound up sharing one pint for Alanis’ set, carefully ‘dancing’ around it so as not to lose it as well!

So, Alanis appeared… back with that marvellous mane of beautifully thick wavy hair and looking almost exactly the same as 30 years ago. Stunning!! Commencing with ‘Hand In My Pocket’. She truly is Sensationally Special!! That voice as exquisite as ever!! Whole Performance Mesmerising!! And maybe the best thing, the Hairography was back and totally entrancing!!! As my SFAM commented, how does she do it without getting a headache?!?! I was never going to remember the full set-list, but AI to the rescue, and yes I think pretty much right 😊 There needed to be a balance for me to make it through the whole gig between standing and dancing and sitting down. I chose the quieter numbers to sit and the big boppy hits to stand – oh aside from the last two, which I’ll come to. In front of us were three ladies who seemed to sit for the entire show. One lady had her arm round another – maybe Mum & Daughter? I really felt for them. It does feel difficult to criticise, as of course everyone wants to, and should, enjoy themselves, but all the jumping up and down, waving of arms and mobiles around blocks an otherwise really good view, which people have paid for! I don’t know what the answer is. Another balance to be struck is between listening and taking in that incredible voice and singing along cos it’s just so much fun to do so! I think in the main I chose to sing along with those big boppy hits, though I did sing to my SFAM, “Be a good girl” in ‘Perfect’ 😉. At this point I feel the need to mention ‘Mary Jane’ – such a superb song and brought out tears for me watching Alanis perform it on one of the big screens. (Not that other songs didn’t, but for whatever reason I particularly remember that.) Appropriately – life changes and times change after all – Alanis made a few lyric changes: In ‘Ironic’ – for which she also had a guest fan singing on stage with her for the intro, “An old man, turned 98, He won the lottery and died the next day, It’s a black fly in your Chardonnet, It’s a death row pardon 2 minutes too late, Isn’t it Ironic, don’t you think…”, then the guest fan was hugged, thanked, applauded, and left, with Alanis booming out, “It’s like raaaaain on your wedding day….”, and later “It’s meeting the man of my dreams and meeting his beautiful husband {not wife} - many times!”. Also in, ‘You Learn’, instead of “Wearing it out the way a 3-year old would do”, it was the way a 5-, 7- and 15-year old would do (I thought I remembered), but according to Google her children are currently 3 (Winter Mercy), 6 (Onyx Solace) and 11 (Ever Imrie), so I’m a little confused! Never mind 😉 Some seem to criticise her for it, but I love all the running along the stage and whirling around – maybe she reminds me of my favourite little Jack Russell Terrier and his whirly greeting dance to meet people – yet at one point the whirling was so intense that Alanis disappeared through the floor of the stage! And then she re-appeared running up some stairs at the back of the arena, before joining her band on yet another stage, though I couldn’t see where that was! Magical! 😉 As was being in the dark with mobile torches shining all around the arena during some numbers. I made choices between being in the moment and totally present with Alanis, and capturing pics n videos for posterity. I recorded a snippet of ‘You Learn’ and full videos of ‘Uninvited’ and ‘Thank U’ her last two numbers – effectively the encores, for which she returned to the stage wearing an ‘I Love London’ T-shirt. I love how she told us she loved us and to take care of each other at the end. I <3 U too, AM!!!

To go with pics of my merch, I came up with this: “I'm High But I'm Grounded, I'm Cool But I'm The Wrong Way Round, I'm Cosy But I'm Pretty, Yeah “

Alanis Morissette for me is “Out of This World Phenomenal”. Could that be a song?! I think I’ll leave that to the Goddess herself to write <3 Alanis Morissette – Review by TheRestrictedReviewer © 2025