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nonreplicakitties · 6 months ago

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nonreplicakitties’ non replica masterpost!

linked below the cut are the tags to all the productions i have covered, along with a little summary!

Thunerseespiele 2017

this production was set in an abandoned amusement park and was performed at an outdoor stage built over the water of Lake Thun, Switzerland. it featured new costumes with a cybergoth aesthetic. this productions’ Tugger also rode around on a motorcycle!

Italian Tour 2009

this production featured masks and costume design inspired by commedia dell’arte! while not the first production in Italy, it was the first to be performed in Italian. this productions’ Skimbleshanks uses a shopping cart for his train prop!

Tampere 2017

this production was directed by Georg Malvius, who has been vocal about his dislike for the original CATS. the show features a rat as the silent “narrator,” describing his dream of becoming a cat. it also features especially unique wigs, looking much closer to human hairstyles than cat fur!

Australia Circus Tent Tour (1999)

this production was performed inside a giant CATS-themed circus tent, and included many circus elements, including trapeze, tumbling, and ball balancing. it used mostly replica-style costumes, although several cats got new wigs. this productions’ Mungojerrie took on the role of a circus captain and would direct the other performers in their circus feats!

Opera Populaire 2017

this production, set in an abandoned train station, took on a steampunk aesthetic with unique and intricate costumes! notably, this productions’ Mistoffelees is played by a woman!

Tecklenberg 2015

this production was performed at an open-air theater, and was also circus-themed! it featured brightly-colored costumes that accentuated the theme, as well as brand-new stunts. this productions’ Mistoffelees danced on aerial silks, and its Macavity was a fire-breather!

Macskák Budapest 1983

this was the third production of CATS ever performed internationally! it took place in an abandoned theater and featured new costumes and swing characters. while it opened in 1983, it has continued to play on certain dates to this day. in this production, Grizabella ascends to the Heaviside Layer on a giant chandelier!

Brno 2013

this production stands out because the characters are intended not to be cats, but humans, participating at a masquerade ball in a nightclub. this productions’ Grizabella is reborn as a kitten, played by an actual cat!

Perth/Mandurah 2019

this production featured new, neon-colored costumes with intricate psychedelic patterns. reportedly, it also included aerial silks and roller skates. this productions’ Skimbleshanks number featured a Thomas the Tank Engine inflatable costume!

Lahti 2007

this production featured new brightly colored ‘space-age’ costumes and made several changes to the characters and plot. some of the most notable are that Munkustrap and Rumpleteazer were in a relationship, and that Jennyanydots was played by a man!

Lahti 2016

this production, performed on the same stage as Lahti’s 2007 production, mainly featured circus performers exhibiting stunts such as acrobatics, aerial silks, and cyr wheel. notably, this productions’ costumes don’t resemble cats!

Kilworth House 2019

this production is set in a WWII-era bombed out London Underground station. the costumes represent many different walks of life from that era, including boy scouts, evacuating children, and glamour girls, creating a mix of human- and cat-like features. interestingly, this profuctions’ Coricopat and Tantomile are portrayed as children!

Warsaw 2004

in this production, the word Jellicle is translated to Dachowiec, which literally means “rooftop cat,” but is best translated as “alley cat.” fittingly, this production is set on the rooftops of Poland. it featured all-new costumes and choreography, as well as several new ensemble characters!

Gothenburg 2006 / Cirkus Stockholm 2009

this production was set in an abandoned amusement park and featured unique costumes, reportedly inspired by anime. the costumes and sets originally used in Gothenburg were reused for the Cirkus Stockholm production, which saw a return of many Gothenburg actors!

Helsinki 1986

this production featured new costumes and a large ensemble of named chorus cats, alongside swings. many changes were made to characters, for instance Bustopher Jones became a full character, Coricopat was female, and Growltiger and Griddlebone were played by different characters!

Oslo 1985

while the costumes in this production look quite different than current replica designs, they were actually created by London production costume designers, and were the standard London costumes at that time. the most unique aspect of this production is that Jemima doesn’t sing with Grizabella in Memory, rather it’s Grizabella’s younger self!

Oslo 2009

this production appears to be set in an abandoned warehouse or factory, and featured brand new costumes. this productions’ Tugger has an electric guitar which he apparently plays in his number!

Ullensaker 2016

this production was still set in a junkyard, with oversized appliances such as an oven and refrigerator making up the set. it featured all new costumes and wigs, and its Grizabella was played by drag queen Geir Ove Bredesen!

Melbourne 2020

this production, taking place in a decrepit music hall, is set in the 1930s, when T. S. Eliot would have been writing his works. it takes on a very distinct ‘flapper’ aesthetic with all-new costumes and choreography!

NQOMT 2019

this production was set in a post-apocalyptic London, featuring a set overgrown with moss and vines. the all-new costumes are described as “waste-lander,” as they are “made of things the Cats have collected through their life, as though they’re wearing their memories.”

Harvest Rain 2014

this was the largest production of CATS ever performed, with a cast of over 800, each dressed in their own unique costume (even the orchestra)! the show was staged in a convention centre, with a raised center platform for the main performers with the ensemble dancing around it.

SALT 2018

this production featured all-new costumes and makeup, as well as new wigs that seem to be created out of yarn!

Blue Bird Theater 2016

this production quite a bit shorter than the original show, with several songs cut or reordered. it takes several liberties with the story, the largest of which comes during the Macavity fight, where Macavity appears to kill Sillabub, with the story diverging somewhat from there.

Firehouse Theatre 2019

this production, featuring new costume designs, incorporated modern dance styles into its choreography! some costume elements, wigs especially, seemed to be changed and updated over the course of the show. this production also held cat adoption services before each Saturday show!

BMMS 2014

this production seemed to be set within a clock tower, and included steampunk-style costumes and theming. it had a large cast of over 80 performers, ranging from adults to teens and children!

Festival Players 2018

this production was set in a speakeasy during the prohibition era, with all-new 1920s-style costumes. it reportedly featured a female Macavity, Mungojerrie, and Skimbleshanks!

New Zealand Tour 2019

this production was reimagined as a “darker, more sensual” version of the show, inspired by post-earthquake Christchurch and set within an abandoned Victorian theatre. fittingly, the costumes are also redesigned to be darker and quite unique!

Pilsen 2014

this production seems to be focused more on costumes, giving each character a unique and detailed costume with pops of color. the set, however, is kept rather minimal, relying mainly on neon lighting and simple set pieces.

MAČKY 2016

this production is set in an abandoned department store in the London suburbs, with many cats dressed in the store’s apparel. it opened in April of 2016 and still seems to be playing today. notably, this productions’ Jemima seems to be played by two actresses, an adult for the dancing scenes and a child for her singing lines!

CRT 2012

this production was set in the back alley behind an abandoned theatre, making use of old props and stage lights for set dressing. it also featured all-new costumes, including some very fluffy legwarmers!

Mexico 2013/2018

this production leans slightly more replica, but the costume designs are reimagined as much more colorful than standard productions, with bold makeup and bright colors. it originally ran in 2013, but was revived in 2018 and played over 400 shows throughout its tour!

Abbey Musical Theatre 2007

this production was set in an abandoned carnival, with the costumes fittingly taking on a “dark circus” style, with detailed, over-the-top designs!

Ostrava 2018

this production is set on the rooftops of London, with new and colorful costumes! it opened in 2018 and is still being performed today. this peoductions’ Old Deuteronomy watches over the ball from his seat in a satellite dish!

Footlight Productions 2008

this production featured an all-new, brightly colored set and new costumes with a distinct blocky aesthetic. this productions’ version of the jellicle moon set piece was designed as a giant cat face!

Chorzów 2022

this production uses the same translation as Warsaw, calling the jellicles “roof cats!” it features unique and bright costumes with bold colors. it also has some character changes, such as Tantomile being male and Mungojerrie being played by a woman (although the lyrics still refer to him as male)!

Theatre by the Sea 2013

this production’s costuming leaned more towards replica, but has its own distinct flair! brightly colored neon lights seemed to be a main feature, lighting the stage with purples and pinks.

Paramount Theatre 2014

this production featured a unique set and some new choreography, but what stands out the most are the costumes! with all-new designs, these costumes feature intricate patterns, bedazzlements, and detailing. this productions’ Jennyanydots wears a Union Jack dress for her tap number!

Il Sistina 2022

this production was set in Rome, with the set being constructed out of oversized works of art, statues, and archeological finds, with the Colosseum in the background. it also featured new choreo and new, very fluffy costumes!

Wichita 2023

this production was set in an abandoned amusement park, the production crew actually using old signage from the defunct theme park Joyland to create the set! the costumes, while replica-leaning, are distinct as well, with their own flair. this productions’ Mungojerrie and Rumpleteazer have bags of popcorn and cotton candy as their stolen goods!

Theatr Clwyd 2022

this production seemed to be take place in a high school setting, with human clothes based on different teenage and teacher aesthetics, while still retaining cat-like makeup and wigs! Mungo and Rumple were classic 80s teens, Jenny had a Ms. Frizzle-eque look, and Bombalurina had a punk aesthetic, just to name a few!

ArtsEd 2021

this production took on a vintage aesthetic, with the all-new costumes drawing inspiration from many different eras, including a classic ballerina outfit for Victoria and a puffy babydoll dress for Electra!

Luisenburg 2016

this production was described by the director as “a celebration of the diversity and character of each individual.” fittingly, it featured new costumes representing many walks of life, such as a punk Mistoffelees, Jenny in a victorian gown, and lederhosen-clad Mungo and Rumple!

Santiago 2024

Santiago 2014

Maynooth 2024

Candlelight Pavilion 2011

PAC 2024

this production was inspired heavily by New York drag and ballroom culture, diverting from the show’s original premise and instead casting the characters as ballroom performers competing in different categories! this production notably featured Andre De Shields as Old Deuteronomy!

WCT 2014

Thalia Muziektheater 2023

Prague 2004

Wichita 2007

Interlakes Theatre 2022

UFOMT 2024

Marriott Theatre 2014

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sweepseven · 9 months ago

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Cirque du Soleil Alegría In a New Light review

So far the kindest thing I've done for myself in 2024 was go all the way to London to see this show. What a lovely, desperately needed reset. No need to linger on the preamble because team: this show continues to be damn near perfect. It felt like a true gift to be there. There are three total changes I would make if it were to suit me perfectly. Just three. That's insane. For comparison I love Ka with all my heart but I'd make probably fifty changes if given the opportunity. The three I'd make are:

Less clown time (though I swear the reason is different from my usual clown complaints)

Replace duo adagio

Reinstate Valsajoïa, the single greatest original song Cirque has produced since probably 2016. Possibly even 2008.

So let's talk about those three, and also the other one million reasons this is Cirque's greatest show in nearly 20 years.

Preshow animation: My friend and I had a time getting to Royal Albert Hall on time so I didn't get to soak in everything to quite the extent that I prefer to before a show starts, but the moment I walked in my guess that this show in this setting was the most perfect pair imaginable was validated. I don't think I'm even being biased because it's so recent - I genuinely think the only set that could maybe suit this theatre better is Quidam. The crown of the stage disappeared into the darkness above, creating an astounding sense of immersion and scale, and even the iconic mushroom acoustic diffusers look like they belonged to the set. The rigging was a delight to see too - I'm always fascinated by how they adapt the rigging to adjust for the lack of pylons. It wasn't as cozy as a Grand Chapiteau, of course, but the audience is so dense and extends so high, and the entire setting is so elegant, that the size and scope were a perfect match.

The animation itself was Fleur messing around with the Old Birds. Pretty unremarkable. He didn't shout Alegria! like in the original show, but then again I'm not sure I remember him doing it back in 2019 either. Bring it baaaack, it's iconiiiic.

Opening: Gonna confess up front that I was in tears for the duration of Mirko. The current singer duo, Sarah Menesse and Cassía Raquel, are incredible in every way. I'll talk more about them further down but it bears stating now that I was in shambles within the first five seconds. Details I never want to forget: the silhouette of the Nymphs' wings behind the curtain; the sharp, prim, yet commanding presence of the White Singer on the right side. I was completely taken by her in four notes.

Acro poles: This was a strong act five years ago and I think it's only grown tighter with time! This show wastes no time on ceremony and dives right into the action, which is a fun contrast between the old and new versions. The original made a grand show of parading and presenting the different factions. Here it's more bam here are the Aristocrats, bam here are the Bronx real quick, now everyone out of the way, we're getting right to it. Where the original was the story of forcibly overthrowing an old order, this one respects the structure of the past while willingly - if cautiously - making way for the future. This act does a very good job of illustrating that. The Aristocrats look like a fun, if slightly catty bunch! You almost want to be one... until you meet the Bronx.

Cyr wheel: I completely forgot Rinalto Vera is back for this act. I had only just recovered from Mirko and then this fucking song starts and I'm beside myself all over again. This is the kind of thing that makes me hold onto faith that the old Cirque is still in there somewhere - this, the musical refs to La Nouba in Drawn to Life... they know how to respect their old shows! When they bother, they do it beautifully! I only wish they treated their new creations with the same respect and care they pay to their golden era.

Anyway Ghislain Ramage is the only person I want to see on a cyr wheel ever again. I saw him work magic in Kooza and that was without the deliberate weight that comes from a non-rotational act. Something about him seems impossible - like he's too tall to be that lithe and fluid, or that you couldn't possibly evoke so much emotion from a cyr wheel act. He does. Every moment of it was mesmerizing.

It's the nitpickiest thing I could possibly say, but I do think something is lost in not having this act performed by an Old Bird or Aristocrat. Though since the mirror imagery of the original wasn't brought over to IANL, I suppose it's not completely necessary. Still. That was an element that really brought an inimitable quality to the original act and I wished there was an analog in this version. It could very well have made it the best act in the entire show. Yes, the entire show, which is crazy because you already know how I feel about.......

Duo trapeze: Fuck me, people. This act. It's a wonder I can be relied upon to behave rationally because it. is. utter. perfection. The only thing that holds me in my seat is the fear that if I move or blink I'll miss a split-second. I forgot the White Singer was onstage because I was too busy watching. That is fucking unheard of. My hands were clasped over my heart. I was beaming in awe the entire time. No other artist has had the particular effect Nicolai Kuntz has on me. Fucking this?? That relaxed, cross-legged on a goddamn trapeze gazing in admiration? That is shit designed to kill me. That is fucking lethal.

Anyway the skill level in this act is exquisite from both Nicolai and Roxane - another perfect act that has somehow grown more perfect with time. And what I love most about it is that though although they're a duo, although the song is called Querer, although the entire point is that they're impossibly aligned, it still feels just shy of romantic. The love being expressed here is not specifically for one another, but for flight itself, and the joy of sharing it with someone who understands. I might be projecting, since this act feels like a live illustration of my personal love for trapeze, but they have never seemed like lovers to me. More perfectly kindred spirits, and it serves the act beautifully.

Fire knife dance: Excellent! Impossibly high energy! The crowd adored it! We had one drop, which I've never seen in a fire act, but the artist handled it with fun and grace. There is nothing negative to be said for this act, but I can't not mention how exceptional Tuione Tovo was. Holding that against this artist feels like a teacher never giving A+s because "there's always something better." But there really was something undefinable in Tuione's energy and smile that isn't quite here.

Aerial straps: How many times can I say "a perfect act has become yet more perfect"? I've seen a lot of straps acts, people. Like, too many. I have immense respect for the discipline so it's not hard to impress me, but it's quite difficult to surprise me. There is a drop to ankles in this act that surprised me. I gasped. This act looks at every other romantic straps duo act and says "ok amateurs." The little smooch had the audience in raptures. The snow is used to better effect than the world deserves. It's just exquisite.

Hoops: I know Elena Lev is the queen, but I think this artist might actually be better! And she's so young! She's got her whole career ahead of her! This is probably the best hoops act Cirque has going for it right now, and that's really saying something. She does the "spin like fifteen hoops" thing better than I think I've ever seen anyone do it. Her control over her apparatus is unmatched.

Powertrack: OOO-EE! POWERTRAAAAACK. Top five act in the show right here, and it would earn that position through energy alone. And it's got a fuck ton going on for it besides. Every trick is massive. Every one is executed with fierce, tangible joy. Fleur has an excellent highlight moment that's indicative of a character adjustment in the new version (see below) that I really loved. I wanted to see Lucie Colebeck's triple bad (the first and so far only female triple tuck in Cirque history!!) but it was performed by another artist tonight. Still amazing. Watching this act makes you feel like you can run a marathon.

Duo adagio: The one and only let down of the whole show. I just do not like these Nymphs. I don't like their wings, I never have, and I can't believe Cirque is so opposed to returning to something just a notch closer to the luxurious feathers of the original. Their wings feel like a symbol of their overall impact on the show: kinda just there and we don't really know why. This act was the same. And it's a goddamn shame because Cassía's Vai Vedrai is power made musical. Slotting this act so late in the show makes it feel like a rotational act and it's just not fair to the artists or the song, probably the second most famous in Alegria's history. Last time I got handbalancing in instead and it was a gorgeous story of an Angel supported by a Bronx that was reiterated in high bar. Any sort of connection to the broader show is unfortunately missing in this act, which seems to only exist to remind you that the Nymphs are characters. I'd prefer to see this replaced with a return to the slow, luxurious contortion style of the 90s. Or imagine Dralion's ballet on lights here!! Or ribbon manipulation from the early days. Maybe a little too similar to hoops, but don't forget this is the show that has swinging trapeze and aerials traps and...

Flying trapeze: My light, my love, my delight. The Flying Tunizianis are immaculate. This is perfect flying trapeze act construction imo: some swings to let the audience know what's happening, an easy trick or two (planches) to prime them, then flips and twists galore to show what the fuck it's really all about. And! Importantly! A pause in the middle with a few styles and splits to bring back some grace and remind you trapeze is more than just guessing what the fuck you just saw. It is so, so good. For myriad stupid reasons I haven't flown in a month, and I'm so excited and inspired to get back at it after seeing this act. iirc the biggest tricks were triples and a double double (or full out? it all happened so fast!!). Either way, difficulty level second only to Mystere and I would argue better act composition overall.

However. I felt the removal of Valsajoïa acutely. It was nice to hear a little Icare, but if we didn't need it for aerial high bar's comeback, we certainly don't need it here. I suppose they were going for a more "daring" sound, but tbh I don't think it does a lot to enhance the act further, especially with the way the Tunizianis have choreographed it. The result isn't as graceful nor as impactful, even with the (tragic! teasing!) snatches of Valsapena and Valsajoïa still left in there.

I spent the whole act praying for some kind of suicide dismount and the very last was a reverse one and lost my fucking mind. My inspiration trick, my signature, my beloved!!! I gotta learn a reverse one bad.

Finale: What is there left to say? It's brief, it's gorgeous, it's effective: just like the transition from opening to acro pole, the transition from flying trapeze to finale is quick and honest, and the whole thing is over before you know it. It feels like a real thank you for joining the cast in the journey of the show. A joyous, magical feeling.

Music: I leaned back and scrubbed my face with my hands just now. That's what it's like trying to summarize what the fuck was going on vocally and instrumentally in this show.

It. Was. Splendid. I was utterly convinced that no one could do an IANL White Singer like Irene Lombard, and then here's comes Sarah with a flavor and characterization all her own. Where Irene was an angel, Sarah was a witch. She was sharp, she annunciated, every note was a call to action that drove the plot forward. Some songs were her strength (like Mirko), and some I prefer Irene (like Querer). At all times both singers' presences were impossible to ignore, and for a show with such a reputation for well-recognized, highly awarded music, the legacy is not lost.

This is also a very mobile band, which I always love. Accordion and cello parade around at times, sometimes even to emphasize character arcs (like the accordion following one clown after he's cast out of court to highlight his sorrow to both comical and emotional effect). Drums have a fantastic, well deserved Kooza-esque highlight moment during fire knife dance. Though you don't see them every moment, there's no point in the show that you can miss the fact that the music is live. They've struck an exceptional balance between highlighted and unobtrusive.

If anyone would like a recording of this performance's audio, drop me an ask and I'll be glad to share.

Clowns: My primary critique. Listen: they are so good. But I think Cirque noticed that and responded by giving them too much time. Their every act is strong but maybe 2-3 minutes too long, and it has the effect of pulling focus from the theme of the show and settling it on their shoulders instead. The result weakens both: they are not highlighted enough to carry a show like the Luzia clown main character does, and they take up too much time for the audience to realize they are meant to be one story among many.

Taken as they are though, the clown acts really are excellent. They are not tedious in the moment, only when held up against the broader landscape of the show. Their relationship still feels a little transgressive in a beautiful, comforting, validating way. Muted though the love story is, something about that adds to the honesty as much as the bravery. It deserves a ton of praise for that. Everyone in the room was fully invested in them. Snowstorm was beautiful and the music does so much to enhance the storytelling they give us.

(I did not remember the extended gun cleaning/masturbation gag from 2019 but that was the only part where I was like okay, let's move it along, boys.)

Misc.

Fleur doesn't seem like much of a bad guy anymore, and though I miss his old ornery edge, I'm not bothered by his current phase. He helps paint a picture not of a broken kingdom, but of a confused one, which leaves room for collaboration and acceptance reinforced by acts like acro pole and powertrack. There is room for both regimes in this new future. When it comes time to hand the crystal over to the White Singer, he does so without an ounce of reluctance or apprehension. It's a gesture of "let's do this together," not "you take the lead." It's very warm and effective.

Le Bal isn't quite as fun as it was in 2019. It wasn't positioned as a joking funeral march but rather just further hijinks between Fleur and the Old Birds. Like the lack of mirrors in cyr wheel, this wasn't a detriment to the show as it exists today, but it was a simplification of something that was once a little more dynamic.

Overall: As always I am exhausted just writing this. I beg you: see Alegria. Travel as far and as long as you can to make it happen. It is worth it. I live in fear that it'll never come back to do a full and proper North American tour (NYC deserves it, god damn it, it's been over six years), but if it never does, I'll know I made every effort, and I'll know it paid off in droves.

#cirque du soleil #alegria #reviews

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meneeddeadmenyaoi · 3 months ago

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Expired doodles☝️😮❕️

#napoleonic wars #napoleonic era #laurent de gouvion saint cyr #édouard mortier #jean lannes #joachim murat #jean baptiste bessières #andre massena #michel ney #frederik vi #dominique jean larrey #barclay de tolly #jean andoche junot #dotdotdot

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theaistired · 1 year ago

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Blog introduction

Hello, my name is Thea (she/they), I’m acespec, arospec, and autistic. I speak German and English and I am trying to learn Italian, Swedish and Arabic (learning three different languages at once is complicated, so trying instead of actual learning). I’m a big fan of the fantasy genre and like to read, write, draw, play the piano, and occasionally play video games. I also love birds and science.

Now, this is my main blog where I post about my writing, my art and also stuff in general. I might also post about some of my own music in the future. You can find a short introduction to my WIPs under the cut.

Hope you enjoy and I'll see you around on tumblr!

Galidean: A fantasy series that was supposed to be a trilogy but has grown into a much longer series. But I guess that is what happens when you look a three different projects and think to yourself "wouldn't it be hilarious if the took place in the same setting". So, the series can be divided into three different "eras" with their own little "main plot", but there is also a plotline running through all of them mostly in the background.

A hundred years after the joined victory over the Dark Sun, the human nations gather together in celebration. Future leaders attend a journey through each other's home, during which it becomes clear that scorching raids have left their marks over all the territories. With no apparent culprit, a prince, an orphan, a lord, and a sorcerer band together to find the power that turns banishment into death. With the help of a friend and a sibling, they start chasing mysteries and legends across the world, unaware that they all take root from the wounds of the world itself.

Old Gods: A fantasy series consisting of 3 – 4 books, while I also wanted it to be horror, that part has gotten somewhat lost while developing it. Oh well.

Cyr was young when the war started, he was young when he joined it and he was not so young anymore when the enemy captured him. After four years of imprisonment, he comes to terms with his inevitable fate. Surrounded by enemies, hated by his allies, stripped of his magic and will, there is no escape for him. While the voices and visions invade both day and night, Cyr prepares for his final day. His only true solace is the new courtesan who has endless stories of hope and rebirth to tell him.

The Human in Us: An urban fantasy series, that really is just two characters and my investment in their relationship in a trench coat. All started by me looking at different supernatural YA stories and going “wonder how I would do that”.

Students, alcohol and an abandoned house should have been the set-up for a fun, maybe spooky anecdote in their future. It should not twist and turn and talk, it should not turn nightmares real, it should not make Josephine’s hallucinations even more vivid and grotesque. Yet it does, and one month later, a burning girl appears to give her an envelope containing an address and a promise of answers.

There Are Voices In the Void: A sci-fi horror story, set in the same setting as a different sci-fi project of mine, but story-wise not connected to it.

While investigating a nebula, the scientists of the crew gather samples of cosmic dust, finding an unknown organism on it. The head biologists determines it to be deceased and proceeds with further testing. The death of two of his colleagues soon afterwards is just the beginning of the nightmare.

Little Remains: A bit of crime fiction/thriller, that happened by me looking at YA mystery series and going “wonder how I would do that”.

Detective Morgan has worked on many gruesome cases in the past, most of them took place in bigger cities with an anonymous population. When a teenage girl is found dead in the fields of a small town nearby, Morgan first assumes an outsider to be the murderer of the unidentified victim. However, with the murder of a local student a few days later, even the tight-knit community quickly realises that one of them is far more familiar with the gruesome case than the rest of them. Unwilling to sit back, the student’s friends start their own investigation, while Morgan begins to struggle with old ghosts.

#blog intro #writing #writeblr #writeblr intro

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