I was directly immersed into the heavy atmosphere of a police station where I could see pictures of the crime scene and the evidence and feel the heat of Summer in the USA. By way of a flashback, Bart Lambert (starring as Nathan Leopold) narrates how his friendship with Jack Reitman (starring as Richard Loeb) led to a murder. The tension in the room went up as we understood that we are witnessing the beginning of a power relationship between two young boys. I was impressed by Bart Lambert’s acting: I could feel his heartbeat racing every time Richard was touching him and I was shaking with him as he was scared of getting caught. I completely understood how dependent Nathan was on Richard. He played the character to perfection – this young man madly in love with his friend. I was kept on tenterhooks from the beginning to the end, hoping that they would not commit an irredeemable act. Step by step, it became more evident that they were heading for disaster. In the end, both roles are madly obsessed: one about the robbery and the other about his friend.

I enjoyed how the transition between the present and the past is smoothly done enabling the spectator to understand the entanglement of the story. I was impressed by the tension among the characters and how it was enhanced by the music coming from the piano and their voices. The musical ends up in a dazzling scene where the two characters merged their voices to be as one. The musical enables us to grasp the complexities of their relationship and I could not help but feel sad to see how far someone could go for love.

This dark and thrilling musical is performed by two prodigious actors who will leave you speechless. It will run until 5th February 2022 at the Jermyn Street Theatre, London. Learn more about it and get your tickets at: https://www.jermynstreettheatre.co.uk/show/thrill-me/

The image was taken by photographer Steve Gregson.

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing

The Roundhouse recently hosted the In the Round festival, which showcased eight performances and ran from the 15th to the 24th of January. On Monday 18th, the stage was taken over by the post-punk band Goat Girl, preceded by two support acts by Flaneuse and PVA. Goat Girl is an eccentric band of post-punk music, composed by bassist Holly Hole (Holly Mullineaux), vocalist and guitarist Clottie Cream (Lottie Pendlebury) and guitarist L.E.D. (Ellie Rose Davies). The trio showcased all their talent and charisma with a performance that delighted fans and definitely won over the hearts of those who had come to discover them.

The venue’s unique circular structure has the seats surrounding the round stage in an arena-like setting that gives a certain intimacy to the performance. Having the artists at the centre of the room with the liberty of movement at 360° degrees was highly entertaining. The show opened with two supporting acts by Flaneuse and PVA, whose ethereal and dreamlike performances acted as a perfect prelude for the night. They welcomed and introduced the audience to the musical universe of sonic experimentation that we were about to experience that night.

The pattern of the show was easily identifiable: it put on stage young talented musicians, with the artistic and alternative vibe so distinctive of the punk-artsy youth of London. Flaneuse, whose serene and dreamy tracks you can listen to on Soundcloud, was a delightful new discovery for the public. Followed the trio PVA, who gave a performance full of sentiment that mixed funky digital music, instruments and mumbled vocals.

Finally, Goat Girl’s awaited appearance on stage was welcomed by loud cheers from the audience and didn’t disappoint. Their one-hour performance was a whirl of cord instruments and electronic music that was as melodic as it was sinister. Their psychedelic colourfulness mixed with dark and unsettling elements flawlessly expressed all the contrasting emotions and angst of being young. Despite its seeming absurdity and surrealism, their songs always dig deeper and are a way for the band to express their political concerns. Climate change, mental health, Black Lives Matter, British politics, feminism, and transphobia: the trio is not scared to voice their opinion on a patchwork of different political issues that matter to them. With this curious mix of bizarre “outerworldness” and grounded politics, Goat Girl beautifully gives voice to the uncertainty of a young generation trying to find their way in a broken world.

Check out our interview with the band’s Holly Hole here: https://www.abundantart.net/all-interviews/goat-girl-headline-in-the-round-festival-tonight-at-the-roundhouse-in-conversation-with-the-bands-holly-hole/ 

For more info about In the Round festival 2022 go to:  https://www.roundhouse.org.uk/whats-on/2022/in-the-round-festival-2022/  

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

Matthew Bourne’s Nutcracker now on its 30^th year returns to the stage at Sadler’s Wells. Re-choreographed substantially from its 1992 presentation with some of its iconic designs re-thought to spectacular effect, it is a 21^stcentury Classic in its own right!

The show begins with an introduction to Dr. Dross’s orphanage, a dreary place where tiles are missing from the walls. The scene is overwhelmed with greys and whites and dark tones. The orphans are given all kinds of colourful Christmas gifts. A disgruntled Clara shakes the seemingly empty gift basket when, to her surprise and childish delight, a nutcracker doll tumbles out. This is when the story begins. Matthew Bourne’s version of the Nutcracker is filled with all sorts of unexpected twists and turns, a new story adapted to the 21st century that still stays true to the original classic.

At night, when everybody is asleep and the toys locked away, Clara tiptoes out of bed and snatches the key to the cupboard off its hook. She creeps over to unlock the doors, which tower over the sleeping orphans, and the Nutcracker bounces out. Clara stares in shock as he dances around stiffly, with new life brought to his once-wooden body. He wakes the orphans. They flock in a startled cluster from one side of the stage to the other. The matrons of the orphanage run onstage, hearing the commotion. The orphans revolt and the Nutcracker leads them out of the window and away into the snowy night. Soon, the set is transformed, and a dreamlike backdrop appears – we are introduced to the Frozen Lake.

The set is enveloped with soft smoke, merged with the light and shade. Princess Sugar and Prince Bob-Bon then take the stage in a duet dappled with gentle white lighting. Ballerinas emerge from the smoky haze and the scene is filled with delicate feathery tutus dancing around, a graceful take on the famous Snowflakes dance. Clara finds herself absorbed and follows the characters to Sweetieland. Here, the audience is met with a variety of colourful costumes, all inspired by popular sweets like Knickerbocker Glory and Gobstoppers. In Clara’s imagination, her friends from the orphanage become these characters. Here, a more modern version of the national dances takes place, where each of the sweets perform their own breath-taking piece. The show is brought to an end when the Prince and Princess hold a marvellous wedding, to which all the sweets are invited. The set is flecked with bright colours ranging from pink to orange to green, bringing the audience on a sugary journey.

Matthew Bourne’s reimagination of the Nutcracker brings an exciting twist to the story, with a different interpretation of what is usually portrayed on stage. The show has experienced many changes since it was last seen nearly ten years ago. The one thing that has not been re-thought is Tchaikovsky’s much-loved score as Matthew Bourne says, ‘Thirty years on I find Tchaikovsky’s music more and more profound; its magic turns us all into kids again’.

Nutcracker! runs at Sadler’s Wells until 30^th January. Not long to go- tickets can be found here Matthew Bourne’s Nutcracker! – New Adventures – Sadler’s Wells Theatre (sadlerswells.com)

Reviewed by Aishani Chatterjee- Aishani is a Year 10 student at Latymer School and is learning Classical Ballet and Indian Classical dance Kathak. Her love for dance and her interest in media studies and performing arts draws her into watching performances, learning from a varied range of presentations and writing about them.

In the middle of Hyde Park, surrounded by nature you will find a building in which futurist exhibitions take place: the Serpentine Gallery. They have created a new way of enjoying museums by revolutionising the form of the exhibitions. I went there to discover KAWS’ artwork, an artist well known for his pop art. His work is characterized by the use of colours, his specific figurative characters and the repeated use of “X””s on hands, nose and ears. In his New Fiction exhibition at the Serpentine Gallery, I discovered his impressive work as well as played around with it! Once I put a foot inside this gallery a world of game, fiction and augmented reality was revealed to me.

This exhibition has many layers, enabling every type of audience to enjoy the visit. The first one, more conventional, is the physical exhibition. I have been able to walk around the impressive sculptures of his well-known characters: blue BFF and grey Companion. Some of his paintings are also displayed, they are full of bright colours and lines. I enjoyed trying to find his characters hidden in each of his paintings. Have a closer look, you will be able to see them! His artwork takes a multitude of forms: varnished, circular, a comic strip and a three-panel painting. The second layer of the exhibition is its partnership with Fortnite. On the 18th of January at 3 o’clock, every player entering the video game was going through the exhibition and could see the Serpentine Gallery in the middle of what seemed to be a park in Fortnite. KAWS artwork has crossed the border of the fictional world. It can now be admired in every country by every player. The third layer is the application that you can download on the gallery’s wifi which enables you to see KAWS’ artwork in every place you desire. You can choose which character you want to see, you can change his position and picture it digitally in your chosen backdrop! His artwork is now yours, you can enjoy seeing his paintings on your wall and his characters in your kitchen. From now on, the exhibition is not confined to the gallery but is accessible everywhere. I now have a KAWS’ artwork in my bedroom!

This futurist exhibition is an amazing opportunity to discover KAWS’ work and to discover a new form of enjoying art. It will run until 27th February 2022 at the Serpentine North Gallery, London. Learn more about it and get your free tickets at https://acuteart.com/artist/kaws-new-fiction/.

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing.

Maggie Gyllenhaal’s directorial debut ‘ ‘The Lost Daughter” creates a reflective, mournful and melancholic atmosphere against the backdrop of a picturesque Greek beach as actress Olivia Coleman gives us an unforgettable performance. Based on a novel of the same name, The Lost Daughter seeks to portray the sides of motherhood that are atypical and unconventional, the sides that are hidden and buried. Olivia Coleman plays Leda, a comparative English professor on holiday in Greece. As she is perched in her seat baking in the sun she crosses paths with a family also on holiday.  Amongst this family is Nina, played by Dakota Johnson, a young woman with a little daughter. Leda becomes infatuated with Nina and her daughter as she is reminded of the struggles of her early motherhood.

‘Children are a crushing responsibility’ is a very memorable line in the film. Leda mutters this to Nina whilst she grows frustrated at her daughter’s relentless cries, passing her to her sister in order to acquire a second of peace. It is often assumed that nurture is nature for women, motherhood is supposed to and will feel natural and that the birth of a child will arrive simultaneously with unconditional feelings of fondness, and love and care for these beings. The series of flashbacks to a young Leda, triggered by her interactions across the island, reveal the struggles of motherhood where nurture doesn’t feel natural and the seething exasperation, intense struggles and grievances of having young children seem to burn slightly stronger than the emotions of unconditional patience or nurture. These flashbacks begin when Leda joins a search to find Nina’s daughter as she disappears from the beach, eventually finding her, initiating the start of Nina and Leda’s friendship. The first flashback replicates a similar event, as we see a young Leda played by Jessie Buckley running across a beach, intense distress portrayed by a shaky handheld camera shot, as her daughter, Bianca has disappeared from within her sights. Once she finds her, Leda shows her relief with anger and annoyance at Bianca for running off. Many of these flashbacks present Leda as short-tempered, growing exceedingly unable to cope with the neediness and rambunctiousness of her young children whilst also having time to be her own person.

The triggers of Leda’s past are manifested in actions that are very haphazard and impulsive. She steals Nina’s daughter’s toy doll, and when asked if she has seen the doll, acts aloof despite hearing the amount of distress losing the doll has put the small girl in. In the confines of her villa bathroom, she caresses, hugs and strokes it as if it is a real-life baby. As a young mother, a young Leda is often presented as quite selfish, tending to put her needs before those of her children unlike what is typically expected of mothers. At the climax of being unable to cope, she makes the decision to leave her children, not returning for 3 years. When asked about what she remembers about her early motherhood, Leda repeatedly insists she does not remember, there is panic within her voice. Whilst describing leaving her children as one of the best periods of her life, there is also lingering guilt and regret that renders it difficult for her to be able to talk about this time, especially to another mother.

In the moments where we see Leda abandoning the needs of her kids, ignoring them as they cry for affection or snapping at them for being too boisterous and loud, we are conditioned to both resent her and feel empathy for her. It is clear that she was a young woman who felt suffocated by her surroundings, work, children and husband who was always out working and whilst this does not excuse the ways she treated her children, at some points we are not supposed to regard her as a bad person. The decision to leave her children and take time for herself was a result of her “exploding” she says. She does not present this decision as something she has done because she hates her kids, rather a necessary step in healing and taking time for herself.

The Lost Daughter is available to watch now on Netflix.

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

Tate Modern presents the chance to experience two of Yayoi Kusama’s infamous ‘Infinity Mirror Rooms’. Yayoi Kusama, a Japanese artist and writer, has created a series of beautiful, immersive installations allowing you to become one with the art.

We first entered the infinity room called “Chandelier of Grief”. Surrounded by mirrors, the grand chandelier reflects on each surface symmetrically – it is truly dazzling. However, there is a dark aura in this room, reminding us that we experience both beauty and sadness simultaneously. Kusama has faced mental health problems throughout her life, experiencing visual hallucinations, which have influenced her style of work. The mirrors allow you to visualise and lose yourself within the art, making it unique.

In between the two infinity rooms, there are displays of Kusama’s work from across her career. A collection of photographs and moving images provide the context and timeline building up to the creation of the mirror rooms. Kusama lived in New York for many years, which is where she first started making mirror environments in the 1960s. The photographs allow us to further understand the artist, as she is pictured in various stages of her life. Her style is one that is eccentric and eye-catching, just like her installations.

The second infinity mirror room, ‘Filled with the Brilliance of Life”, is one that is completely mesmerising. It feels as if you are gazing up at a star-filled sky. In this room, you move along a walkway over a shallow pool, surrounded by the glittering, colour-changing lights which hang from above you. In Kusama’s visual hallucinations, she becomes ‘obliterated’ by repeated dots – which she attempts to recreate in this room. The lights pulse and change colour, before completely turning off, leaving you in total darkness. We become sensitive to time whilst experiencing Kusama’s infinite space. The longer you remain in this room, the more entranced you become; I felt as if I could stay there forever. Kusama once again captures an intense duality of emotion: we find ourselves marvelling in awe at this display that has been created through her suffering.

This exhibition was extremely captivating, it allows you to revel in the art. Fully sold out until March, it is definitely worth trying to get your hands on tickets for later this year!

Yayoi Kusama
Infinity Mirrored Room – Filled with the Brilliance of Life 2011/2017
Tate
Presented by the artist, Ota Fine Arts and Victoria Miro 2015, accessioned 2019
© YAYOI KUSAMA

Get your tickets at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/yayoi-kusama-infinity-mirror-rooms

Reviewed by Ridha Sheikh – Ridha is a volunteer writer for Abundant Art. She is a recent History and Politics graduate from Queen Mary – University of London. Ridha is excited to explore and share her strong passion for London’s art scene.

The tempestuous American 1960s are currently being brought to stage in the new play “Best of Enemies”, at the Young Vic theatre. Written by James Graham and directed by Jeremy Herrin the story is based on the documentary of the same name by Norman Neville and Robert Gordon. It explores a historical televised debate at the heart of the explosive year 1968 in the USA.

The play opens with two exasperated men who seem to have lost all control as they insult each other with no retain, and slurs such as “queer” and “crypto-nazi” fly across the room. We are witnessing the aftermaths of the televised debate between the two intellectuals William F. Buckley Jr. and Gore Vidal, who both seem extenuated from their clash. Suddenly, the play rewinds to the beginning of the story to give us more context: we are in the US of 1968, where a wind of change and chaos is taking America by storm. The protests against the Vietnam war, the assassinations of Andy Warhol and President Kennedy, the open wound of segregation: all these crises are cleverly conveyed through a sequence of lights, audio and video projections of television broadcast, respectively designed by Parle Constable, Tom Gibbons and Luke Halls. We are transported to the studios of ABC TV News who, desperate about their low ratings, decide to air a discussion between two famous intellectuals about the feisty presidential debate of Frost against Nixon. They decide to invite the conservative William F Buckley and the liberal Gore Vidal, who both agree to participate out of personal interest to increase their fame. After all, “a man should never turn down two things. Sex, and appearing on television”. The debate is indeed set up from the start as being a product of greediness more than genuine concern about political issues, both from the television studios and from the two men.

As the debate begins, we start to identify the different characteristics of the two men, who are two opposite poles in every aspect. Buckley is an extreme-right conservative with extremely homophobic and racist opinions, whose passion and feistiness are depicted to perfection by British actor David Harewood. It would be easy for such a character to slip into the role of the “bad guy” of the story, and yet the script and Harewood’s performance manage to give him, if not likeability, some sort of relatability. His intellectual torment, the facial tics and physical insecurities that he portrays and the domestic scenes with his wife make him an extremely complex and full-fleshed man. Vidal (Charles Edwards), on the other side, is a more superficial character who seems less politically passionate than Buckley, but his quick wits and charms help him dominate the debate most of the time. His sense of superiority is quite unnerving but gives him a charisma that plays to his advantage.

Apart from snippets of the personal lives of the two protagonists, such as Vidal’s queer flings and Buckley’s conversations with his wife, the play revolves mostly around the debate. As such, it could have risked being an overly political two-hour conversation, no different from what one could find by tuning in on a typical political TV programme. However, Graham manages to craft a story that surpasses the debate and considers a much wider range of themes. In fact, the debate soon drifts away from politics to become a mere combat of peacocks, as the two men try to outwit the other and appear as the most brilliant one. As is often the case in politics, we tend to not root for the man with the best policies, but for the man that we like the most. We slowly see what is supposed to be an enriching exchange of opinions between intellectuals, become an arena where the combatants will face each other until death.

The play offers countless reflections on many different subjects, such as the transformation of the role of TV in society or the birth of polarisation between different parties and communities. These ambitious contemplations provide an intellectually rich aspect to the play, which is reinforced by the detailed historical accuracy. Every historical character is staged realistically, and actors Charles Edwards and David Harewood have clearly been studying every mimic and mannerism of their characters, which they both reproduce convincingly.

The play has unfortunately been suspended until January 3rd due to Covid but will be broadcasted online until then. Since the live play tries to reproduce the feeling of watching TV, watching it as a video can be an interesting experience that could enrich the narrative. Get your tickets at  https://www.youngvic.org/whats-on/best-of-enemies

The Guildhall School of Music and Drama takes on Marina Carr’s adaptation of author Leo Tolstoy’s classic tale ‘Anna Karenina’, a chaotic yet raw journey foregrounded in lust, love, loss and tragedy. ‘Anna Karenina’ is centered around the love lives of two women; Anna, who has grown tired of her tedious marriage to politician Karenin and enters an adulterous romance with army officer Vronsky and Kitty Anna’s sister-in-law and the courtship between her and landowner Levin. The story deals with a wide range of topics such as family troubles, mental health issues, addiction, gender, marital and relationship issues.

‘All happy families are the same. Each unhappy family is unhappy in its own way’ is the first line we hear in the play. It then opens with Anna walking into an argument between her brother and his wife that has been caused by her brother’s adultery – this seems to foreshadow the events that occur within her story throughout the play. Anna is tasked by her brother to use her in persuading his wife to forgive him (in which she succeeds). It is on this quest that she meets the charming Vronsky, and whilst she initially is reluctant, Anna and Vronsky soon enter into a lustful and passionate affair.

As the romance begins, the spiral into drama and tragedy surrounding it commences. One scene that stands out, occurs after Anna tells Vronsky that she is pregnant with his child at Vronsky’s horseracing event. After a vigorous race, he injures his horse, causing Anna extreme distress. This emotion from Anna is predominant throughout the play. Her intense stress causes her to confess her infidelity to her husband Karenin, whose biggest concern seems to be the reputation of their image and the gossip that may ensue more than anything else. However, as she persists with the affair Karenin eventually decides that it is time to file for divorce. From my perspective whilst watching this play, it was difficult to not feel sorry for both parties. Anna perhaps feels that there is something missing in her marriage and is suffering from mental health issues and Karenin is having to come to terms with his wife’s adultery. He has to deal with Anna being unable to deal with the guilt and running away with Vronsky leaving him to take care of their son alone. As the story develops, Anna begins to become more distressed and paranoid, constantly questioning whether Vronsky still loves her and if breaking her family apart (causing pain to those around her) was worth it.

The set design is quite simple – there is an iridescent rectangular box being present throughout most of the scenes. The costumes are typical of what you would expect aristocrats, army officers and people in their social network to wear during the 1800s. The motif of trains is present throughout the play and this is featured where Anna and Vronsky first encounter each other. The use of trains is perhaps to signify the derailing of Anna’s life after beginning her affair with Vronsky.

Anna Karenina is a story that for years has divided people, and the Guildhall theatre’s production is no different. Some see her as a loving mother who also wanted to look out for herself and others see her as selfish and egotistical. The actors do a fantastic job at portraying Tolstoy’s characters as complex and interesting, allowing the audience to leave the theatre having much to think about after their unforgettable performances.

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

Amid all the blinking and colourful signs of Piccadilly’s theatre venues, the Gielgud Theatre has recently put up its own intriguing seasonal title: 2:22 A Ghost Story, back by popular demand. Written by Danny Robins and directed by Matthew Dunster, this record-breaking play is a must-see of the London scene this Winter. This terrifying and yet meaningful experience with an unexpected twist will be loved by thrill-seekers as well as psychological drama enthusiasts.

The tone is set from the first few minutes of the play: a panicked woman enters the stage as a baby’s deformed cry emanates from a baby monitor. Behind her, a gigantic red digital clock shows the time. The woman runs out of the stage, and as the clock strikes the fateful time of 2:22, a loud inhuman scream fills the room and the stage turns bright red. This introductory scene has the public collectively jumping up in terror, leaving them with a dreadful feeling of fright that will haunt them for the rest of the play. The show doesn’t only rely on ear-bursting screams to scare the audience. In fact, its first purpose is not even to scare, but to reflect the tormented domestic lives of its four main characters within their deepest intimacy.

Jenny (Giovanna Fletcher) is throwing a housewarming party in her newly renovated house the night her husband Sam (Elliot Cowan) comes back from a mysterious trip. The couple invites Sam’s college friend Lauren (Stephanie Beatriz) and her current fling, bathroom renovator Ben (James Buckley). Throughout dinner, Jenny confesses that she believes that a ghost appears in the room of her baby Phoebe every night, exactly at 2:22 am. Seeing her friends’ disbelief, she dares them to stay until that hour to witness the ghost. As the friends wait, the night unveils in a succession of revelations, psychological drama, philosophical discussions and speculations. The play slowly shifts from focusing on the spirit to revealing the real ghosts of the story, the personal chimeras that haunt every character, going from regretted forbidden loves to tormented marriages.

The dynamics between the characters holds the play together, achieved by stellar performance of the cast. Emotions are conveyed impeccably, from Jenny’s hysterical outbursts to Sam’s obsession with finding a logical explanation for everything. Also, Lauren’s sarcastic bitterness and Ben’s ingenuity and humour are genuinely convincing. The lines flow by and come together as very natural conversations, and the occasional jokes and banter contribute to some much-needed light-heartedness. The dinner is casual, yet the play doesn’t let us forget that this is a ghost story: the big projection of the clock is a constant reminder of what is to come, and acts as an exasperating ticking bomb. Everything is designed to play with the nerves of the public: the macabre cry of the baby in the monitor, the lugubrious glass-doors that give into a foggy backyard, the horrific screams of the foxes in the garden… Even the set design (Anna Fleischle) of the unfinished house, still decorated with a half-ripped old wallpaper and unfinished half-painted walls, has an eerie vibe that will subtly make the public uncomfortable. The horror is never too “in your face”, which allows it to keep a veil of mystery that is a thousand times more terrifying than any prop or bad ghost costume.

2:22 A Ghost Story is a horror story full of humanity, that will have you jump on your seat more than once and leave you with more questions than answers. If you want a chilling alternative to the countless Christmas shows of the season, this is the show for you: https://222aghoststory.com.

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene and be a part of its creative storm.