Have you started thinking that websites are a bit of an old-fashioned way to do business? Here's why you need a website more than anything. . .
You’ve started your business and you’re set-up on Instagram and Facebook and you’ve got a growing number of followers--awesome! So far you’ve managed to conduct your business via social media, you’ve got an engaged audience who are buying your services, and you can’t see any reason why you’d need a website (congratulations by the way). You can use Facebook and Instagram Ads to boost posts and do advertising so it’s all good right? Well, maybe…
But, what happens if you accidentally violate Facebook’s terms and conditions and before you know it your page is deleted? Now you’re in cyber solitary confinement and you are not considered innocent till proven guilty, you are guilty, guilty, guilty and not allowed to have your Facebook business page back. No one will hear your cyber screams because you have disappeared into hot cyber air and your followers are just carrying on liking and commenting on other business pages and maybe even buying their services. What a shame that you didn’t have a website with a blog and an email sign-up form so that you could still write to your business family.
It might seem like I’m being dramatic, I can be pretty dramatic, but this is actually a genuine problem. Just google “why did my facebook page get deleted” and prepare yourself for the equivalent of a business horror show. This handy article might help you avoid getting your page deleted and offers some advice about what to do if you do find yourself wearing Facebook’s cloak of invisibility. I don’t want to double-down on scaring you into realising that you can’t rely on just Facebook to run your business from, but I’m going to, here’s another article that explains some of the ways that Facebook may end up deleting your business page and maybe even pages that haven’t made any violations yet just incase they might do so.
I’ve made my point haven’t I?
There are a ton of reasons why you really should have a business website, even if it is only a homepage with some contact details. I’m not going to reinvent the wheel here and regurgitate all the reasons myself when there is actually hundreds of articles out there that explain it all perfectly well. So I’ll just direct you to a good one and honestly if you need more information than what this excellent article provides, you probably should level-up and stop reading my blog because it is not going to satisfy your hunger! Here you will find out everything you need to know, including what you need to think about before you start building your website, what things can really make a bad impression, and how your website should be the anchor for your marketing.
Here’s the takeaway message:
You should have a website for your business if you want to be in control of your online presence.
If you’d like me to walk you through the process of getting your website set-up and doing what it needs to then just keep an eye out for these handy blog posts where I’ll share mine and other experts opinions.
When I started You Have My Word (three years ago) I very hurriedly put a website together. I put very little time into it because sometimes I take some very poorly thought out actions.My website has changed over the years to be a little better each time but tbh, it's actually pretty shit.I always intend to overhaul it 'when I get some spare time' but that just never ends up happening.
The truth is that I don't get much work through my website and I really only have it so that people can look me up online if they want to. But, I have written a lot of web content for clients over the years and I carry-out web audits for people to identify strengths and weaknesses in their websites. So, it's about time for me to practice what I preach.
Over the next little while I'll be sharing with you all the tips and tricks for making sure your website is in top notch form and doing the work it should be doing. I know you're all so excited, right?
If you want to see how shameful my website is right now then pop on over to www.youhavemyword.nz and start tut-tutting.
P.S. The picture above is nothing like how my work-space looks or will ever look. It's just a pretty stock photo I grabbed from Unsplash
Nora and Delia Ephron’s
Love, Loss and What I Wore
The Dark Room
Director: Damian Thorne
Review Date: 24/05/2019
On Friday with my own squad of epic women we took the short stroll from The Brewers Apprentice to the Dark Room to catch this strong yet tender women-centric show. The title gives a decent clue as to what it was themed around, and a cast of strong, well-known local women was a good draw-card.
Beautiful floral artworks by local artist Amey Bell-Booth set a nice backdrop for an otherwise minimalist set. Five women (Gael Haining Ede, Jan Barnett, Trudy Pearson, Rachel Bowen, and Kate Balfour) dressed in black and seated on stools, faced the audience and spoke from the heart about life, and clothes in a series of candid monologues. That might sound a bit materialistic, but it was so much deeper than that. The closet was turned out, and every corner exposed as they each undressed the layers of clothing we hide behind. Comments by our parents that have haunted us for years, the well-meant but horrifying remarks tossed around about how we should look, the dresses worn at special occasions, the black-hole of the purse (handbag), rape and what was worn, the loved and lost clothes, the bad parts of our bodies, it was all there, and on point.
This show modeled excellent writing first and foremost. The script written by sisters Nora and Delia Ephron based on the book by Illene Beckerman was impeccable and all the women I attended with felt that it hit home in a perfectly true way.
Gael Haining Ede and Trudy Pearson produced emotionally vulnerable performances with expert style, and Rachel Bowen and Kate Balfour shared a beautiful and surprising scene about wedding outfits. Newcomer Jan Barnett delivered a challenging script about mini-skirts and her favourite boots.
I’m grateful that director Damian Thorne brought this show to Palmy. It was a lovely experience to share with friends. I’d suggest that you would need to be a particular kind of guy to gain enjoyment from this show. My hubby was going to attend but backed-out when he realised he would be the only man in the oestrogen-rich gang. I would have squirmed in angst if he was there because ninety minutes of deep discussion about women’s body image, clothes, relationships, aging and other stuff would be as overpowering for him as perfume sprayed right into his open eyes.
Review: The Addams Family
by Marshall Brickman and Rick Elice
Directors: Chris Burton, Kirsten Clark, Alex Hughes
Review Date: 14/03/2019
The PNBHS/PNGHS production is always a popular show, with many proud parents, grandparents and friends pouring in to the Speirs Centre to see the results of their children’s labours over a long period of time. For some, it becomes a tradition and they keep going back year after year long after their children have left school and moved on. This year’s show looks to be a crowd-pleaser since most parents will remember The Addams Family—with their peculiar dark ways— from when they were kids. Younger generations may remember the movie, or at least be lured by the mixture of gothic themes and comedy in this out-of-the ordinary musical.
The main roles I expected to see were all accounted for—Morticia with her sharp, passionate, and witchy ways, Gomez, Wednesday, Pugsly, Uncle Fester and Lurch. Even Thing made a brief appearance. Callum Pritchard’s role as Uncle Fester was a standout crowd favourite. Charisma and warmth glowed all around him or was that just the light glaring back from his bald head? His role was impeccably delivered, he had the audience happily eating out of his hand. A photo op following the show could be a good call for this year’s production, I for one would have stayed to give Uncle Fester a hug.
Lily Bourne pulled off an excellent Morticia and was elegant and poised in her role, I would not want to cross her. Oliver Inman’s Gomez Addams was charismatic, quick-witted and his devotion to the Spanish accent required was impressive. I had to keep reminding myself that Emily MacKay was a high school student and not actually the middle-aged mother Alice Bieneke which she played with exceptional talent. House servant and zombie Lurch was well-played by Jude Wightman. Though his role required mostly grunts instead of dialogue his stage presence more than made up for it. Rachel Hodgson’s arts of imitation were scarily accurate as Grandma Addams, similar to Emily Mackay’s role I had to keep reminding myself that she wasn’t in fact an old woman but rather a very talented young girl. Annabel Orwin showed her strength on stage again this year including her strong vocal skills, as did Grayson Lodge as Pugsly. Overall the talent was exceptional and a testament to the work that has been put in by everyone to produce a well-polished show with some enjoyable singing and dancing numbers performed by the cast.
The set worked well with a high-class gothic look opted for instead of the expected dust and cobwebs aesthetic. Stage changes were managed quickly and efficiently, a big job considering how many scenes there were in the show.
Technically this show ran well, a more practised eye than mine may have been able to pick out something but from this laypersons perspective everything ran smoothly.
The hard work put in to produce this show was evident as the cast and crew worked together confidently delivering this goth-themed, comedic musical. Comedic delivery of this dialogue-driven show was outstanding. Costuming, make-up and hair was excellent and consistent with the clean, dark lines of the Addams Family wardrobe.
This stage-adaptation of The Addams Family focuses on family values and the ‘normal’ and ‘not-so-normal’ ways of dealing with them. With its origins in USA it’s a formula that we are familiar with—some laughs, some drama, some good old family morals, and will it be a happy or an unhappy ending? I’ll leave the tension there. Spooky…
Lola and Friends ‘Up the Garden Path’
The Globe Theatre
Director: Ian Harman
Review Date: 23rd February 2019
Let me start by saying that I’m a fan of Mr Lola Illusion and have attended at least four of his shows both here in Palmy and in Wellington. I’ve also had the pleasure of attending shows that Ian Harman has directed, or been costume designer for, and his magic touch is evident. For this reason I knew that ‘Up the Garden Path’ was an excellent choice to take my two teenage daughters to, for maximum enjoyment and to foster an enduring love for theatre (which I actually hated before I attended ‘The Glass Menagerie’ in 2016 directed by Ian). I didn’t negotiate about whether they wanted to attend the show, I informed them, and then I made it super cringe for them by constantly reminding them that we were going on a ‘family date night’—haha! Moving on, we got seated and—they turned their phones off!!!!
Ian always knows how to fill a set, he probably has a mathematical rule or something to do with proportions that I’ll never grasp, but somehow even at times when there are minimal items on set he manages to have everything in the right place for the scene. Well this was a lovely whimsical garden scene that didn’t disappoint, complete with paper lanterns, hydrangeas and, in the background, was that a real bird in the theatre or were there bird sounds playing on the sound system? It was the latter, a lovely touch.
The moment Mr Lola Illusion stepped out onto the stage adorned with sequins ( I think or maybe he just naturally sparkles), long stockinged legs and heels, in a green whirlwind of beauty and entertainment and a few cheeky winks, I looked down the row of seats to see my hubby and two daughters beaming. Lola never disappoints.
I had no idea what to expect from this iteration of Mr Lola Illusion, he truly was leading me up the garden path, but because he’s a trustworthy companion I was relaxed about the journey. Here’s what a delighted audience was treated to. Havana Ciggaro seduced us with her cheeky and teasing burlesque, Bronwyn Turei delighted with her heartfelt portrayal of a wedding singer who got dumped by her fiancé while performing—we all wanted to hug her. Cole Hampton as Pamela Hancock from Bulls ‘Auntie Pam’ had us in fits of laughter with her seventies housewife persona, and Amy McKenna gave us goosebumps with her exceptional voice by belting out some big numbers and then doing an intimate original duet with her husband—very romantic. Valerie Bolter performed flamenco and created some audience interaction that was easy and fun to take part in.
Throughout this collection of variety performances the audience was privy to some planned, and some unplanned backstage dramas. To be honest, it was hard to tell which were planned and which weren’t because Lola is an absolute master of the stage and I’m sure he’d keep twirling his tail feather and winking even if the building was falling down around him, and the audience would just naturally trust that everything was carrying-on as planned.
Lola was resplendent in green, just as lovable as Kermit the frog and managed the stage with much the same panache. He is a dancing singing machine and can somehow take the audience from uproarious laughter to heartbreak in the blink of an eye. After being attacked by a swarm of bees—seriously how did he make a basket of cut up bits of paper come to life into a swarm of bees? I told you he’s magic—he hilariously returned covered in band-aids and sang a sombre heartbreak piece called ‘Black Tears’ which had everyone awwing in sympathy. Mr Lola Illusion is such a kind soul that he wipes away his tears, gives a happy wink and moves back towards the light.
Some standout moments were Pamela Hancock’s blooming entry as a flower (wow) and Bronwyn Turei’s drunken heartbroken wedding singer act as she belted out Alanis Morissette’s ‘You Oughta Know’. Mr Lola Illusion’s attempts to drag the spotlight from Havana Ciggaro when he joined her uninvited on the stage complete with tail feathers and stolen dance moves was also a highlight. I’m surprised he didn’t get a ‘heyyyyy-ya’ style karate chop reminiscent of Miss Piggy from Havana Ciggaro.
Lola ended the show by letting the audience know that he would be doing a new show every month for the next three months. You can’t see this show again, but the next show will be seance themed and obviously worth seeing. My girls were delighted and both asked if we could attend the next show—obviously ‘yes’ is the answer. Keep an eye out for the next one and book tickets early as this show sold out.
Hudson & Halls Live!
by Kip Chapman with Todd Emerson & Sophie Roberts
Director: Dan Pengelly
Review Date: 15/11/2018
I’ve got an identity crisis! How do you describe the feeling of being behind the scenes, part of the show, and part of the audience? The hubby and I were fortunate to have front row seats at Centrepoint Theatres Christmas production ‘Hudson and Halls Live’ and we got to play all those parts.
If you’re my age (I’m not telling but heading towards vintage and probably more in a cheese way than a wine way) or older you will likely remember the outrageous cooking show ‘Hudson and Halls’ that graced our TV screens from the mid 70’s to the mid 80’s. I was too young at the time to think anything other than that they were pretty funny guys who didn’t act the way that other TV cooking shows did with all their wild and chaotic tiffs and shenanigans occurring in front of the camera. It was quite a move away from the staid, one dimensional shows that we were used to. These guys were fabulous, and in a time when it was still illegal in New Zealand to be gay their relationship was the worst kept secret, and we were loving it!
So, this nostalgic show is incredibly clever. It’s so clever it makes my brain hurt thinking about it, and I’m slotting myself into a category of people that will never be clever enough to pull something like this off. It’s a cooking show, it’s a show about creating live TV and managing a live audience, it’s a show about Hudson and Halls, it’s a show that revives the 80’s, it’s a feast of experiences and a recipe for disaster!
Centrepoint general manager Kate Louise Elliot is generally great at managing her role as floor manager Ngaire Watkins who managed all of us audience members who were also part of the ‘live studio audience’ in the show (see it’s clever eh?). This is a huge role and I think the show would be severely affected without her expert management of everything! She was annoying, and funny and bold and I’d like to hug her and then run away because she also kind of scared me.
I want to thank Andrew Laing’s teeth for their role in holding back everything that his character Peter Hudson wanted to say and smiling through it all. Every time I think about that plastered on ‘smile for the TV’ I have a little giggle. Peter Hambleton’s character David Halls was a lot more big hair, big hand movements, and amped up fabulousness. He paired so well with Andrew Laing and honestly I was just sitting there watching all the drama unfold like it was real life—which it actually was. Their roles required a high amount of energy and throughout it all they were cooking a Xmas feast with all the trimmings. These guys were so pro I just basically believed I was watching Hudson and Halls—the originals.
I was fortunate to be there for the Wednesday night Q&A session (which I highly recommend if you get the opportunity) so I got some insight into the preparations for this show. There was a lot of set-up required with all the cooking involved and Henrique Beirao crossed the boundaries between behind the scenes operator and becoming a technical operator on the set of ‘Hudson and Halls Live’. He was a busy guy but played an enjoyable part amongst all the drama.
Overall, I would say that director Dan Pengelly has succeeded again in cooking-up an excellent show using seasoned professionals to make an awful meal that is definitely not the star of the show. I’m hungry for more. Go gorge yourself on the gorgeousness.
P.S I can’t say how this would play out if you have never seen the original TV show because I have, and I can’t undo that. If I had to guess I’d say that it would still be a good fun show, but you may just miss a few layers…
At the Q & A session Andrew Laing pointed those who hadn't heard of Hudson and Halls to this documentary about them which is very insightful.
Review date: 11/10/2018
I know Amy, the writer, director and performer of this play about menstruation. We’ve been in a writer’s group together and she pops up all over the place in different creative roles. Despite this, I felt like her show Period. was going to be bloody disgusting and very awkward. The marketing material was enough to make even the most experienced bleeders look twice in shock. Wow, I was exhausted that night and I hoped I wouldn’t have to sit there for too long because I was worried I might fall asleep.
I should have had more faith in Amy because she revealed an incredible depth of skill in her ‘World Premiere’ of this show. It was bloody fantastic! Amy played Karla, an innocent eleven-year-old girl coming to terms with getting her period for the first time. Karla’s role is all mimed. That might sound boring, but Amy actually made me realise how much lazier an actor could be when they rely on dialogue to act out their role. Her expressions and character were absolutely delightful, perfectly capturing the innocence and confusion of a child discovering new things. Karla’s mother is all dialogue and no acting—this role is voiced by Amy too. Karla’s mother—delivered like an omniscient being from the sound system—talks Karla through the changes her body is experiencing. There are some hilarious, and some very touching moments. It was heartening to hear so many males in the crowd laughing uproariously, I thought they were brave to even come along but after seeing the show it is obvious that you don't need to have ovaries to enjoy the show.
There were a plethora of great props which I am not going to go into detail about here because some things just have to remain a surprise and my descriptions will not do them the justice they deserve. There’s some excellent skills displayed with puppetry too, and if Amy created all those things she deserves a bloody award. What surprised me the most was how ‘not gross’ it was. Her particular mixture of child-like curiosity, play, and honesty dealt with what is usually a hidden and taboo subject in a very tidy way. I didn’t leave feeling dirty and horrified, I left feeling so astonished and happy at what a fun show I had just seen. I personally think this show should travel round the country being shown at schools because it is a brilliant, funny, non-awkward way to talk about a bloody annoying topic.
I think Amy might have worked long and hard on this project. She seems to have thought of every little detail. Her acting skills were exceptional and her connection with the audience incredibly natural and relaxed. You could say it simply flowed beautifully. I’d like to take my daughters to it but its short run here is already finished. We can only hope it comes back for a second showing, maybe on a monthly cycle....
This was top notch. I’m proud to have been at the ‘World Premiere’ of Amy Atkins’ Period.
Director: Jenna Kelly
There will be those of you out there that think that theatre going is ‘not your thing’, that it is ‘stuffy’ and ‘boring’ and you’d rather go to a movie or off to the pub. You’re wrong. It’s a brave act to step into a theatre and have a story acted out at you. You can’t close the book and walk away for a while—you’re there without seat belts and with no idea what kind of terrain you’re about to encounter. In a small theatre like The Darkroom in Palmerston North you might not expect to see anything exceptional—you’re wrong again.
Last night I took my teenage daughter to see Jenna Kelly’s version of Maya Levy’s Daughters. I’ll never forget it. I feel emotional trying to write this review and I want to find a way to implore you to go and see it without sounding like I’m trying to make a sales pitch or am getting royalties from ticket sales(I’m not). I don’t want to give much away either which limits what I can say…
Basically, Jenna has cast nine males to deliver the monologues of what were originally written as teenage girls’ narratives. Each monologue offers a glimpse inside the life of a teenager and covers topics such as gender norms, sexuality, social problems, drugs and so on. What stands out in these narratives is that even though they are being delivered by an all-male cast, there is almost no denying that they are all female voices. Imagine the ghost of a teenage girl wearing the flesh of a teenage boy. It is hauntingly beautiful.
I want to commend the whole cast for an excellent job but there were two stand-out acts for me. Callum Goacher brought tears to my eyes by showing powerful vulnerability in silent moments, and Léon Bristow hollowed out my chest and chucked my heart in my hands as a take home gift from his 18th birthday party. I’ve repeated a summary of Léon’s monologue to my family a few times now and have yet to manage it with dry eyes.
As this is a monologue driven show the use of props is at a bare minimum but when they are used they are powerful – never more so than in Léon’s act ‘Gift’.
While this show is at times traumatic it is also cleverly and tenderly delivered offering relief with some lighter and relatable content. There are laugh out loud moments and profound silences—just like real life. I’ll never forget this show.
When I got home my husband was watching the end of a sci-fi movie. I couldn’t help but notice how the actors were substandard compared with what I’d just experienced at the Darkroom. With all the movie’s special effects and ‘stars’ there was nothing but artificial emotion and a tired and clichéd story line. I got up and did the groceries on my iPad while it finished…
Director: Dan Pengelly
Club Cabaret is not the famous musical Cabaret you may know of, it is a fabulous display of local and not so local talent. For those of you who—like me—kind of know what a ‘cabaret’ is but aren’t quite sure, I’ve looked up some definitions, and for the sake of brevity I’ll make up my own version. A cabaret consists of a variety of acts brought together at a venue like a pub, cruise ship, nightclub or other such place with a stage. It usually includes a dining opportunity and is run by an MC. You could say that it’s a tacky version of Britain’s got Talent complete with all the cringe-worthy and unpredictable moments that come with such a production. Club Cabaret turns it all on its head by bringing exceptional talent together who act out a low-budget style cabaret—do not be fooled, what you will witness is theatre at its finest.
At Centrepoint Theatre, Club Cabaret’s performance begins the minute that you enter the foyer—keep your wits about you, it’s a dynamic environment and you never know what might happen—and what you see in the foyer may make you seriously question what is happening on the stage later!
Inside the theatre the cabaret environment has been brought to life with all the glitter, silk and velvet curtains you’d expect to see for such a performance, thanks to set designer Sean Coyle. Kane Parsons combines his musical expertise with his performance as part of the show from behind a brightly lit sign with ‘Club Cabaret’ emblazoned on it. He plays this dual role with ease as usual.
I’m seated in the audience, jealous of the platters and drinks the tables at the front are receiving (seated tables are VIP) but also pleased that my more towards the back seating will exclude me from audience interaction (it didn’t). I’ve got no idea what sort of entertainment is going to roll out, but I’m ever aware that there are actors circulating in the crowd and one of them has just made eye contact…
A bit of mystery will add to your enjoyment of this variety show. I don’t want to reveal exactly what happened but I will say that there was an incredible level of expertise, dedication to craft, and to creating a genuine cabaret atmosphere. I smiled, laughed, gasped and covered my mouth in horror as an expert cast performed some incredible acts. MC-ing the whole affair was director and Centrepoint Theatre manager Dan Pengelly playing the part of 'Pierre'. With an exceptional French accent and a delightfully ‘professional’ MC persona, Dan was an absolute joy to watch. Darlene Mohekey—wow! Talent like hers should not be missed. Returning to the stage for multiple performances you’ll be surprised at her chameleon like abilities. An Eminem performance by Darlene I can only describe as – unbelievable.
I think I needed an oxygen mask for the physical theatre performances by Eve Gordon and Mike Edward of Dust Palace. If you missed an opportunity to see Le Cirque Vole where Dust Palace most recently performed then don’t miss this chance while they’re still here in Palmy. Seeing is believing, but even then, you won’t believe your eyes. Intimate, sensual, and terrifying their three high-quality performances will have you as on-the-edge of your seats as they are on theirs.
Lizzie Tollemache and David Ladderman bring the circus and the magic! Their interaction with a crowd who are putting their brains through the acrobatic act of trying to figure out how they carry out their tricks is excellent.
I think Dan Pengelly has a special talent when it comes to selecting excellent shows and choosing great cast members. He seems to have the Midas touch for it. The cast of Club Cabaret are stars! Pure gold stars. Did they cast a spell over me? This is no illusion; Club Cabaret is amazing.
Lola’s Grave Mistake
Director: Ian Harman
I’ve had the pleasure of seeing Mr Lola Illusion (Ian Harman) perform in ‘The Lola Show’ at the Wellington Fringe Festival in 2017 and as MC at the ten-year celebration performance of his popular burlesque show at Centrepoint Theatre ‘Tease-o-rama’, and I did wonder if ‘Lola’s Grave Mistake’ could offer more. It does.
Grab your sombrero and enter the sombre darkness, and burning pain, of a broken heart. You may find yourself in something resembling hell in The Darkroom, but with Mr Lola Illusion taking centre stage, even the hellishness of a broken heart looks hot in heels.
If you want to practise some facial exercises, then simply being in the audience will give you a great session of facial rejuvenation. I smiled, laughed and sighed deeply as Lola took me on a journey from intoxicating joy to heartache, and back again, during his short but sweet one-hour extravaganza. The art and magic of story-telling is alive in every cell of Lola’s vibrant body and soul. Somehow, he smiles with his whole body and wears sadness like a bodysuit of rocks.
Shaking his tail feathers, Mr Lola illusion takes us on a whirlwind ride to hell and back. There’s a real beauty in the honesty, naivety, and vulnerability that Lola expresses in the—at times—heart-breaking narrative that runs through the show, of which perfect performance by Ian Harman kept the audience engaged and vocally supportive. Though matters of the heart are a serious subject, Lola creates a redemption-song, Mexican-cabaret, drama/comedy genre which is as lively as the fast-beating heart of a drunk person running in heels (while singing). Cleverly placed subtle and some not-so-subtle innuendo was delivered with a wink and a cheeky smile and received with noisy, happy laughter.
There was an ever-so enticing cameo by the always delightful Sam Lyons aka ‘Costa DeMillion’ of The Boom, Boom Room Burlesque fame, and the unmistakable voice of local singing legend Amy McKenna was detected in a remixed version of ‘Jolene’.
Great musical numbers belted out without restraint (and sometimes while running) were well chosen and performed to wonderful effect. Sometimes when I’m watching shows with a few musical numbers I groan and think ‘oh no, not another one’, but this was not one of those times—Ian Harman has cleverly re-worked and created songs to tell his story in a most enchanting way.
Being a master of set, direction, and costuming (among many other things) Harman has everything well planned out and running seamlessly (although any show I ever created would never feature me running, let alone in heels). As usual for a show with his artistic hands all over it, the set and props seem to just magically appear and disappear out of nowhere. Telephone scenes that weave their way through the show were perfectly executed and an absolute crowd pleaser. Mr Lola Illusion is so generous to the audience that he even handed out popcorn to be devoured during the most dramatic parts of his act.
Lola’s Grave Mistake is a performance about love and loss that we can all relate to, and I am always grateful to those who are brave enough to share their stories with such honesty. Mr Lola Illusion showed us his heart—it’s beautiful.
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