The Clockmaker's Daughter

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She completed a Licentiate in Speech and in Drama from Trinity College London and then a summer Shakespeare course at the Royal Academy of Dramatic Art in London. Later she earned first-class honours in English Literature at the University of Queensland (1999) and won a scholarship to complete a master's degree focussing on tragedy in Victorian literature. [6] During her undergraduate studies she wrote two full-length manuscripts (which are unpublished) before writing The House at Riverton (The Shifting Fog), which was published in 2006. A Writer's Life - Alumni and Community - The University of Queensland, Australia". www.alumni.uq.edu.au. Archived from the original on 8 January 2016 . Retrieved 2 November 2015. Themes. Important themes include time, abandoned children, love and loss, family history, and art. I appreciated Morton’s references to time throughout the story. It’s a creative and thoughtful thread that weaves the various storylines together with the title.

The entire cast was animated and effervescent and sounded tremendous in ensemble numbers. Webborn and Finn write complex music but this company made fast and furious rhythms, melodies and lyrics sound easy. I also loved Jenny Arnold’s inspired and exhilarating choreography. There were some standout performances and superb singing from this young student cast, notably Christy Bellis who truly delivered a fully rounded, intelligent and deeply affecting Constance. Alexandra Davies as self-centred, work shy Ma Riley gave an assured and funny performance (and great singing) in a role where the audience have to hate her. There were no weak casting links at all – bravo!Most simply revert to their original state of distrust and hate. There are certainly parallels with current goings on around the world – an allegory for many situations past and present.

a) meditative read, with lush settings, meticulous period details, and slowly unfurling enigmas will enjoy this book.’— Kirkus It takes a while for her to be accepted into the small tight-knit and suspicious community of Spindlewood, but after first causing a deeply upsetting problem, Constance rescues the situation and wins over hearts and minds to become warmly welcomed. It’s so multi-layered that I marveled at her plotting as well as her storytelling as I was reading. It’s the kind of book you want to really focus on as you read it, and savor every last detail as it unfolds.’— Bookreporter.comThere was some outstanding singing and acting going on at the Laban Theatre. The production certainly sounded wonderful and the small band, headed by superb pianist and MD Tony Castro, sounded as accomplished as it did at the Landor and at recent Webborn and Finn concerts. Why does Birchwood Manor feel so familiar to Elodie? And who is the beautiful woman in the photograph? Will she ever give up her secrets? Morton’s latest time-travelling tale of lust, deception and lies. . . Think The Miniaturist meets The Little Stranger, woven together with a contemporary thread, and you won’t be far off.”— The Pool

It was hugely exciting to get another opportunity to see this most impressive new musical once more after being spellbound by Robert McWhir’s profoundly beautiful production at Clapham’s Landor Theatre in 2015.

Morgan-Lee Wilcox as Constance’s one true friend Amelia gave a lovely, fully believable performance throughout, also singing beautifully, and Juan Douglas – as the Major – made his supporting role stand out. a b Sorensen, Rosemary. "Gothic delight". The Australian. Archived from the original on 4 November 2010 . Retrieved 11 December 2019.