Author: libartowrites

REVIEW: Sauna Boy

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Rating: 4 out of 5.

A look behind the curtain at queer culture at its finest.

“Sauna Boy” is a bold and engaging one-man show that explores queer identity, sex, and survival through the lens of a young gay man working in a London sauna. Danny Boy, a struggling actor turned sauna manager, guides the audience through his unexpected workplace journey with humour, honesty, and emotional depth.

Tightly written and sharply performed, the play captures the highs and lows of queer spaces that exist outside the mainstream. Danny introduces us to a vivid cast of characters—coworkers and clients alike—each rendered with detail and empathy. From closeted regulars to flamboyant party boys, every encounter reflects the sauna’s role as a complicated place of connection, escape, and confrontation.

What makes Sauna Boy stand out is its refusal to simplify or sensationalize. The sauna is both a sanctuary and a site of shame—depending on who’s walking through the door. Danny navigates these contradictions with emotional intelligence, drawing out both the humour and heartbreak of life behind the steam.

The staging is minimal, letting the performance shine. At just over an hour, the show maintains a strong pace, balancing laugh-out-loud moments with scenes of quiet reflection. While a few transitions between characters blur slightly, the storytelling remains compelling and authentic throughout.

Sauna Boy isn’t just about sex or scandal—it’s about finding humanity in a space many choose to ignore. It’s a love letter to queer spaces in all their messy, beautiful complexity. This is queer theatre that feels vital, personal, and overdue.

A warm, funny, and touching piece that lingers long after the lights go down.

Sauna Boy is performing though to the 16th August at theSpace and runs one hour and ten minutes. Tickets here.

RIVIEW:Sh!tfaced Shakespeare: Midsummer night’s dream

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Rating: 4 out of 5.

 Chaotic

The Sh!tfaced team is back once more on the Fringe stage with an abbreviated adaptation of the Bard’s A Midsummer Night’s Dream focusing on the lovers. In this crowd pleasing production, five trained actors take to the stage with one designated drunkard every night. The result, chaos. As their fellow actors must navigate the drunkard’s unintentional improvisation, the resultant story takes a bit of a winding path. Impossible to recreate, this fever dream of a production had the audience in stitches from start to finish. Our designated drunkard for the evening was Hermia, which quickly became apparent. In a valiant attempt at staying the course, the story began much to be expected—that is until fair Hermia launched the script into the ether. 

Audience participation featured heavily from the beginning of the festivities as several members of the front rows, lovingly referred to as the “ vom zone, ” were provided with roles and interactive props. These unexpected additions provided challenges for the designated drunkard and the cast alike. Beware the front row if engagement is not your style. These additions and challenges demanded a significant cutting of the script resulting in more of a heavily reduced series of lovers scenes than the true narrative. Even then, there was not enough time to properly see the scenes through. In a hasty wrap up, the resultant couples were swapped, much to the dismay of Puck who served as guide throughout the narrative.

This show delivers on its premise and is understandably acclaimed for its hilarity. This new and engaging way to experience the Bard exemplifies the Fringe in its chaotic and experimental nature. As the piece is different every night it is hard to consistently pin down thoughts regarding the effectiveness of the piece. It’s funny, engaging, and a textbook example of artists doing the most with a simple premise. The only true drawback to this piece is the inconsistency inherent in the performance and the slight misnomer regarding the content structure. How little of the bard’s narrative can be included to still be marketed as one of his works? 

The Sh!tfaced team performs nightly at 9:15 at Underbelly – McEwan Hall and lasts one hour and ten minutes.

C Julia Salkin

REVIEW: Medium Dead

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Rating: 3 out of 5.

Never meet your heroes; you may just have to write their suicide note.

Bennie, played by Eleanor Shaw, is a ghostwriter residing in corporate limbo tasked with penning suicide letters for the soon to be deceased. With all the trappings of a dead end job and her immortal residence on the line, the pressure is on to produce a suicide letter for the ages. Copy and paste will not cut it any longer and the threat of hell is looming. 

This short and well-acted play takes a significant leap in creativity toeing the line between satire and drama. Its punchy, funny and sad in a nervous chuckle sort of way. Struggling with the questions, what makes a life well lived, and did Anthony Bourdain figure it out, this piece jumped right into the thick of matters of life and death. 

Bennie, it appears, has seen it all. From pedophiles to desperate repeat callers, she is prepared to provide something for the soon to pass that is full of clarity, motivation, heart and flair. In a place that has “no stories here, just endings,” she attempts to piece together what her story was and what it all meant. A head scratching production that develops quickly and succinctly, the audience are invited into the narrative immediately as Bennie sits in the audience on a break before the show begins. 

An office set with nihilistic posters populates the center of the room, and the audience is invited to leave a note on the set following the performance. The only glaringly obvious issue with the piece is the staging. As it is performed mostly sat, the computer monitor completely obstructs stage left audience members leaving audience craning or enjoying a bit of, mostly, audio theatre. Secondarily, there is room for further development of the piece in a full two act production. Given the limitations of the Fringe, the piece achieves its dramaturgical goals, but with a bit more time this piece could develop into something that leaves its own legacy. 

Medium Dead is on at 16:50 at Zoo Playground – Playground 2 and lasts one hour.

REVIEW:How to Win Against History

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Rating: 3 out of 5.

A spectacle about legacy and individuality.

Diving into the life of a frankly deplorable but fabulous aristocrat Henry Cyril Paget, this short musical sets out to be obvious in its condemnation of queer erasure throughout history. Regrettably, in an attempt to establish Henry as nuanced and eccentric, the result is a frenzied parade of a deeply unlikable, highly privileged person who—in the pursuit of individualism—bankrupt his family and denied those around a quality of life within the scope of  both his ability and means to provide. 

Although cleverly written, this piece is more of a pantomime in its over the top nature with its demonstrative and self-aware narrative structure. This is a musical in marketing only as it exists currently without a memorable score but an excellent script. The redeeming characteristics for this production were the live musicians and energy they brought into the central narrative. There were moments of true fun and enjoyment when the entire cast were working through ensemble numbers with excellent physical comedy. Additionally, the costumes and set were eye-catching and fun and more in line with a show in residence instead of on a fringe stage.

Unfortunately, this show was not a permanent fixture, and, in an attempt at drowning out the sounds of the festival, the resulting audio quality was too loud to be safe for audience or performers alike. This, paired with the copious amount of haze resulted in an attempt at immersion that resulted in an overstimulating, overpowered fever dream of a production. 

This piece left more questions than answers, despite their declaration to be obvious. Who is this piece for? The casual fringe theatre goer may likely find this piece overwhelming and inaccessible. Regardless, if you attend, be prepared with ear protection. The show is likely to improve through its run as the team settles into their run, but for a show so highly praised in the past, it did not live up to its fabulous hype. 

How to Win Against History is on nightly from 19:15 at the Underbelly – Udderbelly venue and lasts an hour and a half.

FEATURE: Launch of The Royal Lyceum 25/26 

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The Royal Lyceum Launches 2025/26 Season, Celebrating Sixty Years of Theatre in Edinburgh

The Royal Lyceum has unveiled its 2025/26 season, marking sixty seasons of theatrical excellence with an ambitious and eclectic mix of genres and eras. This landmark season also serves as the debut offering from the Lyceum’s new Artistic Director, James Brining, and promises a diverse, collaborative programme rooted in quality and creativity.

Attendees of the launch event were treated to a panel featuring representatives from the theatre’s in-house productions, offering exclusive behind-the-scenes insights into the curation of what is shaping up to be a bold and engaging season.

The programme opens powerfully with Apphia Campbell’s acclaimed Black is the Color of My Voice—a moving exploration of the life of Nina Simone and the woman behind the music. Originally written during Campbell’s six-year teaching tenure in Shanghai, the piece has resonated with audiences worldwide. “It connects with every audience member differently,” she shared. The evening concluded with a stirring musical performance from the production, offering a tantalising preview of what’s to come.

Brining, himself, will take the directorial reins for The Seagull, describing the Chekhov classic as a “play about theatre” that continues to fascinate and challenge audiences. His adaptation promises period authenticity while drawing out the text’s humour and emotional depth. Following this, The Glass Menagerie—a co-production with Dundee Rep and the Citizens Theatre—will bring a fresh vision to Tennessee Williams’ masterpiece under the direction of Andrew Panton. Informed by discussions around accessibility and featuring a whimsically imagined physical world, this reimagining aims to captivate both seasoned theatre-goers and new audiences alike.

Closing out the year and ushering in the festive season will be Cinderella: A Fairytale, directed by Jemima Levick. Promising a magical experience “for six-year-olds and ninety-six-year-olds,” Levick emphasised the importance of the show within the theatre’s year: “It’s not just about growing up—it’s about the human condition.” As the season’s longest-running production, Cinderella is poised to be a highlight for families and festive theatre fans.

A major draw of the season is the world premiere of One Day, a brand-new musical adaptation of David Nicholls’ beloved novel. After the bestselling book and two screen adaptations, Edinburgh will finally see Dex and Em’s story return home—in musical form. The Lyceum will undergo a full seating reconfiguration to create an immersive experience, and with demand expected to be high, Brining strongly advised early booking for what is likely to be a standout event of the season.

Pulitzer Prize-winning playwright Lynn Nottage’s Sweat is slated to follow, offering a powerful and timely commentary on identity, race, economics, and politics in working-class Pennsylvania—the very conditions that shaped Trump-era America. “It’s a play in a moment that talks about a whole culture,” noted playwright and panellist Zinnie Harris. While tonally distinct from other offerings, Sweat is expected to deliver a poignant and resonant finale—pending the announcement of a possible additional production.

Complementing the main programme are four visiting productions and several one-night-only performances, ensuring there’s something for everyone. The Lyceum is also set to expand its reach through the Lyceum at Home initiative, which aims to bring high-quality theatre directly to communities across all seventeen wards of Edinburgh.

Brining’s debut season casts a wide net, with a clear intent to “present works of the highest quality that appeal to the greatest number of people.” In an era of uncertainty for the arts, this bold and inclusive vision may be just what is needed to reinvigorate professional theatre in Scotland’s capital.

Image Credit: Johan Persson

REVIEW: Matthew Bourne’s Swan Lake

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Rating: 5 out of 5.

“A visual feast that has something for everyone.”

Matthew Bourne’s Swan Lake landed at the Festival Theatre this week, continuing to captivate audiences with its bold and thrilling reimagining of the classic ballet. Celebrating its impressive 30-year run, this innovative production has remained a sensation, blending contemporary sensibilities with the grandeur of classical dance. The performance is, without a doubt, a masterpiece, delivering a fusion of intense physicality, stunning choreography, and a gripping narrative that resonates with both ballet purists and newcomers alike.

From the moment the curtain rises, it is clear that Bourne’s take on Swan Lake is far from conventional. The show’s strength lies in the seamless blend of dance and character work. While the dancers are undoubtedly skilled, what truly elevates this production is their ability to convey rich, emotional stories without uttering a single word. The movement is expressive, filled with the kind of intricate detail that makes each scene an emotional journey in its own right. The world of the show is populated with such vibrant characters that it is impossible to catch everything in a single viewing. The performers’ mastery over their bodies allows them to transcend the traditional boundaries of dance, making their characters vivid and unforgettable.

The narrative itself, while inspired by Tchaikovsky’s iconic work, evolves in unexpected and stunning ways. At the heart of the story is the Prince, trapped in a life of suffocating expectation and high-society pageantry. The cold, ever-watchful presence of the Queen, and the revelation that his Girlfriend is nothing more than a paid participant in his life, push the Prince into a spiraling despair. It is in this fragile state that he encounters the swans — a group of powerful, all-male dancers who embody the grace and danger of the natural world. The Prince’s transformation begins after an electric Pas de deux with the lead Swan, a moment of raw emotional intensity that sets the tone for the rest of the show.

As the second act unfolds, the tension only heightens. The Prince attends a lavish ball, where a mysterious Stranger appears, catching the Queen’s eye and igniting a consuming jealousy in the Prince. The Stranger’s striking resemblance to the Swan intensifies the Prince’s torment, leading to a tragic and violent breakdown. In his despair, the Prince’s actions spiral further, culminating in the shocking death of the Girlfriend and his subsequent imprisonment. The culmination of the Prince’s journey comes with the return of the lead Swan, pursued by a vengeful flock, creating an electrifying and poignant finale.

In Bourne’s hands, Swan Lake becomes a rich tapestry of desire, madness, and self-destruction. The choreography is masterful, and the interplay between the characters is spellbinding. The work is a triumph not only of dance but of storytelling, a testament to Bourne’s genius in pushing the boundaries of what ballet can express. With a bold, modern sensibility that does not shy away from the darker aspects of the story, Swan Lake remains as relevant and breathtaking as ever. In sum, Matthew Bourne’s Swan Lake is an extraordinary theatrical experience, a blend of beauty and heartbreak, movement and meaning, that continues to capture hearts and minds, year after year. This is a show that is nothing short of perfection.

Swan Lake is playing at the Festival Theatre Edinburgh until 12th April. Tickets are available here.

Belgrade Theatre Coventry March 2025 Little Women by Louis May Alcott’s Adapted by Anne-Marie Casey Producer/Lee Dean Director/Loveday Ingram Designer/Ruari Murchison Lighting/Mike Roberston Belinda Lang/Aunt March Honeysuckle Weeks/Marmee Jack Ashton/Brooke&Bhaer Grace Malony/Jo Cillian Lenaghan/Laurie Jade Kennedy/Meg Catherine Chalk/Beth Imogen Elliott/Amy nobby@nobbyclark.co.uk

REVIEW: Little Women

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Rating: 4 out of 5.

A beloved classic in all its glory.

Little Women has arrived in Scotland’s capital, gracing the Festival Theatre with a new adaptation of Louisa May Alcott’s beloved classic. Crafted by Anne-Marie Casey, this retelling offers a fresh take on the tale of the four March sisters, blending the familiar themes of girlhood, love, and personal discovery with a touch of contemporary, theatrical flair. This rendition is undeniably charming, boasting an imaginative set, a mighty cast, and the comforting warmth that fans of the novel will recognize.

From the outset, it is clear that this production takes great care in preserving the heart of Alcott’s timeless story. The March sisters—Jo, Meg, Beth, and Amy—emerge from the stage with vibrancy, each portrayal rich with their characteristic personality. The performance is brisk, efficiently condensing Alcott’s lengthy tome into a manageable two-and-a-half-hour experience, including an intermission.

The set design deserves particular mention, as it evokes a visual sense of nostalgia and whimsy in the world of the March family. Traditional hymns are cleverly woven into transitions, deepening the connection to the time period. The production’s costuming and scenic elements further enhance this sense of period authenticity, drawing the audience into Civil War era New England.

Performances across the board are strong, particularly in the portrayal of the March sisters. Jo, the headstrong and ambitious protagonist, is delivered with conviction and passion, embodying the character’s fierce independence and longing for something greater. Meg, the sensible older sister, provides a grounding presence, while Beth, sweet and selfless, evokes the necessary pathos. Amy, the youngest, is charming in her self-centered pursuit of art and marriage, yet still manages to win the audience’s sympathy as she matures throughout the piece. Marme, is portrayed with warmth and grace, offering a steady moral compass for her daughters. Aunt March stands out as a delightfully sharp-tongued figure, bringing humor and depth to the role. Laurie, the boyish and lovable neighbor, is convincingly portrayed as a charming yet emotionally complex suitor, while both Brooke and Bhaer offer swoon-worthy romantic entanglements for Meg and Jo.

While delightful, the production is not without its missteps. The dialogue occasionally veers into a mechanical recitation, which disrupts the flow of the show. There are moments when the stakes of certain scenes feel minimal, rendering them stale and less emotionally resonant. These lapses in energy are particularly evident in the first act, where the performances occasionally take on a performative quality, lacking the natural intimacy between characters. This initial struggle detracts from the otherwise impressive work being done on stage, especially considering the talented ensemble.

Thankfully, the second act sees the performances settle into a more grounded rhythm. The emotional highs and lows that are central to Alcott’s work begin to feel earned, and the relationships between the characters deepen. By the final scenes, the production finds its footing, delivering the warmth and emotional impact expected from such a beloved story.

In conclusion, this new tour of Little Women offers an engaging, if imperfect, theatrical experience. While certain moments fall flat and the first act lags, the strength of the cast, the imaginative design, and the timeless nature of the source material ultimately prevail. For fans of Alcott’s novel and newcomers alike, this adaptation offers a warm embrace of nostalgia.

REVIEW: Imaginary Friends

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Rating: 4 out of 5.

An introspective exploration of saying the inside thoughts out loud.

Daniel Bye, in collaboration with ARC Stockton and Alphabetti Theatre continued their months-long tour at the Tron Theatre this week with Bye’s show Imaginary Friends. A speculative fiction meets stream of conscious adventure into the depths of the human psyche, this ninety minute show packed a real punch. Seamlessly moving from the direct to audience comedic introduction into the narrative, Bye masterfully established the framework of the piece that exists out with any clear genre. Establishing himself and his character as a comedian the show begins in proper comedic fashion with one man and a microphone and a dash of observational comedy.

Bye plays a media personality who has just lost his brother. The next hour and a bit the audience is invited into the internal struggle to create something out of this bereavement, and the guilt that comes with the thought. When Bye dismisses the voice of his brother on the hospital bench, however, he begins to find himself engaging with other, louder voices in the social stratosphere. As these voices grow louder and louder, they compel him to engage in increasingly escalating publicity stunts and activism towards extreme measures that would undoubtedly result in the end of the world. At least he said he was sorry?

What ensues is a fascinating piece that demonstrates the importance of choosing the voices we allow to speak directly into our lives, Imaginary Friends is a whirlwind show. Complete with self-aware analysis of comedy as a genre and the pressures to create and commodify human experiences, there is something raw and unrefined about the whole show that is undoubtedly human. That is not to say that this piece is universal. Beautiful for creatives, comedians, and artists alike, there is a level of exclusion inherent in the premise. If you are apolitical, looking for a bit of escapism or something lighthearted this is not the play for you. If you find yourself among the former, this will be a show that sticks with you for a while. Imaginary Friends is a scouring experience. Compelling and engaging, Bye has created something masterful that deserves a watch. This piece will make you think and laugh and squirm in equal measure. As Bye loses touch with reality and faces his own mortality in the end there is a gorgeous motif of falling and what it means to let people see you fall. Bye invites the audience into the experience of his own falling, creatively. It is a privilege to experience such storytelling in an increasingly loud creative landscape.

You can find a list of remaining tour locations here: http://www.danielbye.co.uk/

REVIEW: 9 to 5 The Musical

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Rating: 3 out of 5.

An energetic production full of heart.

Edinburgh University Footlights’ recent production of 9 to 5 The Musical at the Pleasance Theatre brought the beloved story of women empowering themselves in the workplace to life with an engaging and spirited performance. The musical, based on the classic 1980s film, continues to resonate with audiences across generations, and the enthusiastic turnout at the performance was a clear reflection of its enduring appeal.

The production’s greatest strengths lay in its dynamic choreography, skillfully executed comedic moments, and a talented live band that provided a lively, well-balanced accompaniment to Dolly Parton’s iconic score. The ensemble brought vibrant energy to the stage, but it was the trio of lead characters—Violet, Judy, and Doralee—who truly captured the essence of the musical’s heart. Their chemistry was palpable, as they seamlessly embodied the camaraderie that lies at the core of the story. These performances were marked by warmth and humor, leading to several standout moments that showcased the power of collaboration.

The true stars of the evening were Hannah Whelan and Orly Benn. Whelan’s portrayal of Roz, the overly involved and infatuated office worker, was nothing short of West End-worthy, delivering a performance that was both hilarious and endearing. Benn’s commanding performance as Violet, the empowered and authoritative office manager, demonstrated depth and charisma, making her a compelling presence on stage. Both actors brought a level of energy and commitment that elevated the entire production.

While the cast shone brightly, technical issues detracted from the overall impact of the show. Sound quality was a consistent problem throughout, with microphones peaking at inopportune moments, often drowning out the performers’ vocals. Scene transitions also proved to be clumsy and disorganized, disrupting the flow of the production and hindering its momentum. In the second half, pacing faltered, with energy levels dipping at certain points, leaving the show feeling uneven. These hiccups could likely be attributed to the nerves of an opening night performance, as there were moments where timing and delivery felt tentative.

Despite these technical challenges, 9 to 5 remained an enjoyable and lighthearted evening of theatre, offering a delightful escape with its infectious sense of fun. The student-run production was brimming with enthusiasm, but it was clear that with a bit more polish, both technically and in performance confidence, this show could reach new heights throughout their run. It was evident that the cast and crew were exceptionally dedicated to their performances and having a great deal of fun. With continued refinement, Edinburgh University Footlights could easily take this show from enjoyable to exceptional in future performances.

Tickets for the remainder of the run can be purchased at https://fixr.co/en-US/event/9-to-5-the-musical-tickets-825761478.  

Pic Greg Macvean 08/02/2025 Capital Theatres, Find Your Light workshops in The Studio

FEATURE: Find Your Light: Mary Poppins

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An incredible event fostering creativity and industry connections for young aspiring artists.

The enchanting partnership between P.L. Travers and Cameron Mackintosh have brought the beloved Mary Poppins to Edinburgh’s Capital Theatres this month as part of its UK and Ireland tour. Featuring a practically perfect cast and an exceptional team of performers and technicians, this production has not only united with Capital Theatres to create a truly unforgettable experience for the Edinburgh community, but also bolstered creative confidence and networking in a unique event, Find Your Light.

The third edition of Find Your Light, is a remarkable initiative designed to break down the barriers to entry into the world of professional theatre. Aimed at young, aspiring artists, Find Your Light strives to make commercial theatre more accessible and provide a platform for learning and growth. Previous renditions of the event were partnered with Hamilton and A Chorus Line, both working toward the same goal of making the theatre industry more inclusive and transparent.

The day began with an inspiring Coffee with the Creatives session open to the community, where attendees had the chance to interact with key members of the Mary Poppins production team. This hour-long discussion, facilitated by Creative Engagement Coordinator Izzy Sivewright, offered valuable insights into the inner workings of a large-scale theatre production. With a strong turnout, the session provided networking opportunities, demystified the industry, and highlighted the often-overlooked roles that contribute to a show’s success. Here attendees learned all about the inner working of large theatrical tours from the 550 lighting cues, sixteen quick-changes for Mary Poppin’s hat, seventeen lories and 100 strong company it takes to move from one city to the next.

Sivewright, the driving force behind Capital Theatres’ outreach initiatives, plays a crucial role in ensuring these events run smoothly. Her work, which begins more than a year in advance, is a blend of creative vision and meticulous planning. In an industry where theatres are often forced to do more with fewer resources, young people increasingly face challenges when pursuing a career in professional theatre. Yet, Sivewright remains committed to dismantling these barriers, one initiative at a time.

In between sessions during Find Your Light, Sivewright reflected on the event’s mission. She explained that there was a desire to engage production teams and staff—often the unsung heroes of the show—by creating a structure that allowed them to share their expertise with the public. She also emphasized the importance of showing younger people that there is no single “right” way into theatre, and that professionals come from diverse educational and experiential backgrounds.

Following the Coffee with the Creatives session, participants were treated to a series of workshops led by local artists, each offering hands-on experience in magic, costume design, and dance—three key elements of the Mary Poppins production. The afternoon began with a Magic and Performance workshop, where Tim Lacata dazzled attendees with sleight of hand, card tricks, and stage illusions. Participants were even taught a card trick to practice, ensuring they left with new skills to impress their friends and family.

Next, Janis Hart led a Costume Design workshop, providing an inside look at the creative process behind stage and screen costumes. The group worked together to recreate period costumes using brown paper and tape—resulting in impressively inventive mock-ups. The session concluded with a drawing exercise inspired by 1910s fashion, showcasing the participants’ growing creativity and confidence.

Finally, the day wrapped up with a Dance workshop led by Chris JS Wilson, who guided the group through the iconic choreography from Supercalifragilisticexpialidocious. Wilson’s supportive and encouraging approach made even the most challenging choreography feel achievable. By the end of the session, a group of over fifty attendees had mastered the routine to varying degrees, but all shared the infectious joy of dancing and learning together.

In the midst of these inspiring sessions, I caught up with several facilitators and creatives to ask for their advice to anyone interested in pursuing a life in the theatre. The consensus across departments—Company Management, Stage, Automation, Wardrobe, Lighting and facilitators in magic, costuming and dance—was clear: Do theatre because you love it. You have to love it. Be tenacious. Start small and believe in yourself. The key message from these seasoned professionals was one of passion, perseverance, and self-belief—the very qualities that have sustained their careers and shaped their journeys in the theatre world.

This day of workshops, networking, and inspiration provided an exceptional opportunity to connect with the magic of Mary Poppins, while celebrating creativity, community, and the power of tenacity in the world of theatre.

The future aim of this series is to continue to run three sessions a year with touring companies and artists. Please monitor the Capital Theatre’s website for the most up to date information regarding Find Your Light.