LAST TWO LONDON SHOWS!!!

You have just TWO more opportunities to see my show The Full English at the charming and quirky Baron’s Court Theatre in London: Friday 19th September and Saturday 20th September.

It is also playing at Strode Theatre in Street on Friday 26th September and at Calstock Arts Centre in Cornwall on 24th October.

It’s got a fabulous FIVE STAR review from A Youngish Perspective, who said it was “a wonderfully eccentric, sharply intelligent, and surprisingly moving evening” https://ayoungishperspective.co.uk/2025/09/18/review-full-english/?amp=

It also got a great write-up from the Wolverhampton Express and Star, who said, “Remember the name Melanie Branton. If you get the opportunity to see her, please do – she’s bostin bab!”:

https://www.expressandstar.com/your-world/2025/07/28/review-full-english-by-melanie-branton/

Here are some of the AMAZING production photographs by the brilliant theatrical photographer Lidia Crisafulli:

FUN FACT!

I regularly post FUN FACTS about the English language on my Facebook page, and they’re popular, so I thought I’d post some of them here.

The names of the letter Z (ZED if you’re British, ZEE if you’re from the US) both come from Old French ZEDE, from Greek ZETA, from Hebrew ZAYIN, literally meaning WEAPON (because it looks a bit like one). It is cognate with CEDILLA, the Spanish word for DIACRITIC MARKER, which literally means LITTLE ZED.

The name ZED and the letter itself entered in English in the 12th century. The Z sound is not native to English, and prior to that, it was written with a J, G, I or S in words borrowed from languages that did have a Z sound (which is why we have both JEALOUS and ZEALOUS, which are basically the same word, spelt differently).

ZEE has existed since at least the 17th century in some dialects, but really came into its own in the 18th century, when Noah Webster, the fanatically patriotic US dictionary compiler (he once had a go at George Washington because he thought he wasn’t patriotic enough, Seriously), who made it his life’s work to make US English as different as possible from British English, just to give the finger to the British, vehemently advocated it should be used by Americans instead of that horrid British ZED.

Another variant of the word ZED which used to be widely used in some parts of England is the word IZZARD. There’s a charming but utterly wrong folk etymology which says that this word is a corruption of S HARD (because it’s like an S, only HARDER SOUNDING) (folk etymology is linguistics speak for explanation of where a word comes from which somebody once randomly made up and which a lot of people believe, even though it’s a pile of pants). It’s probably either from French ET ZEDE (AND ZED, which is what children are often taught to say when they’re learning the alphabet…V, W, X, Y AND ZED) or the I is just a PROSTHETIC VOWEL (that means a vowel which shouldn’t be there but which gets stuck on a word to make it easier to pronounce. The E before S in Spanish is a PROSTHETIC VOWEL and is why Gloria Estefan is Gloria ESTEFAN and not Gloria STEFAN/STEPHENS).

Tyger Tyger

I was recently lucky enough to have a poem published in Issue 8 of Tyger Tyger, the excellent online poetry journal for children. You can read the whole of this joyous issue here, and please do recommend it to any primary school teachers you know – there are lots of FREE downloadable resources.

No Shrinking Triolet

I’ve recently become absolutely addicted to writing triolets.

For those of you who don’t know what they are, they’re a mediaeval French type of 8-line poem, originally a song, with the following, very specific rhyme scheme:

ABaAabAB, where the A lines are the SAME LINE repeated, the B lines are A DIFFERENT LINE repeated, the a lines rhyme with the A lines, and the b line rhymes with the B lines.

Actually, that makes it sound far more complicated than it is – the best way to get your head round it is to look at some examples, e.g. these by Famous Poets TM:
https://www.webexhibits.org/poetry/explore_obscure_triolet_examples.html#google_vignette

Like many forms of folk poetry, the repetition and the driving rhythm makes them ideal for comic or nonsense verse, but also expresses emotional intensity, obsession, or ideological fervour very well. I find that the more of them I write, the more serious they get, and the deeper into my own subconscious they venture.

I wrote some triolets a few years ago, which started off very ‘Tonight, Matthew, I’m going to be Edward Lear:

…but ended up in a very candid and morose place:

They’re very easy to write, though, and I find that the more of them I write, the more the rhythm and the form gets into my head, and I start thinking in triolets without even trying. I’ve been using them to explore my own poetic practice:

I’ve been using them to explore issues I care about, such as modern slavery, plastic pollution and climate change:

…and also, just to be silly:


Me on BBC Upload

I’m appearing on the wireless TONIGHT (Thursday 23rd May 2024), at some point between 7 and 8pm, as part of BBC Upload on Radio Bristol, Radio Somerset, Radio Gloucestershire and Radio Wiltshire! My segment will also be repeated at some point between 6pm and 8pm on Saturday 25th May. You’ll be able to hear one of the poems from my current show, The Full English, (it’s called ‘My katsu curry is self-isolating in the Twitterverse’) and also hear a little interview with me. Here’s the link.

Getting in touch with my inner child

I am surprised and absolutely delighted to have had two poems commended in the YorkMix Poetry for Children Competition!
You can check out my commended poems here, and also go to this page to read/watch all the winning, highly commended and commended poems, which are stunning!



I am available for schools’ performances and children’s events via Zoom/Teams for a small fee, so please message me if you might be interested in booking me.