Review: Howl's Moving Castle

I've never read the book or seen the movie of Howl's Moving Castle, so I had no idea what to expect from the play.

I read a review that raved about Stephen Fry's narration and the innovative way of projecting the set onto a 3D cardboard backdrop.

The opening moments were certainly promising. The projection truly was clever and engaging. But, from the moment the real actors stepped on stage, I felt like I was watching a pantomime.

The projection works in isolation, but doesn't add to live action any more than a painted backdrop does.

This made me think about other shows that use projection, like War Horse, Ghost, and the revised Phantom. I realised that the same was true: projection can add a layer of depth, but doesn't seem able to replace a set piece without damaging the illusion.

Unfortunately, the show didn't really improve from there. I found myself glad when it ended less than an hour and a half later.

Review: Cheap Flights

Fascinating Aida have been around for 30 years. Their niche is fans of both comedy and vocal groups.

Part of their appeal is the surprise of seeing three properly raised not-so-young English girls singing sweetly about topics like tax evasion and considering taking their elderly mother on a one-way trip to a certain clinic in Geneva.

Their viral success in recent years is thanks to their lampooning of soulless budget airline Ryanair. The two versions of this video are approaching 10 million views between them.

You can see why I just had to catch this show live!

The other highlight for me was their use of short traditional Bulgarian a Capella tunes to spit out hilarious one-liners about everything from Wayne Rooney's hair implants to Pippa Middleton's rear end.

And at the end, their encore is to sing answers to all the questions they most commonly get asked. Only Fascinating Aida could make even this hilarious, with leader Dillie using more than one answer to imply alcoholism.

The political content makes Cheap Flights far more meaty than the average comedy troupe, and their insightful comments on ordinary frustrations make them
far more interesting than an average vocal troupe.

The result is a polished show that doesn't feel over-rehearsed, and a wonderful tour of the point where music and comedy intersect.

You can tell they don't make any money from this - they do it for love. Highly entertaining, and definitely worth the low ticket price.

Review: Ghetto Klown

John Leguizamo is probably best known for his roles in Baz Lurmann's Romeo + Juliet and Moulin Rouge, but he's been writing and performing in one man shows since the 80s.

Ghetto Klown is his fifth one man show, the first to come to London.

Part of the attraction to see it (besides the great reviews) was that it's home theatre on Broadway was on west 45th street right next to our hostel. We had to walk past it several times a day, but couldn't have seen it without giving up one of our other eleven shows!

I'm glad we were given a second chance, because it's a excellent piece of work. This is his first truly autobiographical piece, and it covers most of his life.

The most entertaining retellings are of being lectured at by Al Pacino when he tried to change a script, and of eating three bowls of crickets at a country bar in Nebraska, and then throwing them up all over Patrick Swayze in drag on the set of American-Priscilla Too Wong Foo. Apparently it was like a biblical plague of locusts.

But there are also poignant moments. When he makes his father cry. When he realises his best friend has been using him for years. When he has a nervous breakdown and leaves the business for a few years.

All in all, a frank and honest insight into the life of a fascinating man who is much more than a comedian.

Review: Taming of the Shrew

Modern day Brixton may sound an incongruous setting for Shakespeare's Taming of the Shrew, yet celebrated director Robin Norton-Hale's vision pulls it off with flair.

We've been wanting to see more fringe theatre in London and have joined the mailing lists of half a dozen theatres in recent months. Away from the hype and the jukeboxes, the Off-West End scene has a lot to offer.

Our first fringe outing in London, to Southwark Playhouse's Parade, was comfortably one of the top 3 shows I've ever seen. Amped for more, I purchased us season tickets, and tonight we're back to experience Southwark's latest hit; the Bard's Shrew.

Unsurprisingly given the source material, Elexi Walker's Katherine is the clear standout. To deliver perfect Shakespearean dialogue while oozing the sass of a Brixton girl in her 20s is a tall order. That she was able to nail both elements at once demonstrates a clear, magnetic, skill.

The staging is inventive and colourful, cleverly evoking South London without being too cliché through the use of knee-high walls to portray a whole street of shops. Doubtless it won't meet the puritan expectations of every reviewer, but I say there's something appealing to be found in it.

Shakespeare on a week night can be a challenge. Bravo to Southwark for creating an interpretation so freshly engaging without altering the original script.

Review: Parade

Parade is renowned composer Jason Robert Brown's first show. You wouldn't know it. It covers the controversial subject matter of the 1913 trial of an uptight Jewish factory manager in the Deep South for the rape and murder of a 13 year old employee.

The story hints at The Crucible with its exploration of how the speculation of spooked townfolk can unearth deep prejudice in a community and lead to an irrational demand for a scapegoat.

Southwark Playhouse's Vault provides the perfect environment for the story to unfold under the brick arches of London Bridge station. It breathes history. The stage is in the centre of the room, with the audience along the two long walls and large set pieces at either end. This dynamic surrounding reinforces the assertion that the audience are the jury in the case of Leo Frank.

The music is typical Jason Robert Brown. Deep without being obtuse. Simple without being basic. Tender and confrontational in equal measure at all the right moments.

The acting was superb. Alastair Brookshaw's portrayal of Leo Frank was nuanced and didn't shy away from presenting the character's flaws. But the show really belongs to Laura Pitt-Pulford as Frank's wife Lucille. She's given a chance to demonstrate her immense talent in the character progression from sappy southern housewife to a strong, resourceful woman of conviction. This is one of the best female roles in musical theatre, and Pitt-Pulford's performance is among the best I have seen.

Challenging. Inspiring. Chilling. Thought provoking. This one will have you thinking about it for weeks afterwards.

Review: Confessions of a Mormon Boy

A few days ago, I was excited to learn that one of the Fringe shows I had hoped to catch on my ill-fated weekend in Edinburgh was opening in London, so I had a new chance to catch it. I booked tickets on the spot.

Confessions of a Mormon Boy is less of a show and more of a life story. The story of one man's journey from "Brother Fales" in Salt Lake City to charges-by-the-hour "Jason" in Manhattan via a mission in Portugal, two children and excommunication. All of it utterly engrossing.

There's something incredibly raw about Fales' performance that can only come from the unique heart of a trained actor not just playing himself on stage, but exposing his own most personal feelings and insecurities. The ultimate method acting, I suppose. You can see in his eyes that every word is true, every pause inserted not just for effect, but because he's genuinely reliving the moment in front of you.

It's this courageous honesty that has the audience eating from his hand for ninety minutes. The scenes where he describes his physical pain at being forced away from his children are so much more than poignant, they're gut-wrenching.

On a personal level I suppose I was always going to feel an affinity with Steven Fales. I couldn't shake the feeling that I was watching myself in a not-so-distant parallel universe. Perhaps I was.

If you are in London this month, see this show.