Just Launched: stagemaestro

Big news today... I've launched a separate blog for theatre reviews so The Antipodean can focus on all things travel.

Click here to check out stagemaestro

If you receive updates by email, you'll need to register again on stagemaestro if you want to keep receiving theatre reviews.

stagemaestro is on twitter too - follow here.

Review: Wicked in Dutch

If you're seeking an impartial view on Wicked, then you'd better keep looking! I'm a very biased fan who has seen this wonderful show enough times that I need two hands to count... (see my last few Wicked posts here, here and here!)

I'm even geeky enough to have watched videos that analyse different women playing Elphaba, to decide who's the best. Surprisingly, the resounding winner isn't the original.

She doesn't even speak English.

The winner every time is Willemijn Verkaik, who originated the role in the German language production. Unfortunately she left that production shortly before we caught it.

But she's not actually German. She's Dutch.

And guess who they brought on board to recreate the role in her native tongue, at the Dutch production that recently opened at The Hague?

Willemijn Verkaik is a formidable talent, who grasps this character with a depth I doubt I'll ever see matched. And her voice is easily the most nimble I've ever witnessed live, except perhaps for Celine Dion.

She was worth planning a trip to Amsterdam around.

Plus... I'm excited to announce that this ticks off one of my bucket list goals:

Review: She Stoops to Conquer

She Stoops to Conquer was first performed in 1773, and yet something about it remains relevant and appealing to a modern audience.

Considering the pompous costumes this show demands, National Theatre have managed to produce a remarkably fresh interpretation. At times it’s so fresh that you forget the script is unaltered from the original.

Tonight is special because the National Theatre are filming this performance and beaming it live around the world. Before the lights go down, two television screens on the side of the stage, show us a presenter delivering a live introduction from the roof of the building. Throughout the show, these screens continue to show us what is being broadcast. I found it quite entertaining to watch them briefly during the live performance and imagine others at the exact same moment experiencing this performance with only the screens.

When the show begins, I’m captivating immediately. A catchy pub-like tune has been composed and an enormous chorus appear on stage singing it in the style of an A Cappella group – though in this case they are backed by an impressive band.

It’s quite riveting and reminds me of a version of the Threepenny Opera I once saw that opened with Mack the Knife. That was an equally genius opening but sadly the same zest didn’t infuse the rest of that show, and I was underwhelmed.

Thankfully, that didn’t happen this time around, and I found myself enjoying every moment.

Sophie Thompson as Mrs Hardcastle.

The main thrust of the story involves a rich girl pretending to be a barmaid in order to be seen as interesting (and not stuffy) by a visitor who is staying in her father’s house under the false pretence that it’s an inn.

This show is consistently clever and witty. Particular mention must be given to Sophie Thompson, whose hysterical Mrs Hardcastle steals the show.

But really, the people behind the scenes at the National must be given most of the credit. The direction is superb, the inclusion of bizarre chorus songs to bring pace is genius, and the staging is among the best I have ever seen.

If you’re in London, go see this show. If you’re not, try to find a copy of the BBC broadcast – and you can watch it knowing that I saw the exact same performance!

Review: Mamma Mia

I’ve been avoiding this show ever since I moved to London. That’s how much I despised the movie. I was even offered free tickets at one point. I already had tickets to something better that night (unfortunately).

When I decided to finally go and see Mamma Mia, I tried to shake off all my preconceptions about this show and just enjoy it. I reminded myself that it’s the original jukebox musical, and it’s a little unfair to hate it just because it spurred a decade of underwhelming musical theatre that continues to stifle originality on both sides of the Atlantic.

I can’t deny that it’s good fun. Who doesn’t love ABBA? That’s the whole premise behind the jukebox musical. The tagline on the Mamma Mia tube posters at the moment is – I kid you not – “you already know you’re going to love it”. With an audience preconditioned to love you, you can’t really go wrong!

Some credit has to be given to Judy Craymer, who conceived the whole idea, for creating a storyline that fits in most of the songs. But no matter how enjoyable the songs may be, the fundamental flaw with jukebox musicals is the difference between a concert and musical theatre. A good concert is a series of good songs. But a musical needs more than this: each and every song must add to the story. You can still have group dance numbers and big ballads, but ultimately each and every song furthers the narrative in some way.

A good writer can achieve this with a couple of the songs in a jukebox musical, but overall the majority of them can achieve only that whimsical satisfaction you get when you hear a song you like at a concert, and not the level of emotional connection and storyline momentum that a musical needs to be anything more than  bubblegum. Mamma Mia is full of songs that were written to make you smile for three minutes, and only a handful actually do anything for the plot.

The singing and dancing is very, very good, but the producers take absolutely no risks (why can’t Donna be  alone on an empty stage for the end of The Winner Takes it All?). And at the end of the day what little interesting character development there has been, is mostly thrown away for a happy ending; Donna, a woman who has shown herself to be proudly single and genuinely happy, is still a shrew to be tamed by a man with a ring.

If you already know you’re going to love Mamma Mia, then you probably will. If you need something with a bit of originality, substance or flair in order to get your money’s worth from a night at the theatre, then pick something else.

Legally Blonde Again

Legally Blonde is one of those shows that sounds average, but leaves you surprised as you leave the theatre at how much you've enjoy it. I saw it last year and loved it. So, when I heard that it was closing at Easter, I made sure I booked again while there was still a chance, bringing a bunch of friends along for the ride.

I have little to add to what I said last time. Most of the cast was unchanged, apart from Elle, who was equally fantastic to the girl I saw last year.

I’ll miss knowing that this show is on every night in my city. Although I’m mildly ashamed to admit that I can’t wait for the amateur rights to be released...

Review: Sweeney Todd

Sweeney Todd is probably the most macabre successful musical in history. The gruesome plot revolves around a barber slicing the throats of his customers, who are promptly chopped up and stuffed into pies by his bakery owning accomplice.

I would speculate that it laid the foundation for other grime-fest (Les Mis) and sinister (Phantom) blockbuster musicals that followed over the next decade.

Sondheim’s score is, as always, genius. Demonstrating that he’s one of the few Americans who understands the British stiff upper lip, there are no big belt songs – just a series of gently simmering, discordant refrains that are established in the first act and crescendo into a riveting, perfect nightmare during the second.

An almost unrecognisable Michael Ball brings a much-needed likeability to the murderous protagonist, drawing a fresh ‘whimsical next-door-neighbour’ side from Sweeney. Originality is difficult to achieve with a role we’ve seen performed so well so many times before, and he must be credited for it.

Given she found fame as a film actress, I was initially sceptical about Imelda Staunton’s casting in the demanding role of Mrs Lovett. But I was completely wrong. Her comic timing was impeccable and her voice was excellent. She faltered once with a clumsy switch to head voice, but that’s the only unfavourable comment I can make about her performance. My favourite moments in the show all belonged to her – The Worst Pies in London was hysterically funny without being slapstick, and her Nothing’s Gonna Harm You brought out exactly the right degree of menacing undertones to make it the creepiest lullaby ever written.

The chorus is extraordinary – this is one of the few shows that doesn’t require them to dance, or look like supermodels. The result of this is that they have all been cast based on their vocal talent alone – and this shows in their ability to tackle even the most elaborate of Sondheim’s melodies without the slightest sign of strain.

In this tale, story is king. To date, no attempt to introduce avant-garde design, staging or effects (no matter how well-intentioned, such as the chorus doubling as the orchestra in the most recent Broadway revival), has quite pulled it off. Ultimately, any such endeavour is doomed to undermine the story by robbing attention. The artistic team behind this production must be applauded for understanding this, and opting for relatively simple, traditional set design, staging and lighting. No wonder Sondheim himself loved it so much.

The opportunity to experience a show of this strength with actors of this calibre doesn’t come along every day. If you are in London, do not let this one slip by.

Review: Singin' in the Rain

I often wish I loved old movies, but unfortunately I find most of them so trite that I have trouble paying attention. However, there are two classic films I can watch again and again: Some Like it Hot, and Singin’ in the Rain. Both have genuinely appealing storylines, are hysterically funny, and feature a trio of talented, deservedly famous actors.

The Palace Theatre is now host to a brand new production with not only a perfect cast but onstage rain too!

With The Artist coming out on top at the recent Academy Awards, 2012 is the year the silent film came back. So it’s a fitting time to revive this beloved classic based in the period of transition from silent films to ‘talkies’.

Singin’ in the Rain was first seen onstage in the 80s, but the volume of the falling rain and the ensuing mic trouble resulted in a disappointing reception. Thanks to the wonders of modern technology, the new West End production has overcome these obstacles.

The set is mainly a sound stage at ‘Monumental Pictures’. Everything is black and white, and the edges of set piece facades are visible, which reminds us that everything is paper thin in the movie business.

There is not a bad note in the entire cast. Considering that every one of them must be a triple threat, this is astounding. Daniel Crossley’s Cosmo wins early fans as he shows his cheeky side in ‘Fit as a Fiddle’, but it’s Scarlett Strallen as Kathy Selden who really owns the show.

Few people know that Debbie Reynolds’ singing voice for all the more difficult numbers in the original movie was actually subbed in by an uncredited Betty Noyes. Yet Reynolds, who was not a trained dancer, still famously said that “Singin’ in the Rain and childbirth were the two hardest things I ever had to do in my life”. So, the fact that Scarlett Strallen can pull it off live every single night is astonishing.

While the title song is a clear highlight, every single number in this show is brilliantly written and interpreted for the stage - particularly Moses Supposes, Make 'em Laugh, and Good Morning. In fact, the only negative point I can make about the entire show is that Cosmo doesn't do 'the wall flip thing'. This really is a fantastic evening at the theatre that manages to do the treasured film proud.

If you’re lucky enough to sit in the second row, like I did, you will leave the theatre saturated.

Saturated, but grinning. And humming that irresistible tune.

Review: Master Class

Famed opera diva Maria Callas was a troubled soul, known earlier in her career for a large range and perfect pitch, and later on for a deteriorating voice and narcissistic ramblings.

Between 1971 and 1972, Callas gave a series of master classes at the Juilliard School in New York. These form the basis of Terrence McNally’s Tony award winning play.

We are the audience at Juilliard, watching this once great diva rip students to shreds and harp on about how her talent is unparalleled. The thing with this particular egomaniac is that she has the talent to back it up. Tyne Daly brings her to life beautifully, demonstrating an acting range as wide as Callas' voice; from Opera diva to passionate Greek to miserable, childless wife.

We see her perfectionism come through in the way she lectures the students, as though none of them could possibly have worked so hard or sacrificed as much as she did. Although the script is occasionally overwritten, it does paint its picture beautifully, and the several scenes where Callas' slips back into her memory are delicious to watch if you're prepared to overlook the cheese factor.

Overall, it's a solid performance that provides a worthwhile behind the scenes look into the life of the greatest Diva in modern history. Highly recommended.

Review: The 39 Steps

Director Maria Aitken's interpretation of Alfred Hitchcock's classic spy farce is the most self-aware show I have ever seen.

And I mean that in the best possible way. The show has two layers of humour: one from Hitchcock's "dashingly good" show itself, the other from cheeky actors making light of absurd theatrical conventions. It's only natural to poke fun, considering four actors play 136 roles in 90 minutes.

I knew I was going to enjoy it from the moment two menacing Russian gangsters ran on stage right carrying a lamppost and quickly froze against it looking stern, just as the hero glances out his window. When he looks away, they run off as conspiciously as they arrived.

Another gem includes two actors playing both motel owners and policemen at the same time, each switching back and forth continually to further the conversation.

Throughout the play, the audience feels as though they're in on a secret. It's the theatrical equivalent of winking at the camera.

Under the wrong director, this would be played for laughs (a la Shrek), but Aitken's staging is classy enough to deliver this layer of theatre in-jokes without distracting from the heart of the original story.

By jove it's a thoroughly enjoyable night, and I shan't spoil it for you by giving away any more of the plot, I'll just say that it's jolly good fun.

Review: Children of Eden

Stephen Schwartz’s lost musical.

All theatre geeks (especially those fond of that other show he wrote; Wicked) have heard of Children of Eden, but few have seen it. After all, a musical about the first few chapters of Genesis doesn’t sound immediately gripping.

This is a special one-night-only charity gala performance, and it’s brought together a killer cast of West End stars. The Prince of Wales Theatre is usually the home of Mamma Mia,  so the staging for this performance is pared back – a few large blocks on the stage and assorted lightbulbs dangling. This simple approach works a treat and allows the actors to really own the stage.

Opening the show are Oliver Thornton (Adam/Felicia in Priscilla) and Louise Dearman (Glinda in Wicked) as Adam and Eve. Thornton’s performance is good, but a little self-conscious. His voice, though excellent, is slightly too thin for the role. Dearman, on the other hand, proves herself capable far beyond the (already vocally demanding) role of cutesy Glinda. She effortlessly navigates through complicated Schwartzian melodies, bringing a caramel smooth Streisand sound to the role without losing that essential feeling of Eve’s humanity. She’s flawless, and by far the standout of the night.

The other conspicuously brilliant performance comes from Gareth Gates as Cain. I was sceptical when I read about his casting. Coming runner-up to Will Young in the first series of Pop Idol doesn’t exactly qualify someone to perform with the cream of London theatre. But I was wrong. Gareth is a theatre singer first, pop singer second. He approaches the role in Ramin Karimloo style: nimble, powerful, graceful, and impressive.

Gareth Gates as Cain.

I’m grateful when he kills his brother, because a woman I can only assume is Abel’s mum is sitting next to me and won’t stop snapping pictures of his every move on her very bright mobile phone. She leaves at half time, which I’m also grateful for because she isn’t exactly built like a ballerina and has been spilling over onto my seat for most of the first act.

Act II is less remarkable than Act I. There are some decent melodies and performers, but none so promising as Eve or Cain and their first act ballads. Still, the chorus sound wonderful together – voices fusing far more smoothly than you usually see when a group of soloists perform choral work.

The best moments in the second act come from Laura Samuels as servant girl Yonah, and Brenda Edwards (Killer Queen, We Will Rock You) as Mama Noah. Though she stole the second act with her gospel number, Edwards looked bored whenever she wasn’t singing. A shame.

After the performance, the director invites the writer of the show to the stage. I just about wet myself.

Unfortunately, it’s not Stephen Schwartz. It’s whatshisname who wrote the unremarkable book. But this disappointment is quickly forgotten when the reigning queen of London theatre, Kerry Ellis, takes the stage to finish the evening with an original song that’s been written for her; the somewhat unoriginally titled “Heal the World”. Her voice, of course, brings down the house.

Overall, a fantastic performance by true theatre stars who deserve every accolade they have heaped upon them.

Kerry Ellis.

Review: Matilda

From the moment you enter the Cambridge Theatre, you are entranced by the magic of Matilda. Rather than sport a traditional curtain, the entire proscenium is speckled with thousands of coloured books. In fact, most of the set pieces are constructed like intricate bookshelves.

The entire way through Matilda the Musical, I was thanking the universe that there are still some creative teams out there who are willing to bring children's theatre to life in a lateral way, rather than handing everything to the audience on a platter (Shrek, anyone?).

No musical can be respected without great music. And the real creative genius behind Matilda is Tim Minchin, who proves his syllable-squeezing musical comedy act is just as engaging without the potty humour he became famous for at the Edinburgh Fringe Festival.

Almost every song in Matilda the Musical is genius. Fitting for a story about a child prodigy. Minchin deftly handles Dahl's rough-edged style - like the musical equivalent of Quentin Blake's illustrations. He understands the way kids' minds work. He understands what makes Matilda special; both the character and the story.

Bertie Carvel's Miss Trunchbull is inspired. Rather than slip into to flamboyant pantomime drag, he simply inhabits the 50 year old headmistress in all her former-Olympian glory.

This is the best new show to come out of London since Billy Elliot. Actually, since before Billy Elliot.
The only slight disappointments are that Miss Honey's character isn't given any juicy songs, and that the big finale in the Trunchbull's house is traded off for a more Russian showdown.

That doesn't stop Matilda being the show to beat for this year's Olivier award. And, dare I say it, next year's Tony.

Review: Shrek

Shrek seems a more logical fit for the stage than other movie adaptations like The Lion King, Ghost or Legally Blonde.

Perhaps that's why the writers were so lazy? They were too comfortable? When a hermit character like Shrek starts to sing about his feelings, you know there's something wrong. When every single song is about his feelings... there's something very wrong!

It's like the old saying; "don't tell me you're funny, make me laugh!"

Unfortunately, this show didn't make many people laugh. The actors mostly had poor comic timing (particularly Donkey), and the only jokes that landed were half-baked regurgitations of one-liners from the movie.

Why, when the original movie is so genuinely humorous, would they add only fart jokes, while finding room for loads of faux-sentimental moments?

Unfortunately, this is the worst kind of lowest common denominator entertainment. I wouldn't recommend it to anyone. Sure, kids might enjoy it. But only because they don't know any better...

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: Jerusalem

When Mark Rylance won the Tony Award for Best Actor earlier this year, I was kicking myself for not seeing him in Jerusalem on Broadway when I had the chance. Luckily, the show transferred back to the West End in October for a limited run.

We queued for ages to buy tickets before the show even opened. "what are the best seats you've got across the whole season" I asked. Turns out, the best they could do was the back row of the stalls the week between Christmas and New Year.

I knew this would mean seeing a three and a half hour play on our only night in London between trips... but quickly decided it was worth the sacrifice!

The show is difficult to describe. An unemployed bludger with a penchant for telling tall stories is squatting in a trailer on council land and has caused no end of havoc for residents in over a decade. He's banned from every pub in the town. The council are trying one last time to evict him.

Mark Rylance's hilarious drunken dramatic monologues about everything from his rare blood type to meeting a giant near Stonehenge are the glue that holds the play together. His deadbeat friends are played excellently by a relatively large troupe for a one-set show. The most memorable is Ginger, an aspiring DJ, played by Mackenzie Crook of the Pirates of the Carribean trilogy.

I don't want to spoil the show by saying anything further, except that it wasn't much like I expected at all, and that I can now understand the hype.

Review: Company

Sondheim is (almost inarguably) the greatest living musical theatre composer. Everyone can hum a tune from one of his shows. My favourite is one of the lesser known ones: Company.

I’ve always wanted to see it live. And when I read this review of the version currently showing in Sheffield (several hours north), I decided to make the trek.

The appeal of Company, to me, is the way that it displaces the idea that musical theatre must have a cohesive narrative in order to work.

Company sits somewhere between a typical musical and a cabaret. It’s not just songs strung together – far from it – it’s an exploration of a theme.

The chosen theme is marriage. Told from the point of view of Crucible’s Creative Director Daniel Evans’ superb Bobby, a Manhattan serial bachelor contemplating settling down as his 35th birthday approaches, Company offers a deconstruction of almost everything about married life. Why do people get married? Why do some unhappy couples keep trying? Is it worth it? Does marriage double or halve a person? Can you be truly happy if you’ve never been in love? Do you have to love each other for marriage to work?

Interestingly, director Jonathan Munby has decided to turn this revival into a period piece, set in the early 1970s (when it was written). This is unexpected because nothing about the show has dated, and most directors set it in the present day in order to demonstrate the universal truths behind Sondheim’s observations about his married peers forty years ago.

And yet, it’s still relatable as a period piece too. From the moment the cast walk down the aisles of the theatre in ghostly lit pairs dissonantly echoing Bobby’s name in the opening number, you know you're in for a treat.The characters are neurotic and engaging. Francesca Annis’ portrayal of husky alcoholic man-eater Joanne is the standout performance – though of course anyone who saw Elaine Stritch in the original cast will tell you that this role usually is.

Overall the show has a feeling of loneliness. Which, for Company, is a very good thing.

Review: War Horse

War Horse won the 2010 Olivier in London and the 2011 Tony in New York for Best Play. It's been selling out so far in advance that we booked our tickets in early September! You can't get a seat now until March.

Most years the Tony goes to the play with the best acting. This year it was undoubtedly a win more for those off-stage than on - a decision I support 100%.

The thing that makes War Horse so special is Joey. A life-size, breathing, emotive, rideable puppet horse. It takes three puppeteers to give Joey life. His creators said that what they love about working with puppets is that an actor struggles to die onstage, whereas a puppet struggles to live. I love that.

The narrative of War Horse is based on a children's story. It's easy to boil it down to Boy Meets Horse, Horse is Drafted to First World War, Boy Follows Horse... but somehow it holds something special. Something unlike other simple-story shows. This show has a genuine heart.

The fact that Warhorse is able to make an audience invest so much into the relationship between a boy and what-should-be-an inanimate object is what makes it sublime.

I would recommend this show for the inventive stage design and puppetry alone.

Review: Noises Off

Michael Frayn's classic English farce is, in my opinion, the funniest play ever written.

The action centres around six overbearing actors who can't get on, their frazzled director, and two overwhelmed stage crew.

The genius is in the way the play repeats itself. You see the first act of their play-within-the-play not once, but three times. This allows a buildup of more hilarious gags than you can poke a stick at, because the audience are familiar enough with the material by the second and third times through that they feel like they're in in on the joke every time an actor messes up their lines or forgets a plate of sardines.

My favourite act is the second, when you watch the whole thing from backstage. The set is literally turned around, and you watch the same act you've just seen from behind, complete with backstage dramas, a cactus and a wayward axe. This requires immense talent (and stamina) from the actors, who must deliver all their lines both 'on' and off stage, most staying in view of the audience for the entire act.

The only actor I was familiar with going in, was Robert Glenister of Hustle and Spooks, who plays the director. His performance was the spitting image of Michael Caine's in the movie, which is certainly not a bad thing!

I soon recognised Celia Imrie from Calendar Girls, among other things. She had large shoes to fill - Carol Burnett's portrayal of Mrs Clackett in the movie is almost unbeatable. In the first act I was disappointed to see her throwing lines away, but she soon displayed her excellent comic timing - at it's best when she appears from her dressing room in dramatic, wounded silence in Act II.

The standout in my opinion was Janie Dee's portrayal of Belinda. She came across as more severe and career driven than I've seen in that character before, elements which added to her character immensely. I was somehow not surprised to discover after the show that she's quite an accomplished actress - in fact, the only actress to win all the major London acting awards in one year besides Judi Dench!

One thing I found odd was the English accents. My previous encounters with this show (about a dozen times on DVD and once performed very poorly by an Auckland regional theatre) have always featured 'American' actors performing a British play. This serves to separate the 'actor' from the role, and adds to gags when accents begin to slip as the show-within-the-show falls apart. The British accents in this version weren't down to an interpretation of the story, as it's originally an English play, but I personally really enjoy watching actors switch from one accent to another on stage, so felt that it missed a dimension. Though it added something wonderful to senile Selsdon's character, who plays the role as though treading the board with the RSC.

Overall, it's a magnificent staging of a wonderful show - one not to be missed!

(and I didn't even see a real performance - it's still in previews!)

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.

Wicked the Sixth

Yep, I saw Wicked again!

I know I've seen (and blogged about!) it twice already this year, so I won't bore you with the details... except to say that Rachel Tucker is a fantastic Elphaba and I unfortunately can't say as much for the understudy Glinda.

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.