Review of ‘Guess How Much I Love You?’: “Newborn drama is followed by successful delivery”

London’s Royal Court Theatre opens its 2026 season with a poignant play about parental grieving. Guillermo Nazara shares his views on the show to let us know if this child’s play comes off as a difficult watch.

It pains me to write this review. Probably, more than most I’ve penned before. And it’s not because it isn’t a good show — January is coming to an end this week, and I can confidently say this is one of my very few recommendations. Still, I wouldn’t come see it again. There’s no need, as I don’t have as many tears to spare (figure of speech).

I shall not spoil the plot for you. All that I will say, however, is that it’s taken less than a month to find our 2026 equivalent to last season’s The Years. If you’re not familiar with the piece, or if you haven’t had the “who fainted when you went” casual conversation at a friend’s gathering, I must warn you — this is not an easy watch, not that we want theatre to ever be. And for that, I shall be grateful.

I’ll cut to the chase. Two expecting parents receive some unwelcome news about their unborn child. The rest is for you to discover, although I’m sure what you’ve guessed by now is about right. Luke Norris’s play is an explosive cascade of poignancy. It inflicts a long-lasting wound in the viewer’s soul, putting us through a brutal experience that is just as harrowing and haunting as it is thought-provoking.

It never veers into the melodramatic, despite how tempting that road may come across, especially with a subject like this. His use of sharp wit and perceptive analysis of the human condition secure that first-class journey. There’s so much cleverness to it, starting with two complex characters with antagonistic attitudes towards loss and grievance, and their ability to find some common ground in a tragedy that could have destroyed their relationship — and themselves.

Norris’s execution of the material is defined by its dramatic strength and entertaining qualities. Barely any moment in it loses momentum, whether that comes in the form of emotional cargo or ironic commentary. There’s as much humour as there is sorrow. And surprisingly, that doesn’t compromise the plot’s gravitas, although the slight imbalance between the two registers prevents its pathos from reaching its full potential in some segments.

Overall, the script is written with excellent flow. The dialogue brims with naturalness, fortitude, and subtext. There’s just as much reason as there is sentimentality. And the scenes are built with engaging pacing and escalation.

Its firmly linear style is debatable at the very least. It might be a matter of personal taste. And unequivocally, Norris demonstrates awareness of what he’s doing. By the time the course feels too steady, he takes a new dramatic turn to preserve the narrative’s edge, and even the most misleadingly superfluous elements come together, justifying their presence adequately enough.

Director Jeremy Herrin’s intimate approach creates a touching feeling of proximity. A large pitch-black framework adds a sense of confinement to Grace Smart’s sets, while establishing a multi-layered psychological reading.

On one side, it captures the privacy of the recount’s themes, giving us the impression of observing from a tiny hall in the wall, as the most personal secret is being whispered to our ears. On the other hand, there’s the incarceration reality has put the protagonists through — something they can’t escape from and are constantly crushed under, and ultimately, required to deal with.

On one side, it captures the privacy of the recount’s themes, giving us the impression of observing from a tiny hall in the wall, as the most personal secret is being whispered to our ears. On the other hand, the incarceration reality sentences the protagonists to — something they can’t escape from and are constantly crushed under, and ultimately, required to deal with.

Days after sitting through it, I’m still haunted by this 90-minute exposure into the rawest corners of the soul. It’s not a perfect piece, but it’s undeniable that the Royal Court has opened this year’s programming with something truly special. It’s true, however, that some parts could have been fleshed out to some greater length. Yet, in the words of another harrowing piece about parental suffering, that might have been too much for one heart.

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All pictures credit to Johan Persson.

Guess How Much I Love You? plays at London’s Royal Court Theatre until 27 February. Tickets are available on the following link.

By Guillermo Nazara