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Review of ‘Malory Towers’: “Low-grade adaptation barely has a pass”
The mob has spoken. Or so they claim. It’s not like the theatre was packed on the night I attended. Yet, I will admit there was a considerable number of children- girls, primarily -holding their favourite editions of Enid Blyton’s popular book series, ready to immerse themselves in the magic of a 1940s Cornwall boarding…
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Creative Romain Rachline Borgeaud talks London return of ‘STORIES’: “I want people to build their own plot”
Following a complete sellout during its latest London stay, the show returns to the Peacock Theatre for the autumn season, where it will play a two-week run before embarking on a national tour. Guillermo Nazara chats with the piece’s composer, director, and choreographer to learn more about the piece’s development and what makes it a…
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Director Yngvild Aspeli talks Plexus Polaire’s new production ‘Dracula – Lucy’s Dream’: “I was interested in how the story reveals the complexity of being human”
Known for its visually arresting puppet-based productions such as Moby Dick (Barbican), the company heads to this year’s Edinburgh Fringe festival with this new proposal based on Stoker’s classic novel. Guillermo Nazara chats with the show’s director to learn more about its development and their decision to sink their teeth in this subject. How does…
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Review of ‘Archduke’: “Regicidal comedy doesn’t seize the crown”
Someone’s plotting murder on the Royal Court stage this month. And someone has got away with it. So far, nobody’s been killed. But something has — repeatedly. Those who have sat through this tongue-in-cheek political drama dealing with the assassination of Austrian royalty, Franz Ferdinand, might have already guessed what I’m talking about. And chances…
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Review of ‘A Midsummer Night’s Dream’ (Regent’s Open Air Theatre, 2026): “Rustic production comes out too mechanical”
Comparisons are odious. But what else can you do if two major productions of arguably Shakespeare’s most popular comedy are running in London at the same time? Especially, if one of them is faultless and all you can say about the other, if you want to be kind, is that at least they tried. And…
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Review of ‘Relics’: “Family-matters play is rather urkel”
Money brings out the worst in people. And sometimes, the worst in art, too. That is, if anyone is able to find it in Ben Ockrent’s latest attempt at dark comedy, whose thought-provoking premise fails to translate into compelling storytelling, and whose soap-operatic style confuses grip and variety with campiness and an overloaded plot. Four…
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In the launch of Billy Elliot’s 20th anniversary production
Two decades after its message of individuality and self-belief took its first steps (and pirouettes) on the London stage, the musical returns in a brand new production touring across the country before landing in the West End. Join us as we meet the talent bringing this iconic story back to life, featuring a special appearance…
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Actress Helena Devereux talks comedy show ‘Monarchs Anonymous’: “You are not being hit over the head with the history stick”
Known for its visually arresting puppet-based productions such as Moby Dick (Barbican), the company heads to this year’s Edinburgh Fringe festival with this new proposal based on Stoker’s classic novel. Guillermo Nazara chats with the show’s director to learn more about its development and their decision to sink their teeth into this subject. How does…
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Review of ‘Cyrano de Bergerac’ (2026, West End): “Amusing performance doesn’t have a nose for pathos”
It’s not like they went to great lengths to make his suffering resonate. Or his passion. There are other prominent features- as it would have been expected -but poignancy isn’t really one of them. That doesn’t translate into an instant veto. In fact, there’s praise to be given to this latest adaptation of Rostand’s classic,…
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Review of ‘The Sleeping Beauty’ (Royal Albert Hall, 2026): “Enchanting production has no dormant talents”
You can’t go wrong with Tchaikovsky, except perhaps if you’re listening to the 1812 Symphony. And you can hardly go wrong with the English National Ballet. It doesn’t take another genius to realise that combining the two will likely result in a tour de force. But it might take a trip to the Royal Albert…
