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Mezzo soprano Rachel Payne talks London return of ‘Lamplight Concerts’: “An unfamiliar song can open a door you weren’t expecting”
Following last October’s performance at the Actor’s Church, piano-voice duo Jack Tyndale-Biscoe and Rachel Payne (Duo Atlantis) return to the venue with a holiday-themed repertoire. Guillermo Nazara chats with the singer about the show’s creation, its latest iteration, and its concept of merging deco and music into a unified, transporting theatrical experience. How does it…
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Review of ‘Speculations’: “Conspiracy-theory play is riddled with hollowness”
It’s ironic how a play exploring the incongruities surrounding three of America’s most notorious assassinations can be so incongruent itself. The fact that someone of Trevor Nunn’s stature agreed to direct it only adds to the mystery—though its lack of quality shouldn’t surprise anyone who witnessed the tuneless spectacle that The Score was. In any…
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Review of ‘The Bridge’: “Palestinian play exposes major conflict but ultimately lacks one of its own”
Humour is subjective, but calling this performer a comedian might be a stretch. Yes, he makes jokes. And surprisingly, they are meant to be funny. Whether that goal is fulfilled or not is once again a matter of taste. If you’ve never heard jest before, you’ll probably say he’s hilarious. If you happen to be…
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Roshani Abbey talks 2026 edition of ‘RepresentAsian’: “Some castings end up looking for stereotypes instead of authentic representation”
One more year, some of the UK’s leading and emerging talent come together for a special night to celebrate their contributions to musical theatre while advocating for a stronger presence in the genre. Guillermo Nazara chats with one of the show’s long-time performers about this year’s offer, its meaning, and the challenges she’s faced both…
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Lead actor Daniel Krikler talks stage adaptation of ‘The Pianist’: “I remind myself daily why I’m telling this story”
One of the most compelling Holocaust accounts jumps from the pages of Władysław Szpilman’s memoirs to the London stage, where it is currently celebrating its world premiere at Park Theatre. Guillermo Nazara chats with the show’s star about this new chapter in the story’s legacy and the challenges of leading the production after Polanski’s film…
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Review of ‘Ceilidh’: “Unconventional Scottish musical isn’t that brave, but it teems with heart”
As with its pronunciation, be prepared for something a little unusual and unexpected. By all means, this is an atypical musical. An imperfect one, as well. But the great thing about it (or perhaps one of the many) is that it doesn’t need to be flawless. A simple story and an accessible Gaelic score result…
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Review of ‘The Moth’: “Dusty play doesn’t emerge from its cocoon”
Nothing’s better than a good political drama. And probably nothing’s worse than a poorly delivered one. This isn’t by any means one of the worst shows I’ve come across in my years as a critic. In fact, this month has obliged me with an infinite stream of tripe, making me look more favourably upon this…
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Review of ‘ROLEPLAY’: “Sex-driven show is worth a second coming, but it needs a bigger load”
You don’t have to be too open to enjoy this play. Despite its flaws (and there are many prominent ones), it has enough attributes to satisfy its audience. In other words, it’s fun to ride: intense but not too painful; it goes deep inside you without tearing you apart; and it offers some interesting reflections…
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Review of ‘Girls’: “Kidnapping play doesn’t fully steal audiences’ hearts”
They’ve got the right premise. They delivered the right approach. But they haven’t followed through. Not completely, that is. Girls has returned to the London stage ten years after its original iteration. Its first production came at a time when its real-life inspiration was still fresh in audiences’ minds: nearly three hundred girls were kidnapped…
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Lead actress Hannah Akhalu talks revival of ‘Girls’: “It was important for me not to be generic with the experience of pain, fear, and worry”
Inspired by the real-life kidnapping of over 200 Nigerian schoolgirls in 2014, Theresa Ikoko’s play returns to the London stage ten years after its world premiere, in a new production marking Ewan Dina’s debut at the Young Vic. Guillermo Nazara chats with one of the show’s leads about the challenges of bringing such a powerful…
