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First Artist Anri Sugiura talks ENB’s upcoming production of ‘Sleeping Beauty’: “You can feel the pure joy of dancing”
Following the success of previous classical productions such as Cinderella and Swan Lake, the English National Ballet returns to the Royal Albert Hall with Kenneth MacMillan’s timeless adaptation of Tchaikovsky’s Sleeping Beauty. Guillermo Nazara chats with one of its prima ballerinas to learn about the piece’s highlights and how it will put audiences under a…
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Review of ‘Much Ado About Nothing’ (The Globe, 2026): “Present-day revision shows darker shades, but it’s still as merry as the day is long”
There is an obsession with modern reinterpretations of classics that speak to no one but the director’s ego — and perhaps the TikTokers who use them as subjects for mockery. This season’s production of arguably Shakespeare’s most engaging romantic comedy is no exception, but only partially. It might bring a contemporary style to the work-…
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Writer and performer Drew Lausch talks upcoming Ed Fringe show ‘Friendliest’: “Queer kids are still forced to become little psychologists far earlier than straight kids”
The American comedian lands on the Ed Fringe stage with a bold, lively, and deeply personal show exploring the struggles of growing up queer in an unaccepting world. Guillermo Nazara chats with the performer to learn more about the piece’s development and how a story about creating the first gay superhero clashes with the kryptonite…
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Writer and performer Ted Walliker talks new one-man show ‘RON’: “Struggling to make people laugh makes for a fascinating glimpse into what kind of person you are”
Following its inaugural run last March, the show returns to London’s Riverside Studios for Pride Month, bringing back the laughs, trills, and horrors of this unconventional queer love story. Guillermo Nazara chats with its creator to learn more about the piece’s development and how this story involving toxic relationships intends to make a killing. How…
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Review of ‘Ron’ (2026, Riverside Studios): “Criminal comedy gets away with murder”
It’s bloody absurd. And bloody violent. But fortunately, not bloody awful. In fact, it’s everything but that. Although there is blood. A lot of blood. And the funny thing, which is something quite prominent in this show, is that you will feel drenched in it without even seeing the tiniest drop of it. It is…
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Review of ‘Under The Shadow’: “Nightmarish play almost became a dream of a show”
I’ll admit it — I screamed at the end of Act One. Not at the top of my lungs, but it was fairly close. In my defence, everyone else did. And people’s jumps could probably be heard from a mile away. It was a brilliant first half. Superb structure, flawless pacing, and a masterful way…
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Review of ‘A Life in Four Seasons’: “Spring of ideas ends up falling flat”
They didn’t bring anything new. Or special. Yet, I can’t say it wasn’t enjoyable. Or that it wasn’t engaging. That is the extent of it, however. As much as the ghost of a transporting show inspired by the Red Priest’s magnum opus lingered throughout, the bloom never came to fruition. And although a few occasional…
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Conductor Tom Fetherstonhaugh talks Fantasia Orchestra: “We are offering a new voice in the classical music landscape”
Considered one of the country’s most distinctive formations in its field, the orchestra continues to hit more milestones, currently celebrating its tenth anniversary with an exhilarating summer season that also marks its return to the BBC Proms. Guillermo Nazara chats with the man behind its creation to learn more about its astounding growth, upcoming projects,…
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Review of ‘The Magician’s Table’ (2026, The Vaults): “Illusionist act manages to impress, but its execution isn’t the sleightest of hand”
It wasn’t perfect, but it did the trick. And overall, there was hardly any disillusionment. Yet, a good array of acts is not enough to exempt a production from criticism. Especially if the structure is faulty. Before you jump to conclusions, I’ll make clear that I actually enjoyed it. And chances are you will too.…
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Playwright Ryan Calais Cameron talks about becoming the first patron of Camden People’s Theatre: “If you only invest in what’s proven, you stop discovering what’s next”
With several widely acclaimed pieces to his credit, including Retrograde and For Black Boys, Ryan Calais Cameron has cemented his status as one of the most prominent authors of his generation. Now, the writer reconnects with his roots by becoming a benefactor to the venue that gave him the opportunity to set his artistic path.…
