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Review of ‘This Is Not About Me’: “Heartless romance doesn’t have a pulse”
London’s Soho Theatre presents this new two-hander exploring the explosive relationship between two young lovers. Guillermo Nazara shares his views on the show to let us know if its passionate narrative needs to patch anything up. There was only one single line that resonated with me throughout the entire performance. A brief incident, but no…
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Review of ‘Jaja’s African Hair Braiding’: “Interlaced narratives result in a few split ends”
The Lyric Hammersmith hosts the London premiere of Jocelyn Bioh’s comedy play. Guillermo Nazara shares his views on the show to let us know the mane problems of its hairy plot. They’ve cut it a little too short. And if that’s not the issue, they should definitely let it grow longer. There’s no question about the…
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Review of ‘Teeth ‘n’ Smiles’: “Rocky drama isn’t in tune with its characters”
London’s Duke of York’s Theatre presents the West End revival of David Hare’s 1975 play. Guillermo Nazara shares his views on the show to let us know if this new return rocks the stage. This is a confusing show. Not due to its complexity, but the exact opposite. As a drama, it is that sketchy.…
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Review of ‘A Mirrored Monet’: “There’s nothing impressive about this impressionist musical”
London’s Charing Cross Theatre hosts the world premiere of Carmel Owen’s musical biopic of the influential painter. Guillermo Nazara shares his views on the show to let us know if its portrayal of the artist should be given the brush. In their defence, they never went as far as talking about a Russian who played…
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Review of ‘Where There Is No Time’: “Hasty designer narrative is far from a model play”
London’s Seven Dials Playhouse presents this new original play about an emerging fashionmonger and his arduous rise to success. Guillermo Nazara shares his views on the show to let us know if this rare little piece is bound to become a high-street name. There’s no speech about the historical importance of cerulean blue. And there…
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Review of ‘Ruth, The Ruth Ellis Musical’: “Lady-killer musical results in a criminal act”
London’s Wilton’s Music Hall presents this new neonoir musical exploring the trials and tribulations that led the infamous historical character to her tragic ending. Guillermo Nazara shares his straight-shooting views on the show to let us know if audiences will go ballistic about it. There’s only one thing that I’m grateful for in this musical,…
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Review of ‘Body & Soul’ (Sadler’s Wells, 2026): “Spirited performance requires slightly better handling”
The English National Ballet presents this experimental production featuring two concepts by choreographers Crystal Pite and Kameron N. Saunders. Guillermo Nazara shares his views on the show to let us know if this mixture of classic and modern dance reaches its plié-nitude. Droite, gauche. Droite, gauche. Droite, gauche… The low whispers of a disembodied voice…
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Review of ‘Welcome to Pemfort’: “Towering premise doesn’t hold strong as a play”
London’s Soho Theatre presents this new play by budding writer Sarah Power, which explores the reintegration of a returning citizen landing a job in a historical destination. Guillermo Nazara shares his views on the show to let us know if its fortified narrative will catapult it to success. We’ve all done things in the past…
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Review of ‘Children of the Night’: “Promising Donny-themed play results in a little tyke”
London’s Southwark Playhouse presents this new play by new author Danielle Phillips, which explores the struggles of a Northern young woman during the post-Thatcherist note. Guillermo Nazara shares his views on the show to let us know if this lass tale will be reet. This is not another play about AIDS. Or about race. Or…
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Review of ‘America The Beautiful’ (Chapter One): “Triple-feature play is a creative triple threat”
London’s King’s Theatre presents the UK premiere of Neil LaBute’s collection of short plays, produced in collaboration with the Greenwich Theatre. Guillermo Nazara shares his views on the show to let us know if its savage narrative will take audiences on a wild ride. “Be prepared to be offended”, whispers the lady behind my row…
