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Review of ‘Grace Pervades’: “Ralph Fiennes shines as Irving’s dullest stage appearance”
It’s funny, if not ironic, that the story of a frustrated, perfectionist actor trying to deliver the finest theatre has been told by somebody who doesn’t seem to know the basics of proper storytelling. There is only one reason to come see this show, and after a glimpse of it, you don’t need to stay…
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Director & performer Patrick Morris talks new play ‘Albatross’: “Fifteen years of austerity have created a much sparser artistic landscape”
The Norfolk and Norwich Festival presents this environmentalist play as part of its 2026 edition, exploring climate change and human relationships through the bond between a mother and a daughter during an Antarctic expedition. Guillermo Nazara chats with the show’s creative to learn more about its ingrains and a subject everyone should keep a weather…
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Review of ‘The Price’ (2026, Marylebone Theatre): “High-value revival spares no expense despite slightly austere plot”
We know what to expect when we’re talking about an Arthur Miller play. For starters, don’t expect an ending where justice is served. At least not in a smooth way, without the necessary sacrifices. It comes as no surprise that a narrative involving two estranged brothers reunited to sell their late father’s old clutter has…
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Review of ‘Chat Noir!’: “Bohemian Paris dining experience is pure crème de la crème”
C’est magnifique! It has a few flaws, but it is formidable nonetheless. We wouldn’t expect otherwise when we’re referring to The Lost Estate, whose extraordinary production of Dickens’s classic, A Christmas Carol, has become a staple of London’s holiday traditions. Understandably, the anticipation for their new creation was as high as the legendary venue it’s…
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Writer and performer Alfrun Rose talks upcoming new play ‘Dead Air’: “Humans are contributing to dehumanisation”
Following a first iteration at last year’s Edinburgh Fringe, the play arrives in London for a four-day run at the Greenwich Theatre next month. Guillermo Nazara chats with the show’s creator to learn more about its development and how it’s undertaken the subjects of death, loss, and grief through the modern lens of AI. How…
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Review of ‘Two Halves of Guinness’: “Star-driven subject creates great expectations, but the force isn’t with the script”
What I like the most about this actor- the one portrayed, that is -is that he made an annoying little kid cry with class and politeness. For the record, the child was just a fan who asked him to deliver his most famous (and apparently, misquoted) line. Nothing wrong with that, but I’m a critic.…
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Review of ‘Masquerade’: “Cold, unfeeling narrative has twisted every way for the classic’s reboot”
Anyone reading this review remembers the strange affair of the Phantom of the Opera. And the reason for its success is no mystery needing to be fully explained. That is, perhaps, with the exception of those behind its New York City resurrection, which, despite the hype it’s gathered over the past few months since its…
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Review of ‘Seven Drunken Nights’: “Great craic act takes audiences on a rocky road to Dublin”
Nothing screams Irishness like pub gatherings, beer, folk songs, and perhaps some more beer. With that in mind, there’s nothing else to bring into this equation other than, perhaps, one of Motherland’s most popular ambassadors. Or, in its defect, a tribute act that knows how to honour their legacy — with enough magnetism to make…
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Review of ‘Don Quixote’ (2026, Sadler’s Wells): “Lavish production doesn’t tilt at windmills, but its execution isn’t a giant”
They’ve honoured the classic. Not the novel- that was already butchered by Minkus back in the 19th century -but its ballet adaptation. Don’t expect herds to be attacked as enemy armies or galley prisoners to be unlawfully freed. Instead, this is another love story presented under the lens of the romanticised Spanish mythos. As such,…
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Director Jonathan Munby talks new London revival of ‘The Price’: “I’m interested in how the play speaks to a post-Covid world”
London’s Marylebone Theatre presents a brand new revival of Arthur Miller’s intimate play about inherited trauma and family relationships. Guillermo Nazara chats with the man behind its latest incarnation to learn about his vision — as well as Miller’s ability to speak across generations. How does it feel to direct this latest revival of Arthur…
