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Writers and performers Jordan Li-Smith and Ayesha Patel talk upcoming musical comedy ‘Rope Drop’: “As adults, we don’t always give ourselves permission to play, be silly or get excited about things”
The happiest place on earth travels to the London stage through this musical tribute celebrating its attractions, shows, and the memories that have turned millions of guests into lifelong fans. Guillermo Nazara chats with the creative team about the piece’s development and the ride it will take audiences on. How does it feel to be…
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Review of ‘As You Like It’ (2026, Shakespeare’s Globe): “Boisterous production is nearly madness; and, I tell you, doesn’t deserve as well a dark house or a whip”
There comes a time in the life of every theatre critic when the journey back home isn’t accompanied by a sense of burning frustration or sadistic desire — because, for a change, you’ve genuinely enjoyed every minute of what you’ve seen. There’s no twist coming up now — in case you were expecting it. This…
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Review of ‘Before We Forget’: “Memory-themed play is dramaturgically oblivious”
I think it’s frightening that science-fiction stories warning of the dangers of technology in the near future no longer come across as science fiction or the future. Sorry to sound apocalyptic, but the threat has become a reality by now. And so, a plot involving a company providing human memory storage services should serve as…
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Review of ‘Jeeves Takes Charge’: “Return of the valet caters to its audience, but the comedy isn’t fully serviced”
I’m all down for a good old English farce. And probably no other stock-character duo embodies that quintessence better than an idle gentleman and his dry, quick-witted valet. With that in mind, P. G. Wodehouse’s revered creation would have got me in stitches. Or more appropriately, a subtle smirk and an ironic laugh as tradition…
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Review of ‘Death Note, The Musical’ (2026, Barbican): “Supernatural sung-through thriller has no super or natural writing”
I’m starting to believe that the world may come to an end the day Frank Wildhorn comes up with an original melody. If you don’t believe me, just go through his body of work (which is as extensive as it is derivative) and try to find a single motif he hasn’t borrowed and probably made…
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Review of Gerswhin’s Piano Concerto (BBC Proms, 2026): “Gaffigan and Son shine despite disappointingly bland opening”
There’s no question that art can show the best and the worst in humans. May this concert serve as a fair example of that. I’m not talking about its message or emotional reading. What I’m referring to is how greatness and banality stood on the same stage, hand in hand. Fortunately enough, the latter was…
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Review of ‘Evelyn Glennie and the Fantasia Orchestra’ (BBC Proms, 2026): “Eclectic rendition doesn’t miss a beat, but it doesn’t sing either”
They could have done better. Not that much in terms of execution- although that wasn’t exceptional either -but regarding their choice of repertoire, which was eclectic but hardly electric. Not everything can be great, that’s true. But all my previous interactions with the Fantasia Orchestra have got close enough. Not this time, however. And although…
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Reece Donelly talks tenth anniversary of Theatre College of Scotland: “We never want to stand still, because the industry certainly doesn’t”
From a small idea to a multi-million-pound business, the Theatre College of Scotland has grown to become an institution in its own right, currently regarded as one of the finest in the country thanks to its world-class, multidisciplinary training across stage and screen. Guillermo Nazara chats with the founder to learn about the organisation’s evolution…
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Julie Yammanee talks upcoming international tour of ‘Magic Mike Live’: “The more “me” I can be, the better it is for the show”
Following the spectacular success of the London production, now in its 8th year, the show is preparing for its first international tour, assembling its largest cast ever for a new, larger version opening in Aylesbury at the end of the month. Guillermo Nazara chats with its upcoming MC, who bares it all about her role…
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Review of ‘The Comedy About Spies’ (Adelphi Theatre, 2026): “Secret-agent parody earns its license to kill the room”
There is funny, and then there is this. Revisiting something you loved the first time can be a tricky business. Often, those expectations aren’t met again. That’s why it’s so refreshing to reconnect with something that I happen to like even more. And chances are anyone who’s into Mischief’s signature droll humour will feel the…
