-
Review of ‘CATS’ (2026, Regent’s Open Air Theatre): “Impurrfect production passes by a whisker”
Let’s be honest — this musical has never been a masterpiece. If you think my claws are showing, I will clarify that I do think there’s an element of genius to it. But that doesn’t make it flawless. Or great. Yet, there is a reason why Andrew Lloyd Webber’s feline-driven folly became the cultural phenomenon…
-
Tyrone Huntley talks West End revival of ‘Jesus Christ Superstar’: “I never think of Judas as the villain of the story”
Following the original Regent’s Park’s Open Theatre run and its subsequent Barbican transfer, the actor returns to his role as Judas for the first time in seven years, joining the production’s first incursion into the West End. Guillermo Nazara chats with the performer about his take on the role, as he asks ‘what’s the buzz?’…
-
Review of ‘Deliver Us From Evil’: “New witch-trial play is no theatrical crucible”
Every story has been told. But not every story needs to be told again. Especially when they don’t have anything else to say; that’s the difference between a compelling reinterpretation and a derivative piece. The former speaks to a new audience with different lenses and its own voice. The latter shows no vision, and the…
-
Review of ‘I’m Every Woman’: “Chaka Khan musical bio’s got the love, but it doesn’t put a spell on anyone”
Her life is nearly as iconic as her artistic legacy. But if there’s something recent jukebox musicals have taught us, it is that good dramaturgy is no longer relevant — no matter how painfully boring the recount may become. It is baffling, to put it mildly. How can such a dramatically promising premise devolve into…
-
Review of ‘Now You See Me Live’ (2026, London Coliseum): “Charming magic show does the trick, but it isn’t that spellbinding”
Maybe it’s because I grew up watching Val Valentino dig his own professional grave on TV by doing the unthinkable. If you were a kid in the 90s or early 2000s and liked to perform a few illusions (nerd), you probably know what I’m talking about. And chances are you’ll think the same upon attending…
-
Review of ‘Tao of Glass’: “Celebration of Glass works in metamorphosis deficit”
The fact that the first thing I hear during the interval is someone telling their companion they can leave if they want has to count for something. Certainly, it’s affected the number of attendees. The two people sitting next to me were nowhere to be found during Act Two. Several pockets across the stalls were…
-
Review of ‘Love’s Labour’s Lost’ (2026, Shakespeare’s Globe): “Spanish-themed remake isn’t that different”
It’s not Shakespeare at his best. Not in content. Not in execution. I think we can all agree on that. Even the ones who have a soft spot for the thin plot and dense oetry of one of the Bard’s early comedies. This doesn’t mean absolute disapproval. And certainly, this version doesn’t deserve it. Ultimately,…
-
Review of ‘Otto & Astrid: The Stages Tour’: “Parody rock act is a joke of a show”
It is what it is. And at least I got a free bag of Cheerios at the end (that was a tasty snack). I’m not saying that was the highlight of the evening, but it’s not like this faux German emo sibling couple made the strongest impression on me — and certainly not the happiest.…
-
Review of ‘Trainspotting, The Musical’: “H-themed show appropriately scores below an F”
Ignore the negativity. It’s probably sugarcoated. Nothing you have heard or read can prepare you for this show’s deplorable quality. And that concerns every single aspect of it. If you value your time and, most importantly, your well-being, I must urge you not to watch it. It is that bad. You won’t be touched —…
-
Writer and performer Abigail Weinstock talks upcoming show ‘Giraffe’: “Masking is such a big part of the autistic experience”
Inspired by her own personal accounts, the actress and comedian brings humour and drama to this year’s Edinburgh Fringe through a semi-autobiographical play exploring queerness, neurodiversity, and self-acceptance. Guillermo Nazara chats with the performer to learn more about the show’s development and how its celebration of individuality makes a difference. How does it feel to…
