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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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Bijan Daneshmand talks upcoming stage adaptation of ‘Under The Shadow’: “It is the politics that messes everything up”
Following his rendition in the original film, the actor reunites with Babak Anvari’s critically acclaimed story in the world premiere of its stage adaptation. Guillermo Nazara chats with the performer to learn all the details about this new version and its resonance with the current international political climate. How does it feel to take part…
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Review of ‘1536’: “Anne Boleyn-themed drama needs some reformation”
“This is England, woman”. A simple line unloads all the ominous weight of a dire age — and a most dangerous situation. What once was a harmless, playful act has become a death sentence. Yes, this England. 16th-century England. And the social dynamics among men and women, nobles and peasants, and virtually anyone abided by…
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Review of ‘A Doll’s House’ (2026, Almeida Theatre): “Modern remake toys with an interesting concept, but the pathos is porcelain cold”
Ibsen’s classic returns to the London stage in a contemporary adaptation by Anya Reiss. Guillermo Nazara shares his views on the show to let us know if its powerful plot ends up handled like a ragdoll. I’ve experienced a few eye rolls when discussing the premise of this adaptation. For purists, the tiniest change to…
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Review of ‘Christmas Day’: “Jewishness play brims with poignancy despite sabbatical elements”
London’s Almeida Theatre hosts the world premiere of Sam Grabiner’s latest piece, which explores the trials and tribulations of a Jewish family and their clashing opinions on their community. Guillermo Nazara shares his views on the show to let us know if its piercing analysis on cultural identity is worth a Mazel Tov. It might…
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Review of ‘The Line of Beauty’ (Almeida 2025): “Promising AIDS-themed storyline ends up in a slight crisis”
The stage adaptation of Alan Hollinghurst’s queer novel celebrates its world premiere, featuring a script by Jack Holden and direction by Michael Grandage. Guillermo Nazara shares his views on the show to let us know if its depiction of gay life during the Thatcher era ends up in the right section. The word ‘struggle’ seems…
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Review of ‘Romans, a novel’: “Gripping production mans compelling tale of masculinity despite disappointing ending”
The Almeida Theatre hosts the world premiere of Alice Birch’s latest play, exploring male-related issues through the trials and tribulations of three siblings. Guillermo Nazara shares his views on the show to let us know if its depiction of brother and individual resilience is, in frat, worth seeing. Manhood — once an honourable term, now…
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Review of ‘A Moon for the Misbegotten’: “Star-studded London revival doesn’t gibbous all its heart”
The Almeida Theatre hosts the London revival of Eugene O’Neil’s stage classic — in a new production directed by Rebecca Frecknall and starring Michael Shannon and Ruth Wilson. Guillermo Nazara shares his views on the show — to let us know if this latest landing ends up feeling out of orbit. Even the strongest-looking build…
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Review of ‘The Years’: “Long-time memories, but short endurance”
London’s Harold Pinter Theatre hosts the West End transfer for the Almeida Theatre’s stage adaptation of Annie Ernaux’s acclaimed book – depicting half a century of history through the eyes of women’s rights. Guillermo Nazara shares his views on the show, to let us know if this piercing journey into the old days manages to…
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Review of ‘A Mirror’: “A blurred reflection”
Sam Holcroft’s dystopian play lands on the West End after its original run at the Almeida Theatre. Guillermo Nazara shares his views on the show, to let us know if its dark comedy plot about political oppression manages to toe his party line. As a censor, it is my job to protect you, viewers, from…
