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Review of ‘The Oresteia’ (Bridge Theatre, 2026): “Modern remake of ancient classic is equally immortal”
This is the kind of play you should avoid at all costs if you’re not looking to be shocked. Or gripped. Or pleasantly aghast. It will not feature ancient deities or unpronounceable names. But it will still capture the spirit of the original (no pun intended). With a contemporary setting, Simon Stone’s adaptation of Aeschylus’s…
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Review of ‘A Midsummer Night’s Dream’ (Regent’s Open Air Theatre, 2026): “Rustic production comes out too mechanical”
Comparisons are odious. But what else can you do if two major productions of arguably Shakespeare’s most popular comedy are running in London at the same time? Especially, if one of them is faultless and all you can say about the other, if you want to be kind, is that at least they tried. And…
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Review of ‘A Midsummer Night’s Dream’ (2026, The Globe): “Interactive production doesn’t take pains, but it’s almost perfect”
This is not the groundbreaking tour de force that The Globe blessed us with at the end of last year, but it’s not that far from that level of excellence. There’s nothing technically new about it. Unlike the venue’s most recent predecessor, this one is back to drollery, liveliness, and, of course, summer. And that…
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Review of ‘A Midsummer Night’s Dream’ (2025 Globe): “Nightmarish reboot changes a dove for a raven, and it grows into a black swan”
The Sam Wanamaker Playhouse welcomes its first candle-lit production of the Bard’s popular comedy. Guillermo Nazara shares his views on the show to let us know if its bleak, edgier remake has made an ass of itself. Could we just stop normalizing crushing a man’s groin as a humour device? Seriously, I hate to sound…
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Review of ‘Salomé’ (2025 Theatre Royal Haymarket): “Silver-plate staging doesn’t disguise company’s failed baptism of fire”
Gersher Theatre’s revival of Oscar Wilde’s provocative biblical drama celebrates its West End debut through a strictly limited run playing until mid-October. Guillermo Nazara shares his views on the show to let us know if this new take comes across as a butchery (or decapitation) of the classics. She’s not dancing the dance of the…
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Review of ‘The Merry Wives of Windsor’ (The Globe): “Historically-themed remake has no other charms after setting the attractions of its good parts apart”
The Bard’s comedy returns to the London stage in this new production envisioned by reputed director Sean Holmes. Guillermo Nazara shares his views on the show to let us know if this latest approach to the classic play shall let audiences drink down all unkindness. Well, sooner or later there had to come the moment…
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Review of ‘Romeo and Juliet’ (2025 Globe): “Wild West reimagining turns lovers tragedy into a holy-cow extravaganza”
Shakespeare’s Globe hosts this cowboy-themed makeover on the Bard’s timeless romance. Guillermo Nazara shares his views on the show, to let us know if de-parting from the material’s original looks is, in this case, such sweet sorrow. “For never was a story of more woe than this of Juliet and her Romeo.” Someone involved with this…
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Review of ‘Ghosts’: “Grave matters don’t spirit away in this still haunting reimagining”
Ibsen’s masterpiece relives on the London stage through this modern-day interpretation, playing at the Lyric Hammersmith until next month and starring Callum Scott-Howells and Victoria Smurfit. Guillermo Nazara shares his views on the show, to let us know if this new revision manages to capture the author’s essence or turns out to be an embarrassing…
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Review of ‘The Glass Menagerie’: “A grasp of blue roses”
Tennessee Williams’s masterpiece returns to the London stage in a reimagined production playing at The Yard Theatre until mid-May. Guillermo Nazara shares his views on the show, to let us know if this new approach on the classic allows its original essence to crystallise. In Spain there was Guernica! But here there was only hot swing…
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Review of ‘All’s Well That Ends Well’: “Blissful misery”
The Bard’s disputed comedy returns to the London stage in an intimate, candlelit production playing at the Globe’s indoor theatre until the start of the New Year. Guillermo Nazara shares his views on the show, to let us know if, in this new approach on the classic piece, the end is renown, no matter the…
