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Review of ‘Table 17’: “Lacklustre rom-com isn’t out of date, but it isn’t flavourful either”
Maybe I’m just a cynic. Or maybe life has taught me well. But this isn’t the kind of story that melts my heart. Nor is it the type of humour that gets me. To be fair, I do enjoy a good romantic comedy. And this play features two of those three terms: there’s love (in…
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Review of ‘Present Laughter’ (2026, Richmond Theatre): “Gender-swapped revival is not that transgressive, but it’s remarkably funny”
Nothing says Noël Coward like a snowballing series of shenanigans featuring the most endearingly self-entitled characters anybody could ever imagine. And Present Laughter spares no expense in that department. Over 80 years after its original post-war incarnation, the play still shows how timeless Coward’s signature wit is, keeping its freshness and infectiousness intact—without a single…
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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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Actress Helena Devereux talks comedy show ‘Monarchs Anonymous’: “You are not being hit over the head with the history stick”
Known for its visually arresting puppet-based productions such as Moby Dick (Barbican), the company heads to this year’s Edinburgh Fringe festival with this new proposal based on Stoker’s classic novel. Guillermo Nazara chats with the show’s director to learn more about its development and their decision to sink their teeth into this subject. How does…
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Review of ‘Much Ado About Nothing’ (The Globe, 2026): “Present-day revision shows darker shades, but it’s still as merry as the day is long”
There is an obsession with modern reinterpretations of classics that speak to no one but the director’s ego — and perhaps the TikTokers who use them as subjects for mockery. This season’s production of arguably Shakespeare’s most engaging romantic comedy is no exception, but only partially. It might bring a contemporary style to the work-…
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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 ‘TWO’ (Park Theatre, 2026): “Intoxicating comedy serves audiences a bottomless round of laughter”
Following its inaugural run at the Greenwich Theatre, the latest revival Jim Cartwright’s spirited play transfers to the Park for a limited three-week run. Guillermo Nazara shares his views on the show to let us know if it should be given both barrels. It’s been over 20 years since Jim Cartwright’s play raised a first…
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Review of ‘Riki Lindhome: Dead Inside’: “Motherhood comedy is impregnated with pathos”
The Big Bang Theory star settles at the Soho Theatre’s main stage with this one-woman piece exploring her real-life struggles with pregnancy through humour and musical theatre. Guillermo Nazara shares his views to let us know if this newly born show is everything audiences are expecting. There’s only one thing that sucks worse than parenting.…
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Kellie Shirley talks new comedy play ‘TWO’: “It’s an actor’s dream”
Following the success of its inaugural run, the play transfers to London’s Park Theatre until the end of April, reuniting the EastEnders and In The Long Run star with his partner in crime, Peter Cauldfield, in a lively semi-immersive performance set in a working-class pub. Guillermo Nazara chats with the actress to learn more about…
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Review of ‘While They Were Waiting’: “Existential play justifies everything but its own existence”
Gary Wilmot and Steve Furst reunite onstage through this philosophical play exploring different layers of the human condition. Guillermo Nazara shares his views on the show to let us know if its Samuel Beckett-inspired style will grant the run a few happy days. He’s an excellent actor. So is his co-star. And his admiration for…
