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Review of ‘Cul-de-sac’: “A dead end beyond its title”
London’s Omnibus Theatre hosts the world premiere of David Shopland’s new coming-of-age dark comedy. Guillermo Nazara shares his views on the show, to let us know if this raucous portrayal of the millennial plights booms with generational zest. They’ve chosen the wrong French term to name the show. The meaning may reflect the piece’s effectiveness…
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Playwright Giulietta Tisminetzky talks new upcoming show ‘How To Kill A Chicken’: “It’s a show that doesn’t pretend to have all the answers”
Following its original run at the Edinburgh Fringe, the show makes its way to Brighton this weekend – bringing back its passionate narrative of love, sex, and self-discovery. Guillermo Nazara chats with the author, to learn more about the development of the piece and how it sheds light and hope on such a dire subject.…
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Writer and performer Matthew Seager talks the return of ‘In Other Words’: “It’s possible to leave the theatre with a smile on your face and tears in your eyes”
Following its worldwide success with several 5-star-rated international productions, the show returns to the London scene for one week only to conclude its latest UK tour. Guillermo Nazara chats with its author and co-lead, to learn more about the development of this piece exploring the power of music on people with dementia and how its…
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Playwright Barney Norris talks new contemporary adaptation of Lorca’s ‘Blood Wedding’: “The words alone aren’t a translation, it’s everything in the show”
Following the success of his last play starring Asa Butterfield, Norris lands his latest creation on the stage of the Omnibus Theatre – transforming Lorca’s turn-of-the-century drama into a dark comedy set in modern-day England. Guillermo Nazara chats with the author, to learn more about the development of the piece and what prompted him to…
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Review of ‘Conversations After Sex’: “It comes off too flaccid”
Mark O’Halloran’s intimate play climaxes at Park Theatre, inviting audiences to some group fun through its intercourse of comedy and drama. Guillermo Nazara shares his views on the show, to let us know if its cocky narrative is worth blowing its own horn. The more you screw around, the bigger chances you have of fcking…
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Writer David Shopland talks upcoming play ‘Cul-de-Sac’: “I see a lot of people who fell into lives that don’t feel like they were made for them”
London’s Omnibus Theatre hosts the world premiere of this new coming-of-age play exploring the trials and tribulations of the millennial generation. Guillermo Nazara chats with its author, to learn more about the development of a show booming with everything but zee-mple matters. How did the idea for this play come about? Quite differently from most…
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Review of ‘Heisenberg’: “We can’t love what we can’t feel”
Simon Stephen’s play relives at the Arcola Theatre in this new production starring Jenny Galloway and Faline England. Guillermo Nazara shares his views on the show, to let us know if this queer revival of the love story is a concept to be married to. Train stations are romantic. Or so they say. To many,…
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Review of ‘The Psychiatrist’: “Full of brain, but short of a heart”
London’s White Bear Theatre hosts the world premiere of Julian Bird’s second play, inspired by his own experiences as a professional mental health therapist. Guillermo Nazara shares his views on the show, to let us know if this mindful dramatic construction ends up feeling unhinged. To say that we all have a little crazy in…
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Review of ‘The Little Prince’: “What is essential is invisible to the eye, but should be shown someway”
The Cockpit Theatre hosts this new adaptation of the classic children’s novel, combining puppetry and mime to bring its fanciful world from the page onto the stage. Guillermo Nazara shares his views on the show, to let us know if in this reimagined take everything ends up coming up roses. It may not be the…
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Review of ‘A Letter to Lyndon B. Johnson’: “Battling its own elements”
The Soho Theatre hosted the London transfer of this historical two-hander comedy, following its initial run at the Edinburgh Fringe. Guillermo Nazara shares his views on the show, to let us know if this farcical tale set during the Vietnam comes well-armed to the front line of the stage. They love Lyndon. They’re doing it…
