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Review of ‘Before We Forget’: “Memory-themed play is dramaturgically oblivious”
I think it’s frightening that science-fiction stories warning of the dangers of technology in the near future no longer come across as science fiction or the future. Sorry to sound apocalyptic, but the threat has become a reality by now. And so, a plot involving a company providing human memory storage services should serve as…
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Review of ‘Cleansed’ (2026, Almeida): “Impeccable performance nearly make up for blemished play”
Someone near you will leave during the performance. That, I can guarantee. It’s not because it’s a bad watch. But it’s a tough one — a really tough one. What else can we expect from a play written by Sarah Kane other than shock and narrative uncertainty? Not only don’t we know what’s going to…
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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…
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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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EXCLUSIVE: London production of ‘Phantom of the Opera’ to be replaced by Jamie Lloyd reimagining
The music of the night is about to go silent in its birthplace. At least, for a few months. Today, producers have announced that the legendary revised version of Andrew Lloyd Webber’s classic will go dark before experiencing a complete makeover under the guidance of reputed director Jamie Lloyd. “It feels like the right time…
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Review of ‘American Pyscho’ (2026, Almeida Theatre): “Lethal revival is bound to make a killing”
The show makes a comeback to the London scene on the very stage where it originated. Guillermo Nazara shares his views to let us know if its sanguine return should be given the axe. There’s a love song. A love song about a business card: it’s bloody ridiculous. And that’s what makes it bloody brilliant.…
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Review of ‘Jo, The Little Women Musical’ (2026, Drury Lane): “Slightly charming musical is still taking baby steps”
The show celebrated its world premiere through a one-off semi-staged concert starring some of the biggest names in the industry. Guillermo Nazara shares his views on the show to let us know if this newest adaptation of the literary icon outgrows its former incarnations. It’s been done before. I don’t mean Louisa May Alcott’s classic…
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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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Actor and director Paul Goodwin talks upcoming one-man adaptation of ‘Macbeth’: “Finding the drama continues to be my greatest challenge”
The Bard’s bewitching play returns to the London scene through this new one-hander version running next week as part of the Camden Fringe Festival. Guillermo Nazara chats with the artiste behind and in front of this banquet of creativity – to learn more about the development of the piece, its toil, and trouble. How did…
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Review of ‘The Daughter of Time’: “Richard III-themed play comes across as dated rather than historical”
The Charing Cross Theatre hosts the world premiere of Josephine Tey’s detective novel’s stage adaptation. Guillermo Nazara shares his views on the show to let us know if this revision of the infamous king’s legacy heads off a cliff — or tower. It’s only the greatest that make history — or so they say. For…
