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German Cornejo talks ‘Tango After Dark’: “Tango is so much more than just a dance”
After the spectacular success of its latest run, the show returns the allure, pizzazz, and sensuality of Argentina’s most popular art form while honouring one of its most prominent composers. Guillermo Nazara chats with the show’s lead creative about the development process, new additions, and the importance of keeping this tradition alive and continually evolving.…
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Lead actor Daniel Krikler talks stage adaptation of ‘The Pianist’: “I remind myself daily why I’m telling this story”
One of the most compelling Holocaust accounts jumps from the pages of Władysław Szpilman’s memoirs to the London stage, where it is currently celebrating its world premiere at Park Theatre. Guillermo Nazara chats with the show’s star about this new chapter in the story’s legacy and the challenges of leading the production after Polanski’s film…
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Review of ‘Ceilidh’: “Unconventional Scottish musical isn’t that brave, but it teems with heart”
As with its pronunciation, be prepared for something a little unusual and unexpected. By all means, this is an atypical musical. An imperfect one, as well. But the great thing about it (or perhaps one of the many) is that it doesn’t need to be flawless. A simple story and an accessible Gaelic score result…
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Review of ‘Martin Guerre’ (Old Vic, 2026): “New revival features more historical accuracy but loses its identity”
It’s never had its way with audiences. The original London production was indeed on for a good couple of years. But that hardly compares to the remarkable success of Boublil and Schönberg’s previous works. Had it opened today in its initial form, it probably wouldn’t have lasted that long. Neither will this newest, heavily altered…
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Billy Nevers talks West End revival of ‘RENT’: “We really invite the audiences into the action”
Jonathan Larson’s cultural phenomenon returns to the London stage in a new in-the-round production directed by Luke Sheppard. Guillermo Nazara chats with one of the leads about the piece’s relevance today, the challenges of his role, and what makes the show a reason to be out tonight. How does it feel to join the lead…
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Review of ‘Heated Rivalry’ (2026, Underbelly Soho): “Top-tier gay parody is bottomless fun”
I don’t care for the series. I tried to watch the whole thing before coming to press night, but I couldn’t stand more than 5 minutes. I wasn’t too worried, though. After all, I had already seen all the important bits (some longer than others) by changing my VPN location. But as this musical states…
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Review of ‘Thelma & Louise’ (2026, Young Vic): “Road musical goes off a cliff, and it’s a complete car crash”
I was on a call with a friend from New York last night. As we discussed theatre (quelle surprise!), I told him I’d attended the newly opened Thelma & Louise musical. Enthusiastically, he told me he had just seen an advertisement for its transfer to the Great White Way. He was wrong, though. There’s no…
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Review of ‘Franz & Marie’: “Tuneless musical misses the key in every aspect”
Shun everyone who tells you this is a good musical — or anything other than horrendously bad. After hundreds and hundreds of press nights I’ve taken a friend to, this is the first time he’s politely asked to leave during the interval. For the record, he’s the kind of person that tries to see the…
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George Bladgen talks upcoming production of ‘Love Never Dies: “My challenge is for audiences to find some redeeming features in Raoul”
The sequel to Andrew Lloyd Webber’s haunting romance returns to the West End in a special concert version featuring a star-studded cast. Guillermo Nazara chats with one of its leads to learn about his approach to the role and its challenges just a few days ’till we hear him sing. How does it feel to…
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Review of ‘The Last Ship’: “Sting’s hulk of a musical sinks on its West End maiden voyage”
It flopped on Broadway. No wonder why. The reason has nothing to do with Americans not understanding the struggles of working-class Britons. The show is just bad. Terribly bad. From a sluggish plot devoid of grip and poignancy to a clueless, nondescript score, there are no redeeming features (or even a speck of adequacy) in…
