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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…
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Review of ‘Million Dollar Quartet’: “Plotless musical features sixteen tons of emptiness”
They’ve got Elvis. They’ve got Johnny Cash. And they’ve got Carl Perkins and Jerry Lee Lewis. The only thing they don’t have is a plot. Call me fastidious, but without one of those, your chances of having a musical are slim—even Andrew Lloyd Webber, despite his dramatically insubstantial Cats and Starlight Express, will tell you…
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Writers and performers Jordan Li-Smith and Ayesha Patel talk upcoming musical comedy ‘Rope Drop’: “As adults, we don’t always give ourselves permission to play, be silly or get excited about things”
The happiest place on earth travels to the London stage through this musical tribute celebrating its attractions, shows, and the memories that have turned millions of guests into lifelong fans. Guillermo Nazara chats with the creative team about the piece’s development and the ride it will take audiences on. How does it feel to be…
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Review of ‘CATS’ (2026, Regent’s Open Air Theatre): “Impurrfect production passes by a whisker”
Let’s be honest — this musical has never been a masterpiece. If you think my claws are showing, I will clarify that I do think there’s an element of genius to it. But that doesn’t make it flawless. Or great. Yet, there is a reason why Andrew Lloyd Webber’s feline-driven folly became the cultural phenomenon…
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Tyrone Huntley talks West End revival of ‘Jesus Christ Superstar’: “I never think of Judas as the villain of the story”
Following the original Regent’s Park’s Open Theatre run and its subsequent Barbican transfer, the actor returns to his role as Judas for the first time in seven years, joining the production’s first incursion into the West End. Guillermo Nazara chats with the performer about his take on the role, as he asks ‘what’s the buzz?’…
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Review of ‘I’m Every Woman’: “Chaka Khan musical bio’s got the love, but it doesn’t put a spell on anyone”
Her life is nearly as iconic as her artistic legacy. But if there’s something recent jukebox musicals have taught us, it is that good dramaturgy is no longer relevant — no matter how painfully boring the recount may become. It is baffling, to put it mildly. How can such a dramatically promising premise devolve into…
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Review of ‘Trainspotting, The Musical’: “H-themed show appropriately scores below an F”
Ignore the negativity. It’s probably sugarcoated. Nothing you have heard or read can prepare you for this show’s deplorable quality. And that concerns every single aspect of it. If you value your time and, most importantly, your well-being, I must urge you not to watch it. It is that bad. You won’t be touched —…
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Luke Baker talks 20th-anniversary production of ‘Jersey Boys’: “I’m sure a few actors have blown out their voices playing Frankie Valli”
One of the most awarded jukebox musicals of all time returns to the UK in an extensive tour honouring the original production, which will be running for all four seasons until August next year. Guillermo Nazara chats with the show’s star to learn more about his portrayal and what a night audiences are likely to…
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Review of ‘Shanay Holmes In Concert’: “Heartfelt performance is remarkably pulsating”
She knows how to shine. And for the most part, that’s all she did. There are many things to praise about Shanay Holmes’s last week’s solo performance at the Cadogan Hall, whose hit-studded repertoire and overall excellent execution were received with a well-deserved standing ovation. From hopeful Disney Princess solos to swanky Bob Marley anthems,…
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Review of ‘Jesus Christ Superstar’ (2026, West End): “London Palladium is blessed with a heavenly production, but Sam Ryder is far from divine”
We’ve come a long way since Andrew Lloyd Webber and Tim Rice’s third collaboration became the cultural phenomenon that took the 70s by storm and almost single-handedly defined a whole generation. Its progressive rock score and unfiltered lyrics perfectly encapsulated the essence of the era — a time that advocated for change, nonconformism, and the…
