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Review of ‘Love Omar’: “Arabian night is hardly a stroke of genius”
I didn’t love him. Or like him. Just like I didn’t love or like this play either. It’s not a bad concept. But it’s a clumsy execution. Very clumsy. To the extent that, if it hadn’t been for the final 20 minutes, I wouldn’t know what the point of this piece is. Nor what it…
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Creatives and performers Kate Taylor Hunter and Anita Brokmeier talk new immersive experience ‘Fish in a Kettle’: “Human beings are incredibly destructive, but also incredibly adaptive”
Following their vision of developing theatre with a laboratory mindset, Lab Rats Collective brings their latest experiment to Liverpool for a strictly limited run next week, taking audiences on a journey into the future and the dystopian consequences of climate change. Guillermo Nazara chats with the company’s founders to learn more about the show’s development…
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Review of ‘End of the Rainbow’ (2026, Soho Theatre): “Technicolor revival dazzles, but it still is a bit green”
Judy Garland is back. In the flesh. In the spirit. And in the drag. Before anyone jumps to conclusions, let me be clear: this is no drag show. And for the most part, it doesn’t come across as one. But the fact that the winner of American RuPaul’s fifth edition stars in it cannot be…
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Performer and producer Tanya Truman talks upcoming Nigella Lawson-inspired musical: “This show could absolutely build a strong community following”
London’s Upstairs at the Gatehouse gets a taste of Britain’s sweetest (and somewhat spiciest) culinary author with this new musical honouring her legacy through laughter, tears, and home-cooked meals. Guillermo Nazara chats with the actress portraying the iconic TV personality to learn more about the show’s development and how it will stir the pot in…
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Review of ‘Heart Wall’: “Self-examining narrative has the mindset but not the soul”
This is a coming-home story. And like every story about somebody returning to the place that watched them grow but didn’t allow them to, the outcome is never pretty. At least, not entirely. Things haven’t been going great for Franky, whose glamorous London life might not be as ideal as she wants people to think.…
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Review of ‘26.2 Reasons To Stay Alive’: “Galloping monologue delivers a marathon of instropection”
Alright — there’s no need to panic. I know what you’re thinking after reading that title. And I want you to take a deep breath and say to yourself that everything will be fine. Yes, it’s called 26.2 Reasons. Yes, that’s a reference to the London Marathon’s distance. And yes, its average running time is…
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Review of ‘The Price’ (2026, Marylebone Theatre): “High-value revival spares no expense despite slightly austere plot”
We know what to expect when we’re talking about an Arthur Miller play. For starters, don’t expect an ending where justice is served. At least not in a smooth way, without the necessary sacrifices. It comes as no surprise that a narrative involving two estranged brothers reunited to sell their late father’s old clutter has…
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Writer and performer Alfrun Rose talks upcoming new play ‘Dead Air’: “Humans are contributing to dehumanisation”
Following a first iteration at last year’s Edinburgh Fringe, the play arrives in London for a four-day run at the Greenwich Theatre next month. Guillermo Nazara chats with the show’s creator to learn more about its development and how it’s undertaken the subjects of death, loss, and grief through the modern lens of AI. How…
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Founder Carol Gandey talks London return of ‘The Ladyboys of Bangkok’: “The spirit of innovation continues to underpin everything we do”
With a track record of over 25 years as pioneers in the genre, the company joins the London summer scene to present their latest show, Full Moon, which will once again honour Thai cabaret through vibrant performances that combine drag, male dancers, and ladyboys. Guillermo Nazara chats with the woman who started it all to…
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Review of ‘Two Halves of Guinness’: “Star-driven subject creates great expectations, but the force isn’t with the script”
What I like the most about this actor- the one portrayed, that is -is that he made an annoying little kid cry with class and politeness. For the record, the child was just a fan who asked him to deliver his most famous (and apparently, misquoted) line. Nothing wrong with that, but I’m a critic.…
