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Review of ‘Man to Man’ (Royal Court, 2026): “Tilda Swinton is still the man of the hour despite Urwin’s lack of action”
I wonder what it felt like to watch an emerging Tilda Swinton take the first major steps of her theatrical career in a play about gender bias, famine, and survival in Nazi Germany. I can see why some would fall in love with the piece. But more importantly, I can see why her portrayal was…
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Recipients of Royal Court’s Young Playwrights Award discuss the future of new theatre: “If we don’t explore new work, we limit our understanding of what theatre can be”
Continuing its endeavour to nurture new talent, the Royal Court has once again welcomed teenagers across the UK to put their vision and creativity into the blank page. Guillermo Nazara chats with this year’s recipients of the 16-18 prize to learn more about their work and the situation of the arts in a not-so-favourable education…
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Review of ‘Are You Watching?’: “Sex-driven play is hardly a satisfier”
There’s a lot of fun involved in sex. And a lot of danger, too. This is not an intention to demonise such a pleasurable act, although that has somewhat become a trend in the most pious segments of the political spectrum. And that includes both sides. Yet, it’s interesting to explore how a basic human…
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Review of ‘Guess How Much I Love You?’: “Newborn drama is followed by successful delivery”
London’s Royal Court Theatre opens its 2026 season with a poignant play about parental grieving. Guillermo Nazara shares his views on the show to let us know if this child’s play comes off as a difficult watch. It pains me to write this review. Probably, more than most I’ve penned before. And it’s not because…
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The 50 best shows of 2025
In the run-up to 2026’s exciting new offer, we’re taking a final trip down review lane to gather the most enduring shows of the year. Discover which ones have made the cut out of hundreds of press performances and how close it gets to your own selection. 50. Antigone On Strike Action, politics, and philosophy…
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Review of ‘Cow | Deer’: “ASMR staging puts audiences in a state of foley à deux”
The Royal Court Theatre welcomes this new experimental play employing sound as its only narrative tool. Guillermo Nazara shares his views on the show to let us know if its environmentalist plot turns out to be all hat and no cattle. If hearing has recently become an expendable option at the Royal Court’s main space,…
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Review of ‘Deaf Republic’: “Strongly resonant themes come together through a weak narrative vision”
The Royal Court Theatre welcomes this dystopian drama featuring a unique array of theatrical crafts to convey an unsettling tale of struggle and resilience. Guillermo Nazara shares his views on the show to let us know if its vociferous message and delivery bear anything unheard of. We all dream of a better world for everyone…
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Review of ‘After The Act’: “Just jacking audiences up through will and grace”
The Royal Court hosts the London return of this verbatim musical collecting testimonies of real-life LGBT people affected by Section 28. Guillermo Nazara shares his views on the show, to let us know if this lively celebration of freedom and identity ends up making audiences gay. This is no fairy tale. Well, it is, but…
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Review of ‘Scenes From A Repatriation’: “The early, early morning of the dragon”
The Royal Court hosts the world premiere of Joel Tan’s latest play, exploring the subject of historical reparation through a critical point of view. Guillermo Nazara shares his views on the show, to let us know if its thought-provoking narrative, set around an ancient Chinese monument, left him in a state of Confucius. History is…
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Review of ‘Manhunt’: “Open fire”
The Royal Court hosts the world premiere of Robert Icke’s latest play, exploring the motivations of infamous spree-killer Raoul Moat. Guillermo Nazara shares his views on the show, to let us know if he ended up being shot from it. Men don’t cry. Men don’t feel pain. Men don’t complain. Men can’t be victims. Modern…
