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Review of ‘Cyrano de Bergerac’ (2026, West End): “Amusing performance doesn’t have a nose for pathos”
It’s not like they went to great lengths to make his suffering resonate. Or his passion. There are other prominent features- as it would have been expected -but poignancy isn’t really one of them. That doesn’t translate into an instant veto. In fact, there’s praise to be given to this latest adaptation of Rostand’s classic,…
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Review of ‘Driftwood’: “Family-estrangement narrative is relatively unfulfilling”
It just took me one and a half hours to finally get hooked. And even then, there wasn’t that much grip. It’s a shame. Not an utter disappointment, but a shame anyway. A play about the reunion of an estranged mother and son should have brought me to tears. Or at least, caused some kind…
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Review of ‘The Boy Who Harnessed The Wind’: “Airy musical has power but no electricity”
I wish it had succeeded. Much like I wished to root for its main character. It’s not that I didn’t want the kid to build the wind generator and save his family from famine. I just wanted to be part of his journey, his struggles, and his eventual triumph. It’s surprising how a musical involving…
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Review of ‘Wendy & Peter Pan’ (2025 Barbican): “Promising start doesn’t grow into anything memorable”
James M. Barrie’s ageless classic returns to the stage in a new adaptation by Ella Hickson under Jonathan Munby’s direction. Guillermo Nazara shares his views on the show to let us know if it still flaunts the magic, adventure, and humour of the original or if, instead, they never land. There’s no question of the…
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Review of ‘Born With Teeth’: “Hardly palatable play shows too many biting issues”
London’s Wyndham’s Theatre hosts the West End premiere of Liz Duffy Adam’s fictional depiction of Shakespeare and Marlowe’s relationship beyond the stage. Guillermo Nazara shares his views on the show to let us know if this romantic fantasy makes itself immortal with a kiss. It would be unfair to compare this play to a summer’s…
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Review of ‘Kyoto’: “Homo mundi lupus”
The Soho Place hosts the West End transfer of this new play by the RSC, dealing with one of the most eminent political acts in the history of environmentalism. Guillermo Nazara shares his views on the show, to let us know if its depiction of the fight against climate change left him feeling under the…
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Review of ‘Cowbois’: “Heteronormativity can’t dodge the bullet”
The Royal Court hosts the London transfer of this new Western comedy by the RSC exploring queer identities and freedom of expression. Guillermo Nazara shares his views on the show, to let us know its absurd humour has actually substance or is all hat instead. Aw, there’s nothing like a handsome cowboy frothing some milk…
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Review of ‘The Empress’: “Do you hear the people sing?”
Queen Victoria’s platonic love story with her Indian adviser comes to the stage in a new play with songs, brought to life by the Royal Shakespeare Company. Guillermo Nazara gives his views on the show, to let us know if this historical piece of noble affairs deserves to hold court. A friendship is a soul…
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Paul Kaye & Matthew Tennyson confirmed for West End premiere of ‘The Pillowman’
The cast will also Steve Pemberton and Lily Allen, who will play the leads in this comedic thriller following the investigation of several mysterious murders. Directed by Matthew Dunster, the show is produced by the same company that brought Prima Fascie, and will run a similar scheme of Pay What You Can for a selected…
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Amy Triggs talks ‘Reasons You Should(n’t) Love Me’: “My inspiration was seeing the lack of those stories”
After selling out during its first run, Amy Trigg’s dramaturgic debut has returned on tour around the UK, currently being performed in London until the end of the month. Guillermo Názara chats with 2020 Women’s Prize for Playwriting-winning author and star of the show, to learn more about this personal piece encompassing her struggle but…
