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Review of ‘Love’s Labour’s Lost’ (2026, Shakespeare’s Globe): “Spanish-themed remake isn’t that different”
It’s not Shakespeare at his best. Not in content. Not in execution. I think we can all agree on that. Even the ones who have a soft spot for the thin plot and dense oetry of one of the Bard’s early comedies. This doesn’t mean absolute disapproval. And certainly, this version doesn’t deserve it. Ultimately,…
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Co-Founder of Guildford Shakespeare Company and performer Sarah Gobran talks 20th anniversary season: “There’s simply nothing quite like experiencing Shakespeare outdoors”
With a well-established legacy as pioneers in their hometown, the group celebrates their latest milestone with a special double-bill production delivered in collaboration with the Orange Tree Theatre. Guillermo Nazara chats with the artist to learn more about their work over the last two decades, upcoming projects, and how their newest show connects one of…
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Review of ‘A Midsummer Night’s Dream’ (Regent’s Open Air Theatre, 2026): “Rustic production comes out too mechanical”
Comparisons are odious. But what else can you do if two major productions of arguably Shakespeare’s most popular comedy are running in London at the same time? Especially, if one of them is faultless and all you can say about the other, if you want to be kind, is that at least they tried. And…
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Review of ‘A Midsummer Night’s Dream’ (2026, The Globe): “Interactive production doesn’t take pains, but it’s almost perfect”
This is not the groundbreaking tour de force that The Globe blessed us with at the end of last year, but it’s not that far from that level of excellence. There’s nothing technically new about it. Unlike the venue’s most recent predecessor, this one is back to drollery, liveliness, and, of course, summer. And that…
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Writer and performer Alice Bloomer talks new one-woman show ‘For Puck’s Sake’: “Shakespeare wrote me the perfect moments for this”
London’s Etcetera Theatre hosts the world premiere of this solo piece merging two of the Bard’s most popular works. Guillermo Nazara chats with its creator to learn more about this dream of a play and if it’ll be done as we like it. How does it feel to be finally performing your own written solo…
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Review of ‘A Midsummer Night’s Dream’ (2025 Globe): “Nightmarish reboot changes a dove for a raven, and it grows into a black swan”
The Sam Wanamaker Playhouse welcomes its first candle-lit production of the Bard’s popular comedy. Guillermo Nazara shares his views on the show to let us know if its bleak, edgier remake has made an ass of itself. Could we just stop normalizing crushing a man’s groin as a humour device? Seriously, I hate to sound…
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Review of ‘Othello’ (2025 Theatre Royal Haymarket): “Toby Jones outshines a moor of A-list performers”
London’s West End welcomes its latest reinterpretation of one of Shakespeare’s signature tragedies, directed by Tom Morris and starring David Harewood, Toby Jones, and Caitlin Fitzgerald. Guillermo Nazara shares his views on the show to let us know if this modern revival of a classic is bound to earn a decent reputation, reputation, reputation. You…
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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 ‘The Merry Wives of Windsor’ (The Globe): “Historically-themed remake has no other charms after setting the attractions of its good parts apart”
The Bard’s comedy returns to the London stage in this new production envisioned by reputed director Sean Holmes. Guillermo Nazara shares his views on the show to let us know if this latest approach to the classic play shall let audiences drink down all unkindness. Well, sooner or later there had to come the moment…
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Theatre-maker Marina Hata talks new show ‘Shakespeare In Concert’: “It’s most natural to have dissonances in any life —and Shakespeare is, of course, full of them “
The author-director continues to develop this new choral piece inspired by the playwright’s legacy, combining excerpts from some of his most notable works with original music performed a capella. Guillermo Nazara chats with the creative to learn more about the making of this show and why there’s never too much of a good thing when…
