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Mezzo soprano Rachel Payne talks London return of ‘Lamplight Concerts’: “An unfamiliar song can open a door you weren’t expecting”
Following last October’s performance at the Actor’s Church, piano-voice duo Jack Tyndale-Biscoe and Rachel Payne (Duo Atlantis) return to the venue with a holiday-themed repertoire. Guillermo Nazara chats with the singer about the show’s creation, its latest iteration, and its concept of merging deco and music into a unified, transporting theatrical experience. How does it…
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Review of ‘Derren Brown: Only Human’: “Mentalist show is barely mind-blowing”
I’ve been asked not to tell what happens in the show. Maybe because not much happens after all; if the real reason is copyright infringement, I think they will be fine: there’s hardly anything in this show worth stealing, and even the good bits aren’t that good (and certainly not original). Derren Brown has impressed…
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Review of ‘Martin Guerre’ (Old Vic, 2026): “New revival features more historical accuracy but loses its identity”
It’s never had its way with audiences. The original London production was indeed on for a good couple of years. But that hardly compares to the remarkable success of Boublil and Schönberg’s previous works. Had it opened today in its initial form, it probably wouldn’t have lasted that long. Neither will this newest, heavily altered…
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Billy Nevers talks West End revival of ‘RENT’: “We really invite the audiences into the action”
Jonathan Larson’s cultural phenomenon returns to the London stage in a new in-the-round production directed by Luke Sheppard. Guillermo Nazara chats with one of the leads about the piece’s relevance today, the challenges of his role, and what makes the show a reason to be out tonight. How does it feel to join the lead…
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Review of ‘Heated Rivalry’ (2026, Underbelly Soho): “Top-tier gay parody is bottomless fun”
I don’t care for the series. I tried to watch the whole thing before coming to press night, but I couldn’t stand more than 5 minutes. I wasn’t too worried, though. After all, I had already seen all the important bits (some longer than others) by changing my VPN location. But as this musical states…
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Review of ‘Thelma & Louise’ (2026, Young Vic): “Road musical goes off a cliff, and it’s a complete car crash”
I was on a call with a friend from New York last night. As we discussed theatre (quelle surprise!), I told him I’d attended the newly opened Thelma & Louise musical. Enthusiastically, he told me he had just seen an advertisement for its transfer to the Great White Way. He was wrong, though. There’s no…
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George Bladgen talks upcoming production of ‘Love Never Dies: “My challenge is for audiences to find some redeeming features in Raoul”
The sequel to Andrew Lloyd Webber’s haunting romance returns to the West End in a special concert version featuring a star-studded cast. Guillermo Nazara chats with one of its leads to learn about his approach to the role and its challenges just a few days ’till we hear him sing. How does it feel to…
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Review of ‘Who’s Afraid of Virginia Woolf’ (Soho Place, 2026): “Billy Crudup and Gillian Anderson are the hottest hot mess in town”
She’s finally done it. She’s no longer flat and boring as when she portrayed the nagging nonbeliever Dana Scully. And she isn’t the inaccurate caricature she played as Margaret Thatcher in The Crown. I must say I am really shocked. Surprised might be the word. And I shall add “pleasantly” to the description. Here comes…
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Review of ‘Golden Boy’ (2026, Almeida): “Striking revival pulls no punches back, and it’s a theatrical heavyweight”
Even if flawed, a classic is still a classic for a reason. And many make this play worthy of the title. It might not have aged all that well, not because of cultural sensitivities, but because of narrative conventions. What probably felt like gripping romance back then can feel clunky and cliched today. But that’s…
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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…
