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Felicity Kendal talks new revival of ‘High Society’: “We need less criticism and less disaster”
Considered one of the most prominent actresses of her generation, reunites with Cole Porter and musical theatre after her 2021 debut in Anything Goes, once again bringing back the glitz and glamour of old Broadway, accompanied by a star-studded cast. Guillermo Nazara chats with her during rehearsals to learn more about this new take on…
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Review of ‘CARE’: “Old-age narrative is far from greying”
Some enchanting evening… An elderly man sings Rogers and Hammerstein’s most romantic anthem to the bewilderment of his fellow residents. He doesn’t know where he is. He doesn’t know who he or any of them are. Until that very moment, he didn’t even know he could sing. It’s a fascinating view. The kind that warms…
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Review of ‘Sherlock Holmes’ (2026, Open Air Theatre): “Sloppy production doesn’t speak highly of whodunnit”
There’s something poetic about Arthur Conan Doyle’s popular creation- for him, a commercial blessing and a literary curse -settling only a few yards away from his world-famous home address. Sherlock Holmes is back. Nobody can finish him off. Not even his archnemesis, Moriarty. Not even the man who made him, lived off his success, and…
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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 ‘1536’: “Anne Boleyn-themed drama needs some reformation”
“This is England, woman”. A simple line unloads all the ominous weight of a dire age — and a most dangerous situation. What once was a harmless, playful act has become a death sentence. Yes, this England. 16th-century England. And the social dynamics among men and women, nobles and peasants, and virtually anyone abided by…
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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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Review of ‘Grace Pervades’: “Ralph Fiennes shines as Irving’s dullest stage appearance”
It’s funny, if not ironic, that the story of a frustrated, perfectionist actor trying to deliver the finest theatre has been told by somebody who doesn’t seem to know the basics of proper storytelling. There is only one reason to come see this show, and after a glimpse of it, you don’t need to stay…
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Review of ‘Avenue Q’ (2026, West End): “Carefully puppeted revival keeps every string attached with its predecessor”
London’s Shaftesbury Theatre presents the much-anticipated return of Lopez and Marx’s musical comedy hit. Guillermo Nazara shares his views on the show to let us know if this ironic portrayal of adult life still has purpose or anything special to it. I still think Wicked should have won the 2003 Tony for Best Musical. And…
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Review of ‘Oliver!’ (2026, West End): “1960s-inspired revival is good — gloriously good”
Following its inaugural run at the Chichester Festival, Lionel Bart’s musical-theatre classic celebrates its first anniversary since its latest return to the London scene. Guillermo Nazara reviews the situation to let us know if its newest West End version should consider itself at home. Some of you might leave the theatre begging for more. Some…
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Review of ‘Kinky Boots’ (2026, London Coliseum): “Well-heeled spectacle isn’t laced with narrative deftness”
Cyndi Lauper and Harvey Fierstein’s hit musical treads the West End boards for the first time since its original run in this new production starring Johannes Radebe and Matt Cardle. Guillermo Nazara shares his views on the show to let us know if this sole-ful celebration of individuality is still the most beautiful thing in…
