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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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Julie Yammanee talks upcoming international tour of ‘Magic Mike Live’: “The more “me” I can be, the better it is for the show”
Following the spectacular success of the London production, now in its 8th year, the show is preparing for its first international tour, assembling its largest cast ever for a new, larger version opening in Aylesbury at the end of the month. Guillermo Nazara chats with its upcoming MC, who bares it all about her role…
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Review of ‘The Comedy About Spies’ (Adelphi Theatre, 2026): “Secret-agent parody earns its license to kill the room”
There is funny, and then there is this. Revisiting something you loved the first time can be a tricky business. Often, those expectations aren’t met again. That’s why it’s so refreshing to reconnect with something that I happen to like even more. And chances are anyone who’s into Mischief’s signature droll humour will feel the…
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Review of ‘CATS’ (2026, Regent’s Open Air Theatre): “Impurrfect production passes by a whisker”
Let’s be honest — this musical has never been a masterpiece. If you think my claws are showing, I will clarify that I do think there’s an element of genius to it. But that doesn’t make it flawless. Or great. Yet, there is a reason why Andrew Lloyd Webber’s feline-driven folly became the cultural phenomenon…
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Review of ‘I’m Every Woman’: “Chaka Khan musical bio’s got the love, but it doesn’t put a spell on anyone”
Her life is nearly as iconic as her artistic legacy. But if there’s something recent jukebox musicals have taught us, it is that good dramaturgy is no longer relevant — no matter how painfully boring the recount may become. It is baffling, to put it mildly. How can such a dramatically promising premise devolve into…
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Review of ‘Now You See Me Live’ (2026, London Coliseum): “Charming magic show does the trick, but it isn’t that spellbinding”
Maybe it’s because I grew up watching Val Valentino dig his own professional grave on TV by doing the unthinkable. If you were a kid in the 90s or early 2000s and liked to perform a few illusions (nerd), you probably know what I’m talking about. And chances are you’ll think the same upon attending…
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Review of ‘Tao of Glass’: “Celebration of Glass works in metamorphosis deficit”
The fact that the first thing I hear during the interval is someone telling their companion they can leave if they want has to count for something. Certainly, it’s affected the number of attendees. The two people sitting next to me were nowhere to be found during Act Two. Several pockets across the stalls were…
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Review of ‘Trainspotting, The Musical’: “H-themed show appropriately scores below an F”
Ignore the negativity. It’s probably sugarcoated. Nothing you have heard or read can prepare you for this show’s deplorable quality. And that concerns every single aspect of it. If you value your time and, most importantly, your well-being, I must urge you not to watch it. It is that bad. You won’t be touched —…
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Luke Baker talks 20th-anniversary production of ‘Jersey Boys’: “I’m sure a few actors have blown out their voices playing Frankie Valli”
One of the most awarded jukebox musicals of all time returns to the UK in an extensive tour honouring the original production, which will be running for all four seasons until August next year. Guillermo Nazara chats with the show’s star to learn more about his portrayal and what a night audiences are likely to…
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Review of ‘The Ballad of Johnny & June”: “Jukebox bio flashes the Great Cash, but it’s flatter than a Tennessee top box”
If you enjoyed the world-renowned musical biography about the rise and fall of Frankie Valli and the Four Seasons, I suggest you stick to it and avoid this one at all costs. Regardless of its “from the director of” slogan, which I’m sure will put a few extra bums on the seats, this isn’t even…
