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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 Sh!tfaced Shakespeare’s ‘Hamlet’: “Full-of-crap show knows how to take the piss”
The comedy group celebrates its fifteenth anniversary treading the boards with their latest topsy-turvy approach to one of the Bard’s masterpieces. Guillermo Nazara shares his views on the show to let us know if this mad remake of the Danish tale comes off as a fine treat. Something is rotten in the state of Denmark.…
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Actor and director Paul Goodwin talks upcoming one-man adaptation of ‘Macbeth’: “Finding the drama continues to be my greatest challenge”
The Bard’s bewitching play returns to the London scene through this new one-hander version running next week as part of the Camden Fringe Festival. Guillermo Nazara chats with the artiste behind and in front of this banquet of creativity – to learn more about the development of the piece, its toil, and trouble. How did…
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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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Review of ‘Romeo and Juliet’ (2025 Globe): “Wild West reimagining turns lovers tragedy into a holy-cow extravaganza”
Shakespeare’s Globe hosts this cowboy-themed makeover on the Bard’s timeless romance. Guillermo Nazara shares his views on the show, to let us know if de-parting from the material’s original looks is, in this case, such sweet sorrow. “For never was a story of more woe than this of Juliet and her Romeo.” Someone involved with this…
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Review of ‘Macbeth’: “What’s done cannot be undone, but it should”
London’s Globe Theatre opens this new abridged production of the Scottish play, developed as part of the Playing Shakespeare with Deutsche Bank project – and specifically designed for younger audiences. Guillermo Nazara shares his views on the show, to let us know if the return of Bard’s timeless tragedy is met in thunder, lightning, or…
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Review of ‘Richard II’: “This blessed plot, The King shall do it”
Jonathan Bailey returns to the stage in Nicholas Hytner’s latest production of Shakespeare’s historical piece. Guillermo Nazara shares his views on the show, to let us know if this new revival of the Bard’s royal tragedy still holds the power that made him king. The heart lives for its own demise. No one else like…
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Review of ‘The Tempest’: “O brave new world”
Film star Sigourney Weaver lands on the West End stage with this new, limited-running reimagined production directed by Jamie Lloyd. Guillermo Nazara shares his views on the show, to let us know if for this edgy interpretation of the Bard’s masterpiece, the crimes would pardoned be. “O I have suffered with those that I saw…
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Review of ‘All’s Well That Ends Well’: “Blissful misery”
The Bard’s disputed comedy returns to the London stage in an intimate, candlelit production playing at the Globe’s indoor theatre until the start of the New Year. Guillermo Nazara shares his views on the show, to let us know if, in this new approach on the classic piece, the end is renown, no matter the…
