Review: CarMen, LOST Theatre
Secret Opera, created in 2014 as part of The New London Opera Players, is presenting (as part of The Gender Project) a number of opera productions approached fr...
Manuel Muñoz
Review: Les Liaisons Dangereuses, Donmar Warehouse
When first published in 1782, Choderlos de Laclos’s Les Liaisons Dangereuses delighted, shocked and outraged its readers with its naked exposing of morally ques...
Review: Eugene Onegin, Royal Opera House
As much as Manon was a leitmotif last year at the Royal Opera House – with a ballet and two operas on the ill-fated beauty – this year it is Eugene Onegin that ...
Review: Peter Pan Goes Wrong, Apollo Theatre
Not too long ago, a comedy opened at the Duchess Theatre, and at that moment not many could have predicted that it would become a huge success (Olivier award fo...
Review: The Nutcracker, Royal Opera House
The proliferation of Nutcrackers in London is a clear indication that we are approaching Christmas. Together with pantos, Christmas musicals and choral realness...
Review: Henry V, Barbican
The final instalment in Shakespeare’s tetralogy of English kings, Henry V arrives at the Barbican just in time for the 600th anniversary of the Battle of Aginco...
Manuel Muñoz
Manuel is a London-based PhD researcher in Medieval History who loves the arts and is particularly drawn to theatre, musical theatre and opera. With a special interest in all technical aspects of stage productions, he reviews shows for his colleagues at work and posts them on his own blog, which is sad. Or maybe not.