Tag Archives: NASIA NTALLA

GUESS HOW MUCH I LOVE YOU?

★★★★★

Royal Court Theatre

GUESS HOW MUCH I LOVE YOU?

Royal Court Theatre

★★★★★

“keeping you engaged from start to end and revealing deep truths along the way”

A couple waits in a hospital room, on the brink of labour. To pass the time, they play 20 Questions, trying to guess a character.

“Am I alive?”

“Maybe?”

Small, playful moments that feel ordinary and deeply intimate.

Rosie Sheehy, as the woman in labour, invites us into her world with a blunt, feminist voice that is both exquisite and hilariously honest. Robert Aramayo plays her partner with warmth, playfulness, and unwavering support, matching her wit beat for beat. Together, they give the immediate sense of a couple who have been together forever, who know each other inside out, who can talk about absolutely anything.

Written by Luke Norris, the play is rich with beautiful humour and a powerful, deeply felt depiction of a relationship riding an emotional rollercoaster. The jokes are sharp and natural, immediately welcoming us into the profound bond these two people share.

It soon becomes clear that the humour does more than showcase their connection – it also acts as a shield, attempting to mask an underlying tension slowly rising beneath the surface. No one – neither the couple nor the audience – is prepared for what’s to come.

Sheehy and Aramayo’s performances are undeniably stunning. They hold you in a constant state of attention, your eyes fixed on them. Through silence, emotional vulnerability, and moments of lightness, they offer their entire emotional world with generosity and precision. Their chemistry is electric, allowing us to witness the full arc of their relationship and individual emotional journeys with striking clarity.

Lena Kaur also appears as the midwife, delivering a beautiful performance that is equally funny and grounded.

Directed by Jeremy Herrin, the transitions between scenes are beautifully handled. Grounded in a realistic set designed by Grace Smart, we move swiftly through hospital rooms and private spaces, travelling with the couple across different times and places as their story unfolds. We are with them in every moment of their life together.

The story confronts the hardest moments that any couple – or any person – may face. A recurring thread weaves through the play, returning us again and again to questions that intensify its emotional core:

How do I love you when the sun no longer makes sense?

How much do I love you when part of me no longer feels alive? When sadness takes over?

It is not a comforting, “everything will be fine” kind of show. It doesn’t promise happy endings or ideal outcomes. Instead, it offers truth about real relationships, real hardship, and the terrifying choice between leaving or staying. It is about facing yourself and the other at their worst, and choosing love anyway.

Guess How Much I Love You captures this with raw authenticity, keeping you engaged from start to end and revealing deep truths along the way.

A few scenes may linger slightly longer than necessary, but this is minor compared to the emotional richness the play leaves behind. A work of rare honesty – and an absolute must-see.

 



GUESS HOW MUCH I LOVE YOU?

Royal Court Theatre

Reviewed on 22nd January 2026

by Nasia Ntalla

Photography by Johan Persson


 

 

 

 

GUESS HOW MUCH I LOVE YOU?

GUESS HOW MUCH I LOVE YOU?

GUESS HOW MUCH I LOVE YOU?

I’LL BE BACK

★★★

The Glitch

I’LL BE BACK

The Glitch

★★★

“a thoughtful, inventive solo show filled with nostalgia, humour, and ambition”

I’ll Be Back invites the audience into an intimate space shaped by projection, where the past and future of the 1990s collide. Written and performed by Justine Malone, the show reimagines The Terminator through a personal lens, placing Sarah Connor not in Los Angeles but in Dudley in 1997. Early references to video games and Super Mario immediately locate the piece within a specific cultural moment, blending childhood play with sci-fi mythology

Malone guides us through fractured timelines, slipping between a teenage Sarah watching VHS tapes with her brother and a future self trapped inside the sterile world of Cyberdyne Systems. The narrative jumps freely across time and reality, blending pop culture references with autobiographical textures. Along the way, Sarah is accompanied by Clippy – yes, the infamous Microsoft Word assistant – recast as her unlikely best friend and guide in a mission to save humanity before Judgement Day. As the quest unfolds, the story opens up space for rediscovery, resurfacing people and memories thought to be long lost.

Malone’s writing is imaginative and ambitious, and her performance demonstrates considerable versatility as a solo performer. She rapidly switches between characters including her brother, her boss, and a lab technician, with transformations that are fast-paced and physically demanding. However, the speed and density of these shifts sometimes work against the material. Moments of dialogue and comedy can lack specificity, meaning certain emotional beats and punchlines pass by before they have time to fully land.

Direction by Ezra Dobson, Emma Webb, and Alex Coke brings a wide array of theatrical ideas to the piece. The physical language of the show is bold and challenging, with some quietly beautiful visual moments – particularly a transformation sequence that stands out for its clarity and control. At times, though, the way these ideas are pieced together feels uneven, with transitions that don’t always fully resolve.

Sound and technical design are among the show’s strongest elements. A mix of 90s rock and electronic music saturates the space with nostalgia, sure to resonate with millennial and 90s audiences. The technical execution – handled by Nina Morgan – is precise and playful, with slick transitions between music, lighting, voiceovers, and cues that add texture and rhythm to the narrative.

The show begins with high energy and confidence, but sustaining that momentum proves challenging. With constant time shifts and multi-rolling, the performance can feel tightly controlled, almost cinematic in its polish. The piece would benefit from more looseness, more space between characters and moments – allowing jokes to breathe and emotional shifts to unfold more naturally.

I’ll Be Back is a thoughtful, inventive solo show filled with nostalgia, humour, and ambition. With greater restraint and trust in stillness – particularly in navigating the demands of multi-rolling – the show has the potential to land with even greater impact.



I’LL BE BACK

The Glitch

Reviewed on 15th January 2026

by Nasia Ntalla

Photography by Simon Vail


 

 

 

 

I’LL BE BACK

I’LL BE BACK

I’LL BE BACK