Gary Naylor - Page 11

Two and a half hours flies by and you're left racing to Amazon to download a biography to find out more - not bad for a man of 88.

So many voices are presented in a play that reclaims women's narratives that we lose the story in a confusing, chaotic 70 minutes

Rori Hawthorn and Siobhan Redmond shine as two women who come to respect their different lives. Read our BWW critic's review.

Arthur Hughes is in showstealing form as the Duke of Gloucester, soon Richard III, as Henry VI loses his wife, his kingdom and his life. Read our BWW critic's review.

John Lahr's funny, transgressive and tragic play gets a revival that is executed with great skill by a talented cast

Pulitzer Prize winning play fails to overcome its insularity and engage its audience

Clare Latham is sensational in Ché Walker's masterful reassessment of the Reagan years

Another America meanders through its two hours plus running time continually introducing promising material before shutting it down and moving on

DONOTALIGHT's first production presses hot button topics and augurs well for future projects

Tess Seddon mines her own General Election campaign of 2017 for an amusing and punchy musical

Talkshow's ambitious satire gets plenty right, but fails to cohere as a whole, just too much going on for the audience to follow

An odd couple find themselves holed up in an Alaskan whiteout with plenty of issues to work through

Mojo and Mickybo are growing up in a city tearing itself apart

Nicholas Hytner can't quite sustain the verve of the first half of a play that says as much about the 21st century as it does the last

Loud and lively, Wildcard's wild Tempest is musical, manic and occasionally magical in a hit-and-miss adaptation

A new satirical comedy that just might remind you of a company just a click away from here

Laughs and learnings from an accomplished, if somewhat lopsided, dramedy

A unique approach to storytelling proves triumphant in a deeply moving production that demands our attention and repays it handsomely.

An imbalance between thematic exposition and dramatic tension means that a promising play fails to reach its full potential

An epic sweep of the millennials' generation told through verbatim theatre, maximising all the opportunities (and problems) that format brings