Gary Naylor - Page 29

Britten's celebrated opera re-imagined for a summer evening pregnant with ill-resolved threat.

Moliere's masterpiece is given a 'fake news' update, but the narrative thrust gets lost in an avalanche of words.

The 80s West End hit is revived by the actor-musicians of the graduating class of Guildford School of Acting in a production that never quite settles on a tone that fits 2018 audiences' sensibilities.

Based on a true story, The Little Pony examines how two parents react to their child who clings to his pink backpack as the bullying, physical and psychological, piles up.

A play that explores the impact of gentrification on London through two characters, flawed but real, in an engaging work.

A curious tone in this bold adaptation that doesn't get everything right, but it's Chekhov, so there's more than enough to enjoy!

The Daughter-in-Law bristles with working class reality buoyed by dialect and accent rooted in the Nottinghamshire pits - but the characters never emerge from that backdrop and the play leaves one with an unsatisfying sense of disbelief.

Paterson Joseph's homage to a forgotten person, indeed, a forgotten people, has its moments but ultimately falls short of the drama required for it to really fly.

A timely and important new play that blends movement, comedy and pathos into a compelling mix that says much about how we value life in 2018.

The Rink revives a show received with lacklustre reviews and box office in the 80s and, through two brilliant central performances and a showstopper setpiece, make it a hit.

King Lear given the Game of Thrones treatment on the small screen, losing a little of the claustrophobic madness en route.

A revival of a work by the revered French playwright, Paul Claudel, that probably doesn't say enough, but does so at enormous length.

A curiously intrusive structure gets in the way of the extraordinary, one-off comic genius that was Spike Milligan in an affectionate tribute from Chris Larner and Jeremy Stockwell.

Great to see a comedy set amongst the dodgy types who frequent a 70s Brighton brilliantly conjured by set and costumes, but an overly episodic structure and predictable conclusion lets down what could be a super show.

Though a challenge for the concentration, Maly Drama Theatre delivers a definitive Vanya against which all others can be judged.

Hamilton not reviewed, but experienced.

Weimar Cabaret delivered with talent, humour and fear to burn!

A slice of working class life that tickles the funny bone and pulls at the heartstrings, but never quite resolves its structural issues.

Guillem Clua's new play is a serious examination of how love finds expression differently, beautifully translated and acted with great sensitivity - a thought-provoking and ultimately uplifting production.

A Lionel Bart post-Oliver! flop given a new book and a huge injection of energy just makes you feel happy - and ain't that a good thing!