Gary Naylor - Page 32

The Dark Room raises important issues but its lack of nuance and relentless emotional pain delivered at top volume and top speed, detract from its dramatic potential.

As it settles into its run, expect this production of 'Earnest' to bring out comedy that goes against the grain of the times, but is no less funny for that.

A pared back but wholly successful production that places the storytelling and poetry at the centre of the storm of hubristic violence.

Mother Courage and her Children grows with relevance as Josie Lawrence turns in a once in a lifetime performance as a woman whose eye for business blinds her to what really matters.

Imagine This is considered and serious in its examination of life in the Warsaw Ghetto, but is ultimately let down by a plodding book and samey songs.

The iconic film loses its way on transition from screen to stage in disappointing adaptation low on shocks.

A timely revival for Terry Johnson's play that delivers on its themes, but falls short on its drama.

Hair The Musical is back for a 50th anniversary show, but only provokes Gary Naylor to turn on, tune in and drop off.

Flashdance The Musical may lack narrative drive, but it more than makes up for it with iconic songs and energetic performances full of star power.

Gary Naylor sees a show packed with broad humour and commercial songs - and underpinned by a message that matters.

Frankenstein, likes its eponymous anti-hero, is often brilliant but flounders on its ambition.

Picking out the best of UK theatre over the past 12 months is a curious task - akin to judging avocado pears against conference pears, we're comparing like with like only in the broadest sense. So, with that necessary caveat, here are some of my nominations for the BroadwayWorld UK Awards 2017.

Gary Naylor sees another opera up close from the award-winning OperaUpClose, this time lacking a little in the clarity that has characterised previous productions.

A timely revival for one of Jack Rosenthal's celebrated TV plays of the 70s with much to say about the age of the Uber.

Britney Spears The Cabaret entertains and provokes with the story of the pop princess's life told through Christie Whelan Browne's comic cuts and wonderful singing.

Deadline Day has echoes of The Likely Lads in its humour, drawn from the clashing of cultures as a boy wonder footballer and his go-getting agent travel to London to sign for Chelsea.

Salad Days is easy to dismiss is the lightest of light entertainment, but has plenty of political punch under its joyous exterior.

Director, Amy Draper, packs plenty into realising writer Daniel Winder's ambitious take on the Grimm fairytale, but the show needs to be edited back to two hours maximum running time to succeed fully.

The Cunning Little Vixen is a opera favourite but no less fascinating for that, especially in this innovative and engaging production.

Long a star of Wicked, Willemijn Verkaik delivers a splendid one-off concert to her adoring fans.