Gary Naylor - Page 39

The Libertine makes a return to the London after adaptations for screen and stage, but fails to go out in a blaze of glory

Gary Naylor sees a musical packed with agreeable songs but short on characterisation, charm and credibility.

Gary Naylor sees a fine production that will delight fans old and new of Jane Austen's immortal tale of unmarried daughters and their suitors.

Gary Naylor sees a fine tribute to the men of Clapton Orient who went into battle for King and Country 100 years ago.

Gary Naylor sees a play with plenty of emotional torment on display but a dubious political message that sits ill with its venue.

Gary Naylor enjoys a Tennessee Williams play full of sharp dialogue, tenderness and the poignant loss of missed opportunities.

Gary Naylor sees a frenetic, physical production of the Ben Jonson classic that fizzes with fibbing and foolishness.

Gary Naylor sees plenty of relevant stuff and controversial material in a new version of Marlowe's influential classic.

Gary Naylor sees a show that has plenty of rock but lacks strong characters and is overly predictable.

Gary Naylor sees a play that examines suburban alienation in 80's America and the salvation Punk offered - on rollerskates!

Gary Naylor sees a production that proves that if a script is poor, the play has no chance of success.

Gary Naylor sees an award-winning play from DL Productions that makes its demands on the audience, but provides its rewards too.

Gary Nayloe sees a curate's egg of a play, at times exhilarating, at times too pleased with itself, at one of London's great venues.

Gary Naylor sees another triumphant boutique opera at the genre's spiritual home with all the thrills of operatic voices at close quarters and plenty of laughter and tears too.

Gary Naylor sees a play that promises more than it delivers in a venue that looks great but provides unique challenges to cast and creatives.

Gary Naylor sees a beautifully delivered comedy of manners performed for the first time in almost 90 years.

Gary Naylor sees two short operas from Irrational Theatre that provide wonderful value for money and a fine introduction to the form.

Gary Naylor sees an ambitious and engaging all-through production of one of Shakespeare's best loved comedies.

Gary Naylor sees a revival that invites comparisons between the Britain of the 1930s and 2010s, but runs out of narrative energy and character credibility

Gary Naylor sees a fine addition to the Shakespeare 400 season with a return of The Comedy of Errors to its original venue but with a 1929 vibe.