Gary Naylor - Page 42

Gary naylor sees a play that understands that people can change bu also that finding the person who catalyses that reaction is much harder than it looks.

Gary Naylor sees a traditional farce in a new translation that succeeds, but might work better if a little shorter and a little slower.

Gary Naylor has an issue with the Olivier Awards. See what our chief London reviewer has to say about it...

Gary Naylor sees a wonderful production crowned by a masterful Henry in a unique and evocative venue.

Gary Naylor sees a play that makes for uncomfortable viewing but raises questions about the way we lived in 1996 and the way we live now.

Gary Naylor sees a show that has plenty of great songs and feelgood family fun, but topples into schmaltz showing its 40 years in Act Two.

Gary Naylor sees a one-man show that is more Performance Art than theatre and finds it track to maintain concentration on lines repeated over and over and over again.

Gary Naylor sees a strange play that never quite decides on what it wants to be and finishes just when the drama is getting started.

Gary Naylor sees a play that shows humanity at its best and worst and plenty of points in between, driven by a brilliant script by one of Britain's best young playwrights.

Gary Naylor sees a starry French farce with plenty of the traditional laughs for those who buy in - but you do need to buy in!

Gary Naylor sees a comedy full of laughs and energetic performances that draw on plenty of familiar characters, but is no less funny for that.

Gary Naylor sees a comedy that rates high on ambition but disappointingly low of laughs.

Gary Naylor sees an engrossing play that asks as many questions as it answers about teenagers, parents, schools and language.

Gary Naylor sees a prison musical revived in a more suitable environment by a talented ensemble cast and impressive live band.

Gary Naylor sees a superbly staged adaptation of Mozart's opera, sung in English and packed with comedy and villainy - and with a message for today too.

Gary Naylor sees an opera that, though is Italian as a gondolier eating an ice cream while conducting a loud argument with his best friend, has much in common with Shakespearean tragedy.

Gary Naylor sees something between a play and an illustrated lecture that tells the story of one of Britain's forgotten sporting greats.

Gary Naylor sees a spectacular tribute to Maya Plisetskaya, an icon of Russian Ballet, who died in May 2015, aged 89.

Gary Naylor sees a simply staged but powerful production of Gluck's 18th century opera about the sister and brother reunited far from home who seize the opportunity to fulfil their destinies.

Gary Naylor sees a play based on the true story of a girl who fled the Nazi Holocaust on the Kindertransport that has much to say about that and about people more generally.