Gary Naylor

Gary Naylor Gary Naylor is chief reviewer for westend.broadwayworld.com and feels privileged to see so much of London's theatre.

He writes about cricket at for 99.94 (nestaquin.wordpress.com) and also for The Guardian, Wisden India and Island Cricket and is a lead commentator at Guerilla Cricket (guerillacricket.com). He podcasts on 80s and 90s football at nessundormapod.com. His writing on films and other subjects is at tootingtrumpet.wordpress.com.

He tweets at @garynaylor999.



MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: HOTSPUR/PIERROT LUNAIRE, Grimeborn, Arcola TheatreBWW Review: HOTSPUR/PIERROT LUNAIRE, Grimeborn, Arcola Theatre
Posted: Aug. 30, 2019


BWW Review: TREEMONISHA, Grimeborn Festival, Arcola TheatreBWW Review: TREEMONISHA, Grimeborn Festival, Arcola Theatre
Posted: Aug. 28, 2019


BWW Review: LIT, Hightide Festival, AldeburghBWW Review: LIT, Hightide Festival, Aldeburgh
Posted: Sep. 12, 2019


LAST 365 DAYS

BWW Review: TOSCA, Royal Opera HouseBWW Review: TOSCA, Royal Opera House
Posted: May. 28, 2019


BWW Review: RIP IT UP - THE 60s, Garrick TheatreBWW Review: RIP IT UP - THE 60s, Garrick Theatre
Posted: Feb. 13, 2019


BWW Interview: Charlotte Randle Talks COUGAR at the Orange Tree TheatreCharlotte Randle Talks COUGAR
Posted: Feb. 24, 2019


BWW Review: ANDREA CHENIER, Royal Opera HouseBWW Review: ANDREA CHENIER, Royal Opera House
Posted: May. 21, 2019


BWW Review: THE PAPER MAN, Soho TheatreBWW Review: THE PAPER MAN, Soho Theatre
Posted: Feb. 19, 2019


BWW Review: PLENTY, Chichester Festival TheatreBWW Review: PLENTY, Chichester Festival Theatre
Posted: Jun. 14, 2019


BWW Review: THE PERMANENT WAY, The Vaults
September 20, 2019

David Hare's play may look like it's set in an increasingly distant past, concerning itself with old arguments, but its brutal message is as important today as ever.

BWW Review: CONSPIRACY, New Diorama Theatre
September 19, 2019

Conspiracy sees our three intrepid investigators set off to prove that one photograph holds the key to just about every conspiracy theory you ever heard!

BWW Review: FAITH, HOPE AND CHARITY, National Theatre
September 18, 2019

Faith, Hope and Charity is a 21st century Boys from the Blackstuff, a searing indictment of austerity as seen through the eyes of decent people who want to be kind and need to be loved.

Ten Years As A BWW Reviewer - A Personal Reflection
September 12, 2019

Gary Naylor reflects on ten years as a BroadwayWorld reviewer.

BWW Review: LIT, Hightide Festival, Aldeburgh
September 12, 2019

Lit is an astonishing debut play from Sophie Ellerby telling the tale of Bex, a teen adrift in a world full of threats with wit, wisdom and overwhelming humanity. Eve Austin is in award-winning form as the girl on the edge.

BWW Review: RUST, Hightide Festival, Aldeburgh
September 11, 2019

Rust takes us into the lives - the other lives - of Daniel and Nadia, having an affair, but not quite able to leave their real homes at home.

BWW Review: HEDDA TESMAN, Minerva Theatre, Chichester Festival Theatre
September 10, 2019

Hedda Tesman transports one of theatre's great roles into the present day, but Cordelia Lynn's script never quite lands.

BWW Review: THE STRANGE CASE OF JEKYLL & HYDE, Jack Studio Theatre
September 6, 2019

This take on the familiar tale brings out many of the subtleties of its source material and has much to say about today's world. It is a little too long though.

BWW Review: HELLO AGAIN, Union Theatre
September 4, 2019

Hello Again is lovely to look at and a wonder to hear, let down only by a slightly half-hearted approach to the messy business of sex.

BWW Review: I CAPULETI E I MONTECCHI, Grimeborn, Arcola Theatre
September 3, 2019

Gary Naylor sees his last show at this season's Grimeborn, an Italian opera based on the original sources of Romeo and Juliet sung with tremendous panache.

BWW Review: HOTSPUR/PIERROT LUNAIRE, Grimeborn, Arcola Theatre
August 30, 2019

FormidAbility's unique approach to integrating those with disabilities on either side of the fourth wall enhances two pieces that prove tricky for the uninitiated to appreciate fully.

BWW Review: TREEMONISHA, Grimeborn Festival, Arcola Theatre
August 28, 2019

You know Scott Joplin is a genius, but having that conformed by this wonderful, uplifting, yet shocking opera, is a delight and a privilege. Beautifully performed too.

BWW Review: COUNT ORY, Arcola Theatre
August 14, 2019

Opera Alegría plonk Rossini's naughty Count on the Home Front in 1943, with lots of laughs in between the fine singing and beautifully played piano.

BWW Review: 8 HOTELS, Minerva Theatre
August 9, 2019

Nicholas Wright's new play, set on the road in wartime America, examines the relationships between Paul Robeson and his Othello co-stars, José Ferrer and Uta Hagen. It does not waste that wonderful set up.

BWW Review: THE HUNCHBACK OF NOTRE DAME, St Paul's Church, Covent Garden
August 8, 2019

Iris Theatre's The Hunchback of Notre Dame lacks a little focus and is far too long, but has its moments of delight illuminated by a fine central performance from Robert Rhodes.

BWW Review: DAS RHEINGOLD, Grimeborn Festival, Arcola Theatre
August 1, 2019

Grimeborn sees a condensed version version of the early part of Wagner's Ring Cycle that packs a punch in its intense 100 minutes running time.

BWW Review: KISS ME, KATE, The Watermill Theatre
July 31, 2019

The vivacity of this production of Kiss Me, Kate hits you even harder than the gifts of the multi-talented cast. Just what you need to escape these troubled times.

BWW Review: VIOLETTA, Grimeborn Festival, Arcola Theatre
July 30, 2019

Violetta kicks off the Grimeborn Festival with a perfect example of how to pare back a grand opera and make a fine chamber piece that is played and sung beautifully.

BWW Review: WAR AND PEACE, Royal Opera House
July 24, 2019

This epic WNO production captures the scale of Prokofiev's ambition with a chorus that, like the Russian winter, just keeps coming.

BWW Review: OKLAHOMA!, Chichester Festival Theatre
July 23, 2019

Oklahoma! stands at the very start of musical theatre's post-war re-invention on Broadway, Rodgers and Hammerstein's template for storytelling on show for two wonderful hours. However, this production raises some unexpected questions.



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