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: EUGENIUS, The Other PalaceBWW Review: EUGENIUS, The Other Palace
Posted: Feb. 1, 2018


BWW Review: KEN, The BunkerBWW Review: KEN, The Bunker
Posted: Jan. 30, 2018


BWW Review: CARMEN 1808, Union TheatreBWW Review: CARMEN 1808, Union Theatre
Posted: Feb. 14, 2018


BWW Review: AUSTEN THE MUSICAL, Mirth, Marvel and Maud TheatreBWW Review: AUSTEN THE MUSICAL, Mirth, Marvel and Maud Theatre
Posted: Jan. 23, 2018


LAST 365 DAYS

BWW Review: SALAD DAYS, Union TheatreBWW Review: SALAD DAYS, Union Theatre
Posted: Aug. 18, 2017


BWW Review: LA BOHEME, Trafalgar StudiosBWW Review: LA BOHEME, Trafalgar Studios
Posted: Dec. 12, 2017


BWW Review: I LOVED LUCY, Arts TheatreBWW Review: I LOVED LUCY, Arts Theatre
Posted: Jul. 25, 2017


BWW Review: THE HOUSE OF BERNARDA ALBA, Cervantes TheatreBWW Review: THE HOUSE OF BERNARDA ALBA, Cervantes Theatre
Posted: Nov. 19, 2017


BWW Review: 110 IN THE SHADE, Ye Olde Rose and Crown TheatreBWW Review: 110 IN THE SHADE, Ye Olde Rose and Crown Theatre
Posted: May. 13, 2017


BWW Review: CARMEN 1808, Union TheatreBWW Review: CARMEN 1808, Union Theatre
February 14, 2018

Liberties have been taken with Bizet's opera, but none are diabolical, and what emerges is something which is sometimes less and sometimes more than its inspiration.

BWW Review: THE UNGRATEFUL BIPED, White Bear TheatreBWW Review: THE UNGRATEFUL BIPED, White Bear Theatre
February 9, 2018

Just when the grimness is becoming tiresome, Philip Goodhew's script is transformed by an injection of darkest comedy without ever losing its focus as a searing indictment of modern life.

BWW Review: CYRIL'S SUCCESS, Finborough TheatreBWW Review: CYRIL'S SUCCESS, Finborough Theatre
February 6, 2018

A little dated for sure, but with enough Ayckbourn (and even a touch of Fawlty Towers) to appeal to 21st century audiences, this is a pleasing, if unchallenging, evening's entertainment.

BWW Review: EUGENIUS, The Other PalaceBWW Review: EUGENIUS, The Other Palace
February 1, 2018

Eugenius is funny, bursting with great songs and great performances and, if a little overly familiar in terms of plot and characters, forgivably so.

BWW Review: KEN, The BunkerBWW Review: KEN, The Bunker
January 30, 2018

Terry Johnson tells us of his lifelong friendship with Ken Campbell, an eccentric giant of English Theatre, in a funny, poignant and beautifully performed production.

BWW Review: SACHA GUITRY - MA FILLE ET MOI, Drayton Arms TheatreBWW Review: SACHA GUITRY - MA FILLE ET MOI, Drayton Arms Theatre
January 24, 2018

Though Sacha Guitry is largely unknown in the UK, this production weaves five extracts of his plays into a single narrative and shows that the tag of 'The French Noel Coward' was not undeserved.

BWW Review: AUSTEN THE MUSICAL, Mirth, Marvel and Maud TheatreBWW Review: AUSTEN THE MUSICAL, Mirth, Marvel and Maud Theatre
January 23, 2018

One for fans of Jane Austen and for anyone who likes to see an intelligent production performed with technical skill and rewarding wit.

BWW Review: FEAR AND MISERY OF THE THIRD REICH, Brockley Jack Studio TheatreBWW Review: FEAR AND MISERY OF THE THIRD REICH, Brockley Jack Studio Theatre
January 19, 2018

A fine production that grapples with the play's tricky structure to bring home Brecht's political points with a relevance for today that can hardly be missed.

BWW Review: DOODLE - THE MUSICAL!, Waterloo East TheatreBWW Review: DOODLE - THE MUSICAL!, Waterloo East Theatre
January 19, 2018

Doodle - The Musical starts with an unlikely idea that's spun out for nearly three hours - even some decent songs prove insufficient to rescue its poor script and dull characters.

BWW Review: HEARTBREAK HOUSE, Union TheatreBWW Review: HEARTBREAK HOUSE, Union Theatre
January 12, 2018

George Bernard Shaw's Chekhovian black comedy has plenty of political heft, but lacks the dramatic clarity required to engage from first to last.

BWW Review: EUGENE ONEGIN, Arcola TheatreBWW Review: EUGENE ONEGIN, Arcola Theatre
December 20, 2017

OperaUpClose condense and update Tchaikovsky's classic tragedy for a new space and a new culture, but never lose sight of its deep set Russian roots.

2017 Year in Review: Gary Naylor's Best of Theatre2017 Year in Review: Gary Naylor's Best of Theatre
December 20, 2017

Gary Naylor looks back on 101 shows reviewed in 2017 and picks the best of the best.

BWW Review: THE GRINNING MAN, Trafalgar StudiosBWW Review: THE GRINNING MAN, Trafalgar Studios
December 19, 2017

A new musical with plenty of echoes of a very famous one indeed, with strong singing and jaw-dropping puppetry but undermined by a tone that is nether one thing not the other.

BWW Review: THE TWILIGHT ZONE, Almeida TheatreBWW Review: THE TWILIGHT ZONE, Almeida Theatre
December 13, 2017

The Twilight Zone takes us into the world of early 60s cult science fiction TV in a bold and innovative adaptation that never quite transcends its structural weaknesses.

BWW Review: JULIUS CAESAR, Barbican TheatreBWW Review: JULIUS CAESAR, Barbican Theatre
December 12, 2017

A straight, gimmick-free production of Julius Caesar that may be as relevant today as at any time in the last 420 years.

BWW Review: LA BOHEME, Trafalgar StudiosBWW Review: LA BOHEME, Trafalgar Studios
December 12, 2017

Stripped back and startlingly intimate, Puccini's great tunes are given full value by wonderful voices and sensational acting in a production that raises boutique operas to a new level.

BWW Review: PROJECT POLUNIN - SATORI, London ColiseumBWW Review: PROJECT POLUNIN - SATORI, London Coliseum
December 8, 2017

Project Polunin is a mixed bag of dance and music, a showcase for the bad boy of ballet, Sergei Polunin, that succeeds intermittently.

BWW Review: THE WOMAN IN WHITE, Charing Cross TheatreBWW Review: THE WOMAN IN WHITE, Charing Cross Theatre
December 5, 2017

The Woman In White has its flaws, but Thom Southerland's production of Andrew Lloyd-Webber's 2004 show delivers plenty to fans of musical theatre.

HAMILTON: Do Believe The HypeHAMILTON: Do Believe The Hype
December 2, 2017

The genius of Lin-Manuel Miranda's songwriting in Hamilton, exemplified in one song.

BWW Review: KING TUT A PYRAMID PANTOMIME, King's Head TheatreBWW Review: KING TUT A PYRAMID PANTOMIME, King's Head Theatre
November 29, 2017

The Charles Court Opera Company's eleventh panto continues their tradition of bold re-interpretations and bad jokes.



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