Gary Naylor - Page 10

Tensions rise, as does the encroaching mysticism, in an oft-forgotten county of England

Super show that lightens a very dark subject (corecive control), but does not diminish it

Satire bites even today, but a little more sympathy in the characters would strengthen its appeal

A virtuoso, multi-skilled, bilingual cast pick away at issues too often comfortably swept under the carpet - by us Brits

'A strong cast cannot lift a play that promises more than it delivers

Caroline Reece leads the company as the wicked Queen, but every moving part is in perfect sync

Richard Burton acquires a new name, a new voice and a new authority under the guidance of a loving teacher

Libbi Moss's drama of a fractured family hits hard but could do with a larger canvas to explore well-crafted characters

Hypnotic show transports even Boomers like me to happier times

Raoul Moat is as unknowable at the end of his spree as he was at the beginning in this squandered opportunity to examine a hot button topic

More lost than gained in this abridged version of Shakespeare's longest play

The National Theatre's outreach work is as crucial as ever but, with its primary schools tour under threat, how long will it last?

Some diamonds in the rough, but why can't we choose for ourselves from the BBC archive?

A radical reworking from its German director and co-adaptor that misses as much as it hits

The play before Nick Payne hit big with Constellations, fails to ignite

A work that uses the darkest of dark sets to shed light on the possibilities inherent in creative work, right here, right now