Gary Naylor - Page 11

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

Homage to much-loved comedians and their deceptively dangerous art

With a starry The Seagull opening soon at The Barbican, the peerless playwright is in vogue right now, his unstable worlds of uneasy transition chiming with the nervous times. On the banks of the Thames, the third of the fab four tragedies, Three Sisters, (or should that be comedies?) is receiving rave reviews. BroadwayWorld's Gary Naylor sat down with Shannon Tarbet, who plays Masha, to talk about the great Russian's debut in the home of the great Englishman.  

Desperation, desire and dance in a drowned world

Ensemble work tells an important story, but too quickly and too loudly for its full horror to sink in

Dazzling acting and directing delivers a fine revival in a perfect space

Katsiaryna Snytsina, the eponymous KS6, tells an often warm and witty tale of her own empowerment, with a burning ambition to do the same for her country

Miriam Freedman's stroy is both a tribute to Human Spirit and a warning for today

Robert Carsen's vision is as uncompromising as ever, but the world has changed in three short years

Polish production is powerful theare-making, but lacks heart and conviction in its storytelling

Angelina Jolie is compelling in a movie that concentrates on the misery to the exclusion of almost everything else in the diva's life