Gary Naylor - Page 13

Macabre and spectacular, this is Christmas fare as it once was and should still be, fully trusting its audience.

There's praise for plays old and new and musicals, well, mainly old

Theatre likes to say thank you. Whether it’s a standing ovation on opening night or one a little more spontaneously given up, a seemingly weekly awards presentation (or are there even more than 52 ceremonies these days?) or those sheepish nods of the head from the orchestra, hitherto half-buried in the pit. Yes, as the definitive showbiz song has it, “Nowhere could you get that happy feeling / When you are stealing / That extra bow”.

Traditional fringe panto offers value and and the comfort of familiarity and escapism at Christmas

Pan is back with songs and spectacle and a lesson about what really matters in life

Daisy Edgar-Jones and Kingsley Ben-Adir lead a fine cast in an impressive, if gruelling, examination of the destructive power of mendacity

Carlos Acosta's touring show is a delightful Christmassy treat

A valiant effort, but too long and too ambitious to achieve its aim of transforming Flaubert's tragic heroine into a comic lead

Greta Scacchi and Felicity Dean are gruesomely grotesque but also wonderfully warm as the fading titans of the Golden Age of Hollywood

An Actor / Producer / Executive talks about how he got started, what he's done and what the future might hold.

Superb performances from a cast entirely at ease with themselves and their director make this show a must-see

Mazz Murray delivers a classy spectacular, but do we need all those phones in the front two rows?

Prisoners not the only victims of tyranny's dehumanisation of body and soul

Lovely to look at, but horrid to contemplate

Director, Daniel Bailey, follows up his hit Red Pitch with a play that cannot locate the detail it needs to step out of a generic plot

Words run out, as The Voice is lost and recovered

Confusing take on Macbeth packs too much innovation into its 90 minutes runtime

Lisa Lintott's debut play sheds light on Britain in the 70s and leaves us with much to ponder as to whether we've progressed far enough

Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents

Intellectually stimulating, if somewhat bloodless, version of a tragedy born of racism, jealousy and naivety