Gary Naylor - Page 17

New musical runs into familiar structural issues but has strong singing and pleasing songs

Matthew Bourne brings sensational dance routines to the stage, adding a cherry to the cake of one of the greatest scores in musical theatre history

Opera Holland Park delivers two short pieces - an ideal introduction to the form's unique capacity to bring emotional weight to any story

The struggle to establish women's football in the UK told through the eyes of those who defied the establishment to play in a world cup in Mexico

Luke Fields and Emyr Strudwick take honours with plays set in Northern Ireland and South Wales

A show that could go very wrong gets everything right

Emma Riches and Lisa Minichiello give committed performances, but the play is short on the narrative drive required to carry its issues

A curious opera that is beautiful and ugly all at once

Adrian Dunbar is the starriest of a starry cast, but lacks the specific experience required to lead the show to its fullest potential

Two terrific leads will delight audiences, but the source material's misogyny proves too much to simply sweep aside

New comedies are hard to get right and often land in a highly subjective space, but this one has to be called out as a bit of a dud

It's not a seamless transition from screen to stage, but it works well enough and, sadly, it still resonates with a truth albeit in a very different world

Opera Holland Park open the season with a faithful revival of a much loved classic

Irish National Opera bring a touring production to London in what might prove to be a show for the purists

Superb performances anchor a hurtling rollercoaster of a play that will live long in the memory of anyone who sees it.

Fair Play aims to increase the participation of working class people in Theatre. Stef O'Driscoll explains why it's needed and what it's going to do.

Landmark show creaks at the edges, but gets its share of laughs in this highly accomplished touring show

We see them in minor parts and in the background on stage, and they're always first at the curtain call. But what's life really like in the ensemble of a mega-musical?

Given the emotional investment required on stage and in the stalls, one feels somewhat shortchanged by a production that invites sympathy for a character with few redeeming features

A mixed bag of productions united by wonderful acting and committed writing