Gary Naylor - Page 19

Practice-based learning lives on as the stars of the future are created

Leslie Ash leads a very funny play by first time writer Aaron Thakar, lit up by a charming and hilarious turn by another debutante, Jake Mavis

An old favourite brings the passion and the pain with beautiful singing and convincing acting

A tale for our time - a thought that brings both a disillusioned sense that little has changed in 150 years but also a sense that things can

English National Opera closes its troubled, but successful, 2023-24 season with Bartok's curious compelling slice of psychodrama beautifully played by its orchestra

Too much left unexplored in biting satire on the workplace and the emerging new media landscape of the 21st century

Rap and Bizet's music tells this updated story of love in a hostile world

The emotions driving the birth of the NHS, as experienced by its founding father, explored in epic production

By their very nature, improvised shows will have good nights and not so good nights

A shocking and taboo-busting production fires young minds like no other art form can.

Woman and Man sing lesser-known songs from the Broadway master's oeuvre and fail to connect

Tathata Theatre have some good ideas, but we see what looks more like a work-in-progress than a fully realised play

James McDermott's two-hander hits hard, but needs a little more mystery and nuance to realise its potential

Colin Hurley gives us a Lear who has echoes of leaders today, but the pace and volume of the performance make drawing such parallels tricky.

Daniel Goldman brings award-winning Franco-Uruguayan Sergio Blanco's 2016 play to English speaking audiences for the first time

The longstanding favourite is all very slick but, 37 years on, the production is showing its age

Arts funding has never been more threatened at a time when it's never been more needed

Paul Ruder's opera, based on Margaret Atwood's celebrated novel, has, frighteningly, gained more relevance since its premiere in 2000

Aaron Kilercioglu's play may, or may not, be an allegory for Turkey's changing state in a changing world

Loretta Monaco's play introduces interesting ideas, but lacks the characterisation and dialogue required to build convincing and engaging characters