Gary Naylor - Page 27

Josie Rourke's new production has much about it to admire, but has little to say on the changes in Ireland since the play's first incarnation on the South Bank in 1990

Striking Irish shopworkers become unlikely (and problematic) heroes in a crowd-pleasing dramedy

Fine performances and a good helping of laughs, but the violence throws a wet blanket over the fun

Touring production of play that explicitly warns of the dangers of politics as practised today loses focus by adopting a curious set of priorities

A necessary play that is as entertaining as it is moving

Tony Britten's play is funny and moving if, at times, tricky to follow

Another extraordinary Spring show has completed its run but leaves a legacy of lives changed on both sides of the fourth wall

Existential questions abound in world premiere of a musical that does not make the fur fly

Taut and razor-sharp verbatim adaptation of a famous debate from the 60s is entertaining and enlightening

Richard Vergette's one-man play is never less than engaging, but one wonders why here and why now?

Flabbergast Theatre take a bold approach to a familiar play and hit and miss along the way

As perfectly realised a revival as one could ever hope to see, full honour paid to both the incomparable source material and the times in which we live now

Mari Lloyd's new play will speak loud and clear to young people today, but misses a chance for dramatic development as its structure all but disallows the chance to see its subjects together in the same space.

Come for Nessun Dorma; stay for love's triumph over death

A comedy that certainly does not jump the shark, instead offering finely drawn characters, poignant moments and, most precious of all, big laughs.

Diverting comedy that never strays too far from some well-trodden paths

A bold and accessible Merchant that commits to exposing the antisemitism that suffuses the play

Such a lot of fun!

Verse and music enhances a production that straddles millennia

Following up Value Engineering, Richard Norton-Taylor and Nicolas Kent once more let the evidence speak for itself in a piece of verbatim theatre that still manages to shock us