BWW Review: FAITH, HOPE AND CHARITY, National Theatre
Faith, Hope and Charity is a 21st century Boys from the Blackstuff, a searing indictment of austerity as seen through the eyes of decent people who want to be kind and need to be loved.
Gary Naylor - Page 29
BWW Interview: Guy Henry Talks PETER GYNT at the National Theatre
Guy Henry talks about his life as an actor on stage and television and about his role in Peter Gynt, at the National Theatre until 8 October.
Ten Years As A BWW Reviewer - A Personal Reflection
Gary Naylor reflects on ten years as a BroadwayWorld reviewer.
BWW Review: LIT, Hightide Festival, Aldeburgh
Lit is an astonishing debut play from Sophie Ellerby telling the tale of Bex, a teen adrift in a world full of threats with wit, wisdom and overwhelming humanity.
BWW Review: RUST, Hightide Festival, Aldeburgh
Rust takes us into the lives - the other lives - of Daniel and Nadia, having an affair, but not quite able to leave their real homes at home.
BWW Review: HEDDA TESMAN, Minerva Theatre, Chichester Festival Theatre
Hedda Tesman transports one of theatre's great roles into the present day, but Cordelia Lynn's script never quite lands.
BWW Review: THE STRANGE CASE OF JEKYLL & HYDE, Jack Studio Theatre
This take on the familiar tale brings out many of the subtleties of its source material and has much to say about today's world.
BWW Review: HELLO AGAIN, Union Theatre
Hello Again is lovely to look at and a wonder to hear, let down only by a slightly half-hearted approach to the messy business of sex.
BWW Review: I CAPULETI E I MONTECCHI, Grimeborn, Arcola Theatre
Gary Naylor sees his last show at this season's Grimeborn, an Italian opera based on the original sources of Romeo and Juliet sung with tremendous panache.
BWW Review: HOTSPUR/PIERROT LUNAIRE, Grimeborn, Arcola Theatre
FormidAbility's unique approach to integrating those with disabilities on either side of the fourth wall enhances two pieces that prove tricky for the uninitiated to appreciate fully.
BWW Review: TREEMONISHA, Grimeborn Festival, Arcola Theatre
You know Scott Joplin is a genius, but having that conformed by this wonderful, uplifting, yet shocking opera, is a delight and a privilege.
BWW Review: COUNT ORY, Arcola Theatre
Opera Alegría plonk Rossini's naughty Count on the Home Front in 1943, with lots of laughs in between the fine singing and beautifully played piano.
BWW Review: 8 HOTELS, Minerva Theatre
Nicholas Wright's new play, set on the road in wartime America, examines the relationships between Paul Robeson and his Othello co-stars, José Ferrer and Uta Hagen.
BWW Review: THE HUNCHBACK OF NOTRE DAME, St Paul's Church, Covent Garden
Iris Theatre's The Hunchback of Notre Dame lacks a little focus and is far too long, but has its moments of delight illuminated by a fine central performance from Robert Rhodes.
BWW Review: DAS RHEINGOLD, Grimeborn Festival, Arcola Theatre
Grimeborn sees a condensed version version of the early part of Wagner's Ring Cycle that packs a punch in its intense 100 minutes running time.
BWW Review: KISS ME, KATE, The Watermill Theatre
The vivacity of this production of Kiss Me, Kate hits you even harder than the gifts of the multi-talented cast.
BWW Review: VIOLETTA, Grimeborn Festival, Arcola Theatre
Violetta kicks off the Grimeborn Festival with a perfect example of how to pare back a grand opera and make a fine chamber piece that is played and sung beautifully.
BWW Review: WAR AND PEACE, Royal Opera House
This epic WNO production captures the scale of Prokofiev's ambition with a chorus that, like the Russian winter, just keeps coming.
BWW Review: OKLAHOMA!, Chichester Festival Theatre
Oklahoma! stands at the very start of musical theatre's post-war re-invention on Broadway, Rodgers and Hammerstein's template for storytelling on show for two wonderful hours.
BWW Review: OUR CHURCH, Watermill Theatre
Our Church looks at how a moral dilemma impacts on a small community and at how pain can vibrate through decades before re-surfacing - and it avoids the glibness of a resolution founded in easy answers.
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