Gary Naylor - Page 29

A monologue that comes alive with photographs of the carnage of war but never quite settles its underlying moral ambiguity

Lovely to look at, funny and clever, a perfect tonic for these miserable days full of bills and empty shelves

London transfer of New York hit comedy gathers a few laughs, but feels out of step with the times

A powerful, hour-long work that uses repetition, poetry and disorientation to take us inside the minds of those who risk everything to escape their homeland.

Delightful new musical (based on the much loved novel and film) that deserves a wider audience than its short run affords

Peter Tate gives us a bullish Picasso, with his women projected on video, but they do need more of a voice to balance the narrative

Dystopian play, set 54 years in the future, raises questions about the direction of consumerism today

Nicolas Billon's Canadian play has dated somewhat, but still engages its audience on its UK premiere

James Hyland is Dicken's Fagin, decrepit and distraught, in his cell on the way to the gallows

An extraordinary, powerful, moving multimedia work that gives voice to Rosemary Kennedy, denied it for over 60 years.

Some highlights of the last year and some hopes for an uncertain future

Rumpelstiltskin as you've never seen (nor heard) it before

The foundations of musical theatre are sacrificed for spectacle and energetic enthusiasm in a venue with acoustics that fail to do justice to the quality of the singing and musicianship

As fine a Christmas show as you'll see in a beautiful venue and at a price that won't blow the budget (well, not too much)

Another triumphant vindication of a uniquely thoroughgoing philosophy at Chickenshed

A dystopian past and dystopian future form the backdrop to two plays that never quite escape their specificities and, consequently, remain a little distant

Opera based on much loved 1946 film offers a vision of a town without music, without joy, without love and, in doing so, compels us to value what we have - a moral shared by everyone in the house, but not outside it.

Super fun for 7 year-olds to 77 year-olds with all that stage magic up there on the screen

Super fun for Christmas with two of the world's most loved Victorian characters together at last

Frank McGuinness's new play puts two giants of 20th century culture together but fails to ignite a spark between them