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.
Gary Naylor - Page 30
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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.
BWW Review: JELLYFISH, National Theatre
Jellyfish is a wonderful piece of writing brilliantly brought to life by a marvellous cast in which Sarah Gordy shines.
BWW Review: PETER GYNT, National Theatre
David Hare's updating of Ibsen's Peer Gynt has plenty to say about the world in 2019 - perhaps a little too much - but James McArdle's central performance and the sheer chutzpah of the concept and direction pulls it through.
BWW Review: ONE GIANT LEAP, Jack Studio Theatre
One Giant Leap takes a good set up - a failing sci-fi show asked to fake the moon landings - but loses its way amongst predictable stereotypes and laughs that come few and far between.
Exciting New Voices Showcased in NEW VIEWS at the National Theatre
BWW was impressed with the work of the young playwrights selected as winners of the National Theatre's annual New Views competition.
BWW Review: SUMMER ROLLS, Park Theatre
Summer Rolls takes us into the heart of a British Vietnamese family that is struggling to deal with the present, a consequence of the long shadow cast by the past.
BWW Review: CROOKED DANCES, The Other Place, Stratford-upon-Avon
Crooked Dances takes us deep into the French forest and deep into the mysteries of the occult, as go-getting journalist, Katy, learns more than she would like about reclusive pianist Silvia and her obsession with the music of Erik Satie.
BWW Review: HAMLET, St Paul's Church, Covent Garden
Iris Theatre's summer season at St Paul's Church kicks off with an innovative Hamlet in which not all the bells and whistles work, but which boasts a fine central performance from Jenet Le Lacheur.
BWW Interview: Julian Glover Talks THE NIGHT OF THE IGUANA
Julian Glover talks about his long life on stage and screen, and about his role in the new production of The Night of the Iguana at the Noel Coward Theatre
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