BWW Review: YERMA, Cervantes Theatre
When you can see Lorca, you should - as this brilliantly realised production proves.
Gary Naylor - Page 36
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BWW Review: SWEET LIKE CHOCOLATE BOY, Jack Studio Theatre
Sweet Like Chocolate Boy tells the tales of Bounty and Mars, growing up black in different generations with different issues to address, the play grounded in the language and music of contemporary London.
BWW Review: SEXY LAUNDRY, Tabard Theatre
Sexy Laundry looks at middle class hopes and fears in a two handed comedy that must have felt a little old-fashioned when first staged in Canada in 2002.
BWW Review: LUCIA DI LAMMERMOOR, London Coliseum
Tragedy raw in tooth and claw in this revival of the ENO's 2008 production of Lucia di Lammermoor.
BWW Review: MANON, Milton Keynes Theatre
This revival of Kenneth MacMillan's Manon is a visual and aural delight that should melt the heart of even the most reluctant ballet sceptic.
BWW Review: THE WILD DUCK, Almeida Theatre
Robert Icke's updating of The Wild Duck gains in contemporary relevance, but loses a little of its heart en route.
BWW Review: QUIETLY, Omnibus Theatre
Quietly gives us two men, deep in middle age, looking back to the irreversible actions they took as 16 year-olds during The Troubles in an electrifying conversation.
BWW Review: DRACULA, Jack Studio Theatre
Ross MacGregor's Dracula needs a transfusion of narrative pace if it is to achieve its considerable (and laudable) ambition.
BWW Review: THE TRENCH, Southwark Playhouse
The Trench, in trying to do so much, forgets to let us into the lives of the soldiers whose ordeal lies at the heart of the story it tells.
BWW Review: SOLOMON, Royal Opera House
Solomon provides a transcendent sensory experience and more than a few lessons for today;s rulers.
BWW Review: WAR WITH THE NEWTS, The Bunker Theatre
A tremendous re-imagining of a novel that has not been more relevant at any point in the 82 years since its writing - a wonderfully realised piece of theatre.
BWW Review: LOVE GENIUS AND A WALK, Drayton Arms Theatre
There's much promise in this play that speculates on what Sigmund Freud and Gustav Mahler may have spoken about on a walk they shared, but pedestrian writing and underdeveloped characters scupper any chance of its reaching its potential.
BWW Review: TO HAVE TO SHOOT IRISHMEN, Omnibus Theatre
To Have To Shoot Irishmen brings the tragic story of Francis Sheehy Skeffington to the stage, with music and lyricism, a reminder of Ireland's fractured past and a warning about its fragile present.
Simon Stephens On THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME Schools Tour
BWW visits the National Theatre's schools tour of The Curious Incident of the Dog in the Night-Time and speaks to the NT's Paula Hamilton and its writer, Simon Stephens
BWW Review: NOT TODAY'S YESTERDAY, The Place
Dance telling the story of how only some stories are told.
BWW Review: VERDI'S LA TRAVIATA, King's Head Theatre
Another scaled down opera, retaining full force singing and emotional clout, from the King's Head, Violetta now a pole dancer in a sleazy Bristol nightclub.
BWW Review: ALICE OSWALD'S MEMORIAL, Barbican Theatre
Alice Oswald's epic re-imagining of The Iliad developed into an extraordinary theatrical event that provides intellectual nourishment, but makes great demands on its audience.
BWW Review: LIFEBOAT, Jack Studio Theatre
Lifeboat tells the story of two survivors of the wartime sinking of the SS City of Benares, torpedoed en route to Canada, evacuating children from the UK.
BWW Review: JACQUES BREL: A LIFE A THOUSAND TIMES, Mirth, Marvel and Maud
If you have never heard of Jacques Brel, this show serves as a useful introduction to his life and work, but it lacks the confident execution his songs demand.
BroadwayWorld UK Awards 2018: Gary Naylor's Recommendations
The highlights of Gary Naylor's last 12 months and his nominations for the BroadwayWorld UK Awards 2018
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