BWW Review: KEN, The Bunker
Terry Johnson tells us of his lifelong friendship with Ken Campbell, an eccentric giant of English Theatre, in a funny, poignant and beautifully performed production.
Gary Naylor - Page 40
BWW Review: SACHA GUITRY - MA FILLE ET MOI, Drayton Arms Theatre
Though Sacha Guitry is largely unknown in the UK, this production weaves five extracts of his plays into a single narrative and shows that the tag of 'The French Noel Coward' was not undeserved.
BWW Review: AUSTEN THE MUSICAL, Mirth, Marvel and Maud Theatre
One for fans of Jane Austen and for anyone who likes to see an intelligent production performed with technical skill and rewarding wit.
BWW Review: FEAR AND MISERY OF THE THIRD REICH, Brockley Jack Studio Theatre
A fine production that grapples with the play's tricky structure to bring home Brecht's political points with a relevance for today that can hardly be missed.
BWW Review: DOODLE - THE MUSICAL!, Waterloo East Theatre
Doodle - The Musical starts with an unlikely idea that's spun out for nearly three hours - even some decent songs prove insufficient to rescue its poor script and dull characters.
BWW Review: HEARTBREAK HOUSE, Union Theatre
George Bernard Shaw's Chekhovian black comedy has plenty of political heft, but lacks the dramatic clarity required to engage from first to last.
BWW Review: EUGENE ONEGIN, Arcola Theatre
OperaUpClose condense and update Tchaikovsky's classic tragedy for a new space and a new culture, but never lose sight of its deep set Russian roots.
2017 Year in Review: Gary Naylor's Best of Theatre
Gary Naylor looks back on 101 shows reviewed in 2017 and picks the best of the best.
BWW Review: THE GRINNING MAN, Trafalgar Studios
A new musical with plenty of echoes of a very famous one indeed, with strong singing and jaw-dropping puppetry but undermined by a tone that is nether one thing not the other.
BWW Review: THE TWILIGHT ZONE, Almeida Theatre
The Twilight Zone takes us into the world of early 60s cult science fiction TV in a bold and innovative adaptation that never quite transcends its structural weaknesses.
BWW Review: JULIUS CAESAR, Barbican Theatre
A straight, gimmick-free production of Julius Caesar that may be as relevant today as at any time in the last 420 years.
BWW Review: LA BOHEME, Trafalgar Studios
Stripped back and startlingly intimate, Puccini's great tunes are given full value by wonderful voices and sensational acting in a production that raises boutique operas to a new level.
BWW Review: PROJECT POLUNIN - SATORI, London Coliseum
Project Polunin is a mixed bag of dance and music, a showcase for the bad boy of ballet, Sergei Polunin, that succeeds intermittently.
BWW Review: THE WOMAN IN WHITE, Charing Cross Theatre
The Woman In White has its flaws, but Thom Southerland's production of Andrew Lloyd-Webber's 2004 show delivers plenty to fans of musical theatre.
HAMILTON: Do Believe The Hype
The genius of Lin-Manuel Miranda's songwriting in Hamilton, exemplified in one song.
BWW Review: KING TUT A PYRAMID PANTOMIME, King's Head Theatre
The Charles Court Opera Company's eleventh panto continues their tradition of bold re-interpretations and bad jokes.
BWW Review: PRIVATES ON PARADE, Union Theatre
Privates on Parade is often amusing, but time has not treated its approach to issues kindly, even for those unoffended by the casual racism and misogyny typical of its era.
BWW Review: ORDINARY DAYS, Drayton Arms Theatre
Ordinary Days captures the ups and downs of romance in a big city with fine singing and warm, winning performances.
BWW Review: SVETLANA ZAKHAROVA - AMORE, London Coliseum
Three very different dances united by the stellar qualities of Bolshoi superstar Svetlana Zakharova.
BWW Review: THE HOUSE OF BERNARDA ALBA, Cervantes Theatre
This is a great, complex, problematic, Shakespearean, mythic, disturbing, provocative play.
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