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.
Gary Naylor - Page 41
Latest Articles
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.
BWW Review: THE DARK ROOM, Theatre503
The Dark Room raises important issues but its lack of nuance and relentless emotional pain delivered at top volume and top speed, detract from its dramatic potential.
BWW Review: THE IMPORTANCE OF BEING EARNEST, Brockley Jack Studio Theatre
As it settles into its run, expect this production of 'Earnest' to bring out comedy that goes against the grain of the times, but is no less funny for that.
BWW Review: MACBETH, Bussey Building
A pared back but wholly successful production that places the storytelling and poetry at the centre of the storm of hubristic violence.
BWW Review: MOTHER COURAGE AND HER CHILDREN, Southwark Playhouse
Mother Courage and her Children grows with relevance as Josie Lawrence turns in a once in a lifetime performance as a woman whose eye for business blinds her to what really matters.
BWW Review: IMAGINE THIS, Union Theatre
Imagine This is considered and serious in its examination of life in the Warsaw Ghetto, but is ultimately let down by a plodding book and samey songs.
BWW Review: THE EXORCIST, Phoenix Theatre
The iconic film loses its way on transition from screen to stage in disappointing adaptation low on shocks.
BWW Review: INSIGNIFICANCE, Arcola Theatre
A timely revival for Terry Johnson's play that delivers on its themes, but falls short on its drama.
BWW Review: HAIR THE MUSICAL, The Vaults
Hair The Musical is back for a 50th anniversary show, but only provokes Gary Naylor to turn on, tune in and drop off.
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