BWW Review: FLASHDANCE THE MUSICAL, New Wimbledon Theatre
Flashdance The Musical may lack narrative drive, but it more than makes up for it with iconic songs and energetic performances full of star power.
Gary Naylor - Page 42
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Gary Naylor sees a show packed with broad humour and commercial songs - and underpinned by a message that matters.
BWW Review: FRANKENSTEIN, Jack Studio Theatre
Frankenstein, likes its eponymous anti-hero, is often brilliant but flounders on its ambition.
BroadwayWorld UK Awards 2017: Gary Naylor's Nominations - Pt. 1
Picking out the best of UK theatre over the past 12 months is a curious task - akin to judging avocado pears against conference pears, we're comparing like with like only in the broadest sense.
BWW Review: THE MAGIC FLUTE, Soho Theatre
Gary Naylor sees another opera up close from the award-winning OperaUpClose, this time lacking a little in the clarity that has characterised previous productions.
BWW Review: THE KNOWLEDGE, Charing Cross Theatre
A timely revival for one of Jack Rosenthal's celebrated TV plays of the 70s with much to say about the age of the Uber.
BWW Review: BRITNEY SPEARS - THE CABARET, The Other Palace
Britney Spears The Cabaret entertains and provokes with the story of the pop princess's life told through Christie Whelan Browne's comic cuts and wonderful singing.
BWW Review: DEADLINE DAY, Theatre N16
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BWW Review: SALAD DAYS, Union Theatre
Salad Days is easy to dismiss is the lightest of light entertainment, but has plenty of political punch under its joyous exterior.
BWW Review: HANSEL & GRETEL AND THE WITCH BABA YAGA, St Paul's Church, Covent Garden
Director, Amy Draper, packs plenty into realising writer Daniel Winder's ambitious take on the Grimm fairytale, but the show needs to be edited back to two hours maximum running time to succeed fully.
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BWW Review: THE MARRIAGE OF KIM K, Arcola Theatre
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I Loved Lucy returns to the West End with a change in tone, but retaining its charm and its pathos with another incandescent star performance from Sandra Dickinson.
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These Tress Are Made Of Blood tells the story of Argentina's Dirty War using cabaret as a vehicle to describe the horrors and the politics that drove it.
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