BWW Review: HENRY V, Middle Temple Hall, March 30 2016
Gary Naylor sees a wonderful production crowned by a masterful Henry in a unique and evocative venue.
Gary Naylor - Page 51
BWW Review: BUG, Found111, March 29 2016
Gary Naylor sees a play that makes for uncomfortable viewing but raises questions about the way we lived in 1996 and the way we live now.
BWW Review: BAR MITZVAH BOY, Upstairs at the Gatehouse, March 25 2016
Gary Naylor sees a show that has plenty of great songs and feelgood family fun, but topples into schmaltz showing its 40 years in Act Two.
BWW Review: GREG WOHEAD: COMEBACK SPECIAL, Shoreditch Town Hall, March 24 2016
Gary Naylor sees a one-man show that is more Performance Art than theatre and finds it track to maintain concentration on lines repeated over and over and over again.
BWW Review: DON'T SLEEP THERE ARE SNAKES, Park Theatre, March 23 2016
Gary Naylor sees a strange play that never quite decides on what it wants to be and finishes just when the drama is getting started.
BWW Review: BU21, Theatre 503, March 18 2016
Gary Naylor sees a play that shows humanity at its best and worst and plenty of points in between, driven by a brilliant script by one of Britain's best young playwrights.
BWW Review: THE PAINKILLER, Garrick Theatre, March 17 2016
Gary Naylor sees a starry French farce with plenty of the traditional laughs for those who buy in - but you do need to buy in!
BWW Review: ADAM RICHES IS COACH COACH, Soho Theatre, March 16 2016
Gary Naylor sees a comedy full of laughs and energetic performances that draw on plenty of familiar characters, but is no less funny for that.
BWW Review: NOTMOSES, Arts Theatre, March 15 2016
Gary Naylor sees a comedy that rates high on ambition but disappointingly low of laughs.
BWW Review: LUCE, Southwark Playhouse, March 14 2016
Gary Naylor sees an engrossing play that asks as many questions as it answers about teenagers, parents, schools and language.
BWW Review: BAD GIRLS THE MUSICAL, Union Theatre, March 12 2016
Gary Naylor sees a prison musical revived in a more suitable environment by a talented ensemble cast and impressive live band.
BWW Review: DON GIOVANNI, Hackney Empire, March 11 2016
Gary Naylor sees a superbly staged adaptation of Mozart's opera, sung in English and packed with comedy and villainy - and with a message for today too.
BWW Review: PIA DE' TOLOMEI, Hackney Empire, March 10 2016
Gary Naylor sees an opera that, though is Italian as a gondolier eating an ice cream while conducting a loud argument with his best friend, has much in common with Shakespearean tragedy.
BWW Review: BERYL, Rose Theatre Kingston,March 8 2016
Gary Naylor sees something between a play and an illustrated lecture that tells the story of one of Britain's forgotten sporting greats.
BWW Review: AVE MAYA, London Coliseum, March 6 2016
Gary Naylor sees a spectacular tribute to Maya Plisetskaya, an icon of Russian Ballet, who died in May 2015, aged 89.
BWW Review: IPHIGENIE EN TAURIDE, Hackney Empire, March 5 2016
Gary Naylor sees a simply staged but powerful production of Gluck's 18th century opera about the sister and brother reunited far from home who seize the opportunity to fulfil their destinies.
BWW Review: TRANSPORTS, Pleasance Theatre, March 1 2016
Gary Naylor sees a play based on the true story of a girl who fled the Nazi Holocaust on the Kindertransport that has much to say about that and about people more generally.
BWW Review: A MIDSUMMER NIGHT'S DREAM, Lyric Theatre, Hammersmith, February 29 2016
Gary Naylor sees a production of a Shakespearean classic that starts unconventionally and spins off into mayhem!
BWW Review: THE CAUCASIAN CHALK CIRCLE, Brockley Jack Studio Theatre, February 25 2016
Gary Naylor sees a 20th century classic that makes plenty of demands on its audience but rewards it with a rich mix of politics, stylistic innovation and insight into human nature.
BWW Review: MISS JULIE, Etcetra Theatre, February 24 2016
Gary Naylor sees a fine production of the Swedish classic about class, sex and social norms that retains its relevance over a century since Strindberg wrote it.
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