BWW Review: NOTMOSES, Arts Theatre, March 15 2016
Gary Naylor sees a comedy that rates high on ambition but disappointingly low of laughs.
Gary Naylor - Page 52
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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.
BWW Review: FIREBIRD, Trafalgar Studios 2, February 22 2016
Gary Naylor sees a searing drama brilliantly written and performed which acts as a call to action as this must surely never be allowed to happen again.
BWW Review: THE RINSE CYCLE, Charing Cross Theatre, February 19 2016
Gary Naylor sees Wagner's Ring Cycle done in two hours in a production that doesn't quite locate its target audience.
BWW Review: SONGS FOR THE END OF THE WORLD, The Vaults, February 18 2016
Gary Naylor sees a gig, a story and a vision of a dystopian nightmare all in one from Dom Coyote and his band of fine musicians.
BWW Review: A STEADY RAIN, Arcola Theatre, February 17 2016
Gary Naylor sees a play that has a curious structure but too flimsy and over-familiar a plot to carry a production that boils down to two men talking.
BWW Review: JANIS JOPLIN - FULL TILT, Theatre Royal Stratford East, February 16 2016
Gary Naylor sees a fine performance in a concert / play that shines a light on a somewhat neglected but important figure in the 1960s counterculture.
BWW Review: ROUND THE HORNE, Museum of Comedy, February 12 2016
Gary Naylor sees a fine reconstruction of two episodes of Round The Horne, performed with great skill and vim, giving us a window on a show the influence of whicht echoes across half a century.
BWW Review: ORPHANS, Southwark Playhouse, February 12 2016
Gary Naylor sees a fine black comedy that has lots to say 33 years on from its premiere and showcases three tours-de-force from the three actors
BWW Review: DRESS REHEARSAL, Old Sorting Office Arts Centre, February 11 2016
Gary Naylor sees some magnificent singing and dodgy acting in something best described as a 'Jukebox Opera'.
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