Gary Naylor - Page 53

Gary Naylor sees a unique production of Romeo and Juliet set in the nave of the extraordinary Temple Church, resting place of the legendary Knights Templar.

Gary Naylor sees the winner of OperaUpClose's new writing competition, an opera that may be confined to a small performing space, but one unafraid to ask some difficult questions and unafraid to be defined by challenging, but ultimately rewarding, music and sensational singing.

Gary Naylor sees a triumphant return to the Queen Elizabeth Hall for The Tiger Lillies, the cult trio led by Martyn Jacques, whose songs about the world that lurks just out of our sight in the dark dangerous shadows, have built a global following.

Gary Naylor previews an exciting selection of September's new openings as London gears up for what should be its most successful Autumn since the credit crunch claimed its first victims seven years ago this month.

Gary Naylor sees a new play set in the Kafkaesque world of the UK's Border Agency as a young idealist butts up against an old hand when a charismatic political activist shakes up the system.

Gary Naylor sees a spectacularly entertaining show in which the laughs and the learning keeps coming and coming and coming - though Cher fans may wish to take a raincheck.

Gary Naylor enjoys an adaptation of a classic that stretches both the running time and the whimsy , but delivers on the spectacle and the humour. Do wrap up warm though!

Gary Naylor sees a play about a person's transition from female to male and how that impacts on her best friend - and himself. Though the context is historical, the lessons are as relevant today as ever.

Gary Naylor sees a warm and witty slice of London life from a young production company that have all the tools to really go places over the next few years.

Gary Naylor sees an ambitious new play that gives plenty of laughs, and a few tears too, but never really escapes from the limitations placed on its four characters, who just aren't quite believable enough.

Gary Naylor sees a beautiful, horrible, fascinating adaptation of Shakespeare's epic poem, a story of chastity and its destruction and of its consequences in shame and revenge.

Gary Naylor sees the West End's Jean Valjean deliver an exhilarating preview of his forthcoming album, High, with plenty of top notch guests to lend more big voices to an already very big voice indeed.

Gary Naylor takes a magnificently entertaining trip through the history of the British Musical, a show brimming with intelligence, wit and great tunes delivered with great skill and warmth.

Gary Naylor sees a revival of Stephen Sondheim's strange 1970s musical about 1850s Japan, production that borrows from a variety of theatrical styles without ever fully establishing its own.

Gary Naylor sees a perfectly realised adaptation of August Strindbeg's Miss Julie, packed with dramatic tension, big ideas and superb acting. If there's a more satisfying 80 minutes anywhere on the London stage today, I'd be surprised.

Gary Naylor sees a open air promenade production that exhausts cast and audience with its relentless spectacle and cruelty - but believes it was all worth it for such a splendid production.

Gary Naylor sees a kitchen sink drama for our times that captures the sense of claustrophobia of Britain's (especially London's) debt culture and the swirling social ills that flow in and around inner city's sink estates.

Gary Naylor sees a piece of dance-theatre that covers the familiar ground of the Depression-era US dancing marathons that cruelly manipulated both competitors and audiences with ruthless cruelty.

Gary Naylor sees a magnificently accessible production of Twelfth Night, brimming with charm, music and laughter, aimed at kids, but suitable - recommended - for everyone!

Gary Naylor has a lot of fun with Fashion Victim, a satire on popular culture with songs, dance, some terrible plotting and some good jokes, but is left wondering if it shouldn't be a lot more.