Gary Naylor - Page 61

Gorgeous and gruesome, this revival of Jonathan Kent's production fills the Royal Opera House with emotion and passion - and a warning of what chaos can ensue in a failing state.

USER NOT FOUND plunges us into the very contemporary and very real issues concerning one's digital legacy. Do you hit the big red button and kill ?that person again? Or do you let them live on, haunting ever diminishing spaces in the digital world?

When Davey musters the courage to go speak to Anita instead of merely stalking her, both have to confront psychological trauma that can no longer be denied.

Tom Brennan explains that what you want, what you really, really want, is a comedy set in a school in May 1997.

Andrea Chenier is a feast for eyes and ears with Roberto Alagna, Sondra Radvanovsky and Dimitri Platanias magnificent in the tale of the poet who stays true to love as the world descends into madness.

Happy Jack is an early play by John Godber full of working class warmth tempered with a hard edge of social criticism.

Ute Lemper: Rendezvous with Marlene sees a living legend portraying a now lost legend - up close and personal and a privilege to see.

Jonathan Maitland delivers a satirical take on Brexit in general and Boris Johnson in particular, that lacks the insight and the jokes required to do justice to its source material's rich potential.

The Provoked Wife combines tremendous comedy with a hard-edged look at human nature and the institutions that underpin society - as relevant today as when it was written over 300 years ago.

Amour is a delightful fable that bathes you in the warmth of Legrand;s music and Sams' lyrics, brilliantly realised by a hardworking cast under the sure direction of Hannah Chissick. Musical Theatre at its most transporting.

Ute Lemper talks to BroadwayWorld UK about her role in Rendezvous with Marlene, her 'personal homage to that great lady', at the Arcola Theatre

Shadowlands can feel a little outdated, but it wins you over with the warmth and wit of the characters and two wonderful performances from Hugh Bonneville and Liz White.

Ben Alderton takes swipes at every stripe in the political rainbow, but lacks the precision required to bring a plague on all their houses.

Miriam Gould's portrait of herself and her parents is as personal as one would expect, but its also beautifully judged and accessible, weaving music in and out of its narrative to great effect.

Market Boy takes us back to the days of George and Andrew with plenty of bad boys in Romford. And it tells us a fair bit about 2019 en route.

Ain't Misbehavin' crashes through the gloom of Brexity Britain with bangin' tunes and bubbly bantz. Looks good, sounds good and makes you feel good.

Other People's Money shows us that the misogyny and avarice scrawled on social media and polluting today's politics, can trace its roots back 30 years at least.

Isango Ensemble's SS Mendi: Dancing the Death Drill is a sad lament for needlessly lost lives and a celebration of the cultures from which the men had sprung. And it's ever so emotional.

Night of the Living Dead Live! pays homage to its inspiration, the George A. Romero cult classic movie, while generating laughs and shocks aplenty

There are many Beatles shows around the world, but few will be as successful as this one, the orchestral arrangements complementing the accomplished band up front.