Gary Naylor - Page 65

Timon of Athens, at times a clunky collaboration and a clunkier mix of verse and prose, has much to say about how money corrupts and how spoiling adults is about as advisable as spoiling children. There's something of King Lear about it - but probably not enough.

The Messiah has charm and poignancy, but creaks under the weight of its 35 years, its brand of humour now dated by shows like The Play That Goes Wrong.

Some spectacular special effects and a wonderful set are let down by a stodgy and confusing script.

Plaid Tidings is a show full of grand old Christmas songs delivered beautifully by four gifted vocalists.

John Savournin and the Charles Court Opera gang are back with another panto packed with innovatory storytelling and great songs, wonderfully sung @KingsHeadThtr #ButtonsPanto @charlescourt.

An Honourable Man is bold in its ambition and gets a lot of details right, but its excellent first half gives way to a theatrically disappointing conclusion.

BWW talks to Jasmine Pearce, the founder of Riff Productions, about her plans for the future.

This action packed adaptation brings Lermontov's 1840 novel into the 21st century with wit and no little elan.

Peter Groom brings a legendary figure of 20th century culture to life in this affectionate and beautifully observed show.

A traditional production of Verdi's classic opera is beautiful and terrifying in equal measures.

Brass brings the Great War's generation to life in a way that educates and entertains - real people emerging from the seemingly endless roll call of The Fallen.

Creation Theatre update Poe's classic tale adding ballsy, badass attitude, but losing the fear and dread en route.

When you can see Lorca, you should - as this brilliantly realised production proves.

Sweet Like Chocolate Boy tells the tales of Bounty and Mars, growing up black in different generations with different issues to address, the play grounded in the language and music of contemporary London.

Sexy Laundry looks at middle class hopes and fears in a two handed comedy that must have felt a little old-fashioned when first staged in Canada in 2002.

Tragedy raw in tooth and claw in this revival of the ENO's 2008 production of Lucia di Lammermoor.

This revival of Kenneth MacMillan's Manon is a visual and aural delight that should melt the heart of even the most reluctant ballet sceptic.

Robert Icke's updating of The Wild Duck gains in contemporary relevance, but loses a little of its heart en route.

Quietly gives us two men, deep in middle age, looking back to the irreversible actions they took as 16 year-olds during The Troubles in an electrifying conversation.

Ross MacGregor's Dracula needs a transfusion of narrative pace if it is to achieve its considerable (and laudable) ambition.