Critics' Choice: Gary Naylor's Best Theatre of 2024
There's praise for plays old and new and musicals, well, mainly old
Gary Naylor - Page 7
In Praise of Front of House Staff
Theatre likes to say thank you.
Review: SLEEPING BEAUTY, The Bridge House Theatre
Traditional fringe panto offers value and and the comfort of familiarity and escapism at Christmas
Review: PAN, Chickenshed Theatre
Pan is back with songs and spectacle and a lesson about what really matters in life
Review: CAT ON A HOT TIN ROOF, Almeida Theatre
Daisy Edgar-Jones and Kingsley Ben-Adir lead a fine cast in an impressive, if gruelling, examination of the destructive power of mendacity
Review: CARLOS ACOSTA'S NUTCRACKER IN HAVANA, Southbank Centre
Carlos Acosta's touring show is a delightful Christmassy treat
Review: THE MASSIVE TRAGEDY OF MADAME BOVARY, Southwark Playhouse
A valiant effort, but too long and too ambitious to achieve its aim of transforming Flaubert's tragic heroine into a comic lead
Review: BETTE AND JOAN, Park Theatre
Greta Scacchi and Felicity Dean are gruesomely grotesque but also wonderfully warm as the fading titans of the Golden Age of Hollywood
Interview: Actor Producer Charlie MacGechan of Run At It SHOUTING
An Actor / Producer / Executive talks about how he got started, what he's done and what the future might hold.
Review: TWELFTH NIGHT, Orange Tree Theatre
Superb performances from a cast entirely at ease with themselves and their director make this show a must-see
Review: MAZZ MURRAY: THE MUSIC OF DUSTY SPRINGFIELD, Adelphi Theatre
Mazz Murray delivers a classy spectacular, but do we need all those phones in the front two rows?
Review: THE UNSEEN, Riverside Studios
Prisoners not the only victims of tyranny's dehumanisation of body and soul
Review: THE RED SHOES, Swan Theatre, Stratford-Upon-Avon
Lovely to look at, but horrid to contemplate
Review: WOLVES ON ROAD, Bush Theatre
Director, Daniel Bailey, follows up his hit Red Pitch with a play that cannot locate the detail it needs to step out of a generic plot
Review: THE SOUND VOICE PROJECT, Royal Ballet and Opera
Words run out, as The Voice is lost and recovered
Review: MACBETH, The Actors' Church
Confusing take on Macbeth packs too much innovation into its 90 minutes runtime
Review: GOING FOR GOLD, Park Theatre
Lisa Lintott's debut play sheds light on Britain in the 70s and leaves us with much to ponder as to whether we've progressed far enough
Review: THE TALES OF HOFFMANN, Royal Ballet and Opera
Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents
Review: OTHELLO, Royal Shakespeare Theatre
Intellectually stimulating, if somewhat bloodless, version of a tragedy born of racism, jealousy and naivety
Review: DR. STRANGELOVE, Noel Coward Theatre
New stage version of Stanley Kubrick's black comedy lands with as much force today as it did in cinemas 60 years ago
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