BWW Reviews: THE OLD MAN AND THE SEA, Riverside Studios, January 25 2011
Gary Naylor (The Oldish Man) goes down to The River to see The Old Man and The Sea.
The latest reviews and critic recommendations from UK Regional.
Gary Naylor (The Oldish Man) goes down to The River to see The Old Man and The Sea.
Imagine if Indiana Jones was reworked as a musical and you might come close to Maya, A Stage Kindly's latest production at the Barons Court Theatre.
Gary Naylor reflects on Cold War spooks and the nature of betrayal.
Gary Naylor admires the craft of a master at work, but wishes it wasn't quite so obvious.
Gary Naylor, not for the first time, learns to leave his preconceptions at the door and embrace art on its own terms, up close and personal.
Gary Naylor hears a forgotten icon revived.
Gary Naylor does not need a flying saucer to travel 56 years back in time to enjoy a simpler, more innocent time.
Kate Finburg reviews the family musical by Stiles and Drewe
Gary Naylor enjoys the message that Big Government has a role to play in guiding economies out of recession.
Gary Naylor braves the first hard frost of the winter in London to see people rather more gifted than he is at moving on ice explain the entire history of the universe!
Gary Naylor joins the Art School audience for an evening of wit and invention.
Gary Naylor spends an intense hour in the company of an intense man.
Our review of Craig Revel Horwood's latest project
Michael Richardson reviews Louise Welsh and Zoe Strachan's Panic Patterns, performed at the Citizens Theatre as part of Glasgay! 2010.
Gary Naylor sees his first Hamlet since the er.
Michael Richardson reviews Return to Work's production of James Ley's Up, performed at the Centre for Contemporary Arts as part of Glasgay! 2010.
Gary Naylor sees two old crowdpleasers please and old, and young, crowd.
Gary Naylor finds that 2010 is not the only year in which young countrymen are stuck fighting over barren land without a end in sight.
Gary Naylor is relieved to know that The Thames Barrier should protect London in general, and The Unicorn Theatre specifically, from flooding.
Gary Naylor sees some early panto audience participation in a singalong show in the suburbs.
Gary Naylor goes to where the streets have no name without leaving London.
Gary Naylor doesn't cry for Argentina, but doesn't cheer either.
Gary Naylor finds the sins of the fathers (and their fathers and their fathers.
Gary Naylor finds himself checking that Hammersmith Bridge still spanned The Thames outside the Riverside Studios and had not been switched with Tower Bridge after an evening of mindbending magic.
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