BWW Review: FOREVER PLAID, St James Theatre Studio, April 8 2016
Gary Naylor sees the kind of show that will never will never appear in the nominations for prestigious awards, but was an ideal way to spend a Friday night up West....
BWW Review: X, Royal Court Theatre, April 6 2016
Playwright Alistair McDowall has been hailed as one to watch out for in British theatre. His production of Pomona last year at the National Theatre was championed by critics and theatre-goers and so there is much anticipation surrounding his latest play, X currently being staged at the Royal Court's...
BWW Review: HOW THE OTHER HALF LOVES, Theatre Royal Haymarket, April 4 2016
First performed in 1969 and fast becoming a hit, Alan Ayckbourn's second play 'How the Other Half Loves' has returned to the West End at the Theatre Royal Haymarket. Infidelity, lies, misunderstandings and hilarity unite to create a revealing insight into the married lives of three work colleagues a...
BWW Review: BUG, Found111, March 29 2016
Gary Naylor sees a play that makes for uncomfortable viewing but raises questions about the way we lived in 1996 and the way we live now....
BWW Review: THE PAINKILLER, Garrick Theatre, March 17 2016
Gary Naylor sees a starry French farce with plenty of the traditional laughs for those who buy in - but you do need to buy in!...
BWW Review: ADAM RICHES IS COACH COACH, Soho Theatre, March 16 2016
Gary Naylor sees a comedy full of laughs and energetic performances that draw on plenty of familiar characters, but is no less funny for that....
BWW Review: NOTMOSES, Arts Theatre, March 15 2016
Gary Naylor sees a comedy that rates high on ambition but disappointingly low of laughs....
BWW Review: MISS ATOMIC BOMB, St James Theatre, March 14 2016
Set in Atomic City, USA (otherwise known as Las Vegas), Miss Atomic Bomb at the St James Theatre transports its audience back to 1952. A time when atomic bombs were regularly tested in the desert outside of the city, it focuses on Utah sheep-farmer Candy, played by Florence Andrews in her first lead...
BWW REVIEW: KING CHARLES III, Manchester Opera House, March 7 2016
Nearly two years after its Almeida premiere, King Charles III has lost some of its topicalality - but none of its satirical punch as it continues its national tour in Manchester....
BWW Review: AVE MAYA, London Coliseum, March 6 2016
Gary Naylor sees a spectacular tribute to Maya Plisetskaya, an icon of Russian Ballet, who died in May 2015, aged 89....
BWW Review: THE FATHER, Duke of York's Theatre, March 1 2016
Following its hugely successful premiere in Bath and sold out shows in London at the Tricycle and Wyndham's Theatre last year, Florian Zeller's The Father has returned to the West End for a second time. Having just been nominated for three Oliviers, the production focuses on eighty-year-old Andre an...
BWW Review: FIREBIRD, Trafalgar Studios 2, February 22 2016
Gary Naylor sees a searing drama brilliantly written and performed which acts as a call to action as this must surely never be allowed to happen again....
BWW Review: THE RINSE CYCLE, Charing Cross Theatre, February 19 2016
Gary Naylor sees Wagner's Ring Cycle done in two hours in a production that doesn't quite locate its target audience....
BWW Review: SONGS FOR THE END OF THE WORLD, The Vaults, February 18 2016
Gary Naylor sees a gig, a story and a vision of a dystopian nightmare all in one from Dom Coyote and his band of fine musicians....
BWW Review: Jeff Wayne's THE WAR OF THE WORLDS, Dominion Theatre, Feb 18 2016
When Jeff Wayne decided to write a musical version of HG Wells's sci-fi classic The War of the Worlds, he could have had no idea that 40 years later his score would be performed in a West End theatre. It tells the tale of a journalist who witnesses the Martians' descent to earth - and their subseque...
BWW Review: HAND TO GOD, Vaudeville Theatre, Feb 15 2016
Robert Askins' Hand to God has been raking in the stars on Broadway, and now this controversial new play and its demonic hand puppet have swift footed over to hijack the Vaudeville Theatre, West End. There is no doubting this play is base, vulgar and utterly outrageous, but when the puppetry make...
BWW Review: ROUND THE HORNE, Museum of Comedy, February 12 2016
Gary Naylor sees a fine reconstruction of two episodes of Round The Horne, performed with great skill and vim, giving us a window on a show the influence of whicht echoes across half a century....
BWW Reviews: THE HERBAL BED, Royal and Derngate
The first major touring revival of Peter Whelan's THE HERBAL BED debuts at Northampton's Royal and Derngate. BroadwayWorld's Verity Wilde was there....
BWW Review: THE END OF LONGING, Playhouse Theatre, February 9 2016
It's been 13 years since Matthew Perry was last in a West End production, and The End of Longing marks his playwriting debut. Currently running at The Playhouse Theatre, it tells the story of four friends in their late 30s living in LA, whose lives become entwined after meeting at a bar....
BWW Review: CIRQUE BERSERK, Peacock Theatre, February 9 2016
Gary Naylor sees a 21st century circus with plenty of links to the traditions of the past....
BWW Review: I LOVED LUCY, Jermyn Street Theatre, February 5 2016
Gary Naylor sees a wonderful play written and acted with great skill that left him with a skip in his step and a paragraph for his Best Of Theatre 2106 already....
BWW Review: MUTED - SHOWCASE, St Paul's Church, Covent Garden, February 4 2016
Gary Naylor sees a showcase performance of Muted, a rock musical in its development phase....
BWW Review: RED VELVET, Garrick Theatre, February 2 2016
Gary Naylor sees the Kenneth Branagh Theatre Company's production of Red Velvet raise questions about ethnicity and art that resonate through the generations....
BWW Review: JEEPERS CREEPERS THROUGH THE EYES OF MARTY FELDMAN, Leicester Square Theatre Lounge, January 28 2016
Gary Naylor gets an insight into one of British comedy's great eccentric talents, whose life was blighted as much as celebrated by his success....
BWW Review: ONE OF THOSE, Tristan Bates Theatre, January 27 2016
Gary Naylor sees a new comedy that pleases without ever really convincing - a play rather too middle-class and (surprisingly) too middle-aged to hit the funny bone with a smack....
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