BWW Review: DISASTER!, Charing Cross Theatre, 20 November 2016
Gary Naylor sees a brilliantly executed musical spoof of the 70s disaster movie genre that needs to find a home in the West End soon.
UK / West End Theater Reviews
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BWW Review: AKRAM KHAN'S GISELLE, Sadler's Wells, 16 November 2016
London has had to bide its time in waiting for the premiere of Akram Khan's Giselle.
BWW Review: HALF A SIXPENCE, Noel Coward Theatre, 17 November 2016
This Sixties Tommy Steele vehicle is joyfully reborn in another Chichester Festival Theatre musical triumph, now comfortably ensconced in the West End.
BWW Review: LA SOIREE, Spiegeltent, Leicester Square, 17 November 2016
After a successful world tour that saw over 75 artists with over 150 acts touch the hearts of more than twenty-five cities in both hemispheres, La Soiree comes back home where they started off their adventure eight years ago.
BWW Review: SCHOOL OF ROCK, New London Theatre
Andrew Lloyd Webber may seem an unlikely rock god, but he's harnessed anarchic musical liberation for this big-hearted, irresistibly entertaining new show, adapted from the popular Jack Black film.
BWW Review: THE WOMAN IN BLACK, Exeter Northcott Theatre, 15 November 2016
Stephen Mallatratt's ghoulish adaptation of Susan Hill's infamous ghost story has been frightening London audiences for over twenty-five years and embarked on a UK tour in September.
BWW Review: BROKEN BISCUITS, Crucible Studio, Sheffield, 15 November 2016
This story of teenage friendship is a funny and touching new play with three fantastic performances from talented young actors.
BWW Review: PRINCESS - THE GOOD GIRLS GONE BAD, LOST Theatre, 16 November 2016
Gary Naylor sees an ambitious and challenging show that overstretches its resources and that of its audience.
BWW Review: KING LEAR, Barbican, 15 November 2016
Considered by many to be Shakespeare's most tragic play of all, the Royal Shakespeare Company's production of King Lear has transferred to London's Barbican for its winter season.
BWW Review: RAMBERT - THE CREATION, Sadler's Wells, 11 November 2016
Mark Baldwin, artistic director and choreographer of The Creation describes Haydn's oratorio as "perfect dance music".
BWW Review: IT IS EASY TO BE DEAD, Trafalgar Studios
Gary Naylor sees a wonderful tribute to a unique man amongst The Fallen of the First World War, whose story stands for him and for millions more.
BWW Review: THE BEGGAR'S OPERA, Brockley Jack Studio Theatre, 9 November 2016
Gary Naylor sees a young cast attack a classic play to update for today's world, a venture that succeeds partially, and is never less than interesting.
BWW Review: LULU, London Coliseum, 9 November 2016
Beautiful, unknowable Lulu - all things to all men, who has 'never pretended to be anything by what men see in me' - is the chameleon-heroine revealed in Berg's musical mirror.
BWW Review: ORESTE, Wilton's Music Hall, 8 November 2016
Glass panels, windows and boxes on stage should always be treated with mistrust.
BWW Review: CATS, New Wimbledon Theatre, 10 November 2016
CATS is a strange phenomenon.
BWW Review: TRUMPAGEDDON, King's Head Theatre, 8 November 2016
Gary Naylor sees a show about, and I can hardly believe what I'm writing here, the 45th President of the United States of America.
BWW Review: KING LEAR, Old Vic, 7 November 2016
Gender-blind casting has arrived and we'd better get used to it.
BWW Review: TRAINSPOTTING, The Vaults, 8 November 2016
Incredibly, it is over two decades since Irvine Welsh's cult classic, Trainspotting, landed on bookshelves and twenty years since Danny Boyle's film impacted on modern culture in a way rarely seen before.
BWW Review: BITS OF ME ARE FALLING APART, Soho Theatre, 7 November 2016
Gary Naylor sees an adaptation of William Leith's book that, for all the skilled work in the production, fails to engage its audience.
BWW Review: THE BROONS, Theatre Royal, Glasgow, 7 November 2016
Award-winning Scottish playwright Rob Drummond brings the infamous characters Granpaw, Paw and Maw Broon, Hen and Joe, Daphne, Maggie, Horace, the twins and the bairn to life for a Scottish audience in a production filled with laughs, love and comic-strip visuals, all set to a Scottish soundtrack.
BWW Review: ST JOHN PASSION, Blackheath Halls, 6 November 2016
Gary Naylor sees an impassioned production of Bach's St John Passion, by and for, the people under the guidance of English Touring Opera
BWW Review: THE SHAKESPEARE REVUE, Richmond Theatre, 7 November 2016
A revue is a rare theatrical treat these days.
BWW Review: PATTERN RECOGNITION, Dance Xchange, 3 NOVEMBER 2016
Former Birmingham Royal Ballet and Rambert dancer Alexander Whitley continues an ongoing investigation into relationship between dance and modern technology with Pattern Recognition, seen at Dance Xchange in Birmingham.
BWW Review: ORCA, Southwark Playhouse, 4 November 2016
Gary Naylor sees an accomplished, eerie play about a remote Scottish community that doesn't quite have the courage of its convictions.
BWW Review: DEAD FUNNY, Vaudeville Theatre, 3 November 2016
With the long, dark and cold winter nights upon us, we could all do with a bit of lighthearted comedy to cheer us up! Terry Johnson's 'Dead Funny' originally made its West End debut 22 years ago in the very same theatre where the current run is housed, the Vaudeville Theatre.
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