Gary Naylor

A radical reworking from its German director and co-adaptor that misses as much as it hits

The play before Nick Payne hit nig with Constellations, fails to ignite

A work that uses the darkest of dark sets to shed light on the possibilities inherent in creative work, right here, right now

Homage to much-loved comedians and their deceptively dangerous art

With a starry The Seagull opening soon at The Barbican, the peerless playwright is in vogue right now, his unstable worlds of uneasy transition chiming with the nervous times. On the banks of the Thames, the third of the fab four tragedies, Three Sisters, (or should that be comedies?) is receiving rave reviews. BroadwayWorld's Gary Naylor sat down with Shannon Tarbet, who plays Masha, to talk about the great Russian's debut in the home of the great Englishman.  

Desperation, desire and dance in a drowned world

Ensemble work tells an important story, but too quickly and too loudly for its full horror to sink in

Dazzling acting and directing delivers a fine revival in a perfect space

Katsiaryna Snytsina, the eponymous KS6, tells an often warm and witty tale of her own empowerment, with a burning ambition to do the same for her country

Miriam Freedman's stroy is both a tribute to Human Spirit and a warning for today

Robert Carsen's vision is as uncompromising as ever, but the world has changed in three short years

Polish production is powerful theare-making, but lacks heart and conviction in its storytelling

Angelina Jolie is compelling in a movie that concentrates on the misery to the exclusion of almost everything else in the diva's life

Macabre and spectacular, this is Christmas fare as it once was and should still be, fully trusting its audience.

There's praise for plays old and new and musicals, well, mainly old

Theatre likes to say thank you. Whether it’s a standing ovation on opening night or one a little more spontaneously given up, a seemingly weekly awards presentation (or are there even more than 52 ceremonies these days?) or those sheepish nods of the head from the orchestra, hitherto half-buried in the pit. Yes, as the definitive showbiz song has it, “Nowhere could you get that happy feeling / When you are stealing / That extra bow”.

Traditional fringe panto offers value and and the comfort of familiarity and escapism at Christmas

Pan is back with songs and spectacle and a lesson about what really matters in life

Daisy Edgar-Jones and Kingsley Ben-Adir lead a fine cast in an impressive, if gruelling, examination of the destructive power of mendacity

Carlos Acosta's touring show is a delightful Christmassy treat