Gary Naylor - Page 12

The Royal Opera House's 2003 production gets a much-needed injection of Japanese authenticity while retaining, even enhancing, its moral of how men can abuse their power, as husbands and as colonial occupiers.

Harry Hill and Steve Brown pack plenty of laughs into the life of an ex-PM who only ever wanted to be Mick Jagger - until he spied the seductive allure of power

A new play on the disintegration of civil society is well-timed, but too bitty in its structure to engage fully with its material or its audience

Though flawed in its structure, this passionate new play has an important role to play in a scandal that continues to stain our city and our country

This new play brings the issue of mediating relationships in a changing, hybrid world to the fore without losing drama's essential components of character, plot and pace.

Vicki Berwick's new play has its roots in Classical Greece, but is gripping in its embrace of contemporary concerns

Satinder Chohan's new play has plenty of comedy and tragedy, but struggles to catch the right tone consistently, packing in more themes than its plot can comfortably sustain

Three actors take us on a whirlwind tour of aviation history with laughs and mystery on the way

Fraser Grace's new play examines the impact of PTSD on a soldier returning home after witnessing the horrors of the aftermath of the Russian Revolution

Brilliant acted play captures the London experience at that tipping point between the pursuit of youthful follies and the assumption of adult responsibilities. Let's see what BWW's critic had to say...

BWW's Gary Naylor discovers more about the National Theatre's work in the education sector and how its online resources are being used more and more post-pandemic

You're guaranteed a lot of fun when the Handlebards ride into town

Safaa Benson Effiom's debut play promises much for the future, with a script that balances drama with an important message

Dexter Flanders' new play is a powerful statement from a community whose stories are too often marginalised by contemporary theatre

Anton Chekhov strips humanity down to its component parts again in his searing play beautifully brought to life by Candid Broads. Read our BWW critic's review.

Ben Brown's play, set at the end of World War II, does not fully deliver on its raw materials' dramatic possibilities Read our BWW critic's review.

Sir Mark Rylance revisits his extraordinary Rooster Byron in a play that vibrates differently than when first staged in an England almost unrecognisable from the England of today

Two and a half hours flies by and you're left racing to Amazon to download a biography to find out more - not bad for a man of 88.

So many voices are presented in a play that reclaims women's narratives that we lose the story in a confusing, chaotic 70 minutes

Rori Hawthorn and Siobhan Redmond shine as two women who come to respect their different lives. Read our BWW critic's review.