Gary Naylor - Page 18

Lockdown legends burst into the real world on a night of fun underpinned with a message to the government about the Arts.

Hampstead Garden Opera bring a slice of 17th century Venetian sensibility to our Covidy times.

Knowing me, knowing you, it does exactly what you'll expect!

Lucinda Coxon's 2010 play stretches across the Atlantic Ocean, but pulls us back to London's tiny flats and intimate arrangements.

He's funny and sad, accessible but deep, Russian but universal - it's time to check out Chekhov.

We're tight close-up on a pair of eyes that become many pairs of eyes as single, spat out verbs tell us the emotions such eyes transmit. Done more slowly, it would capture something of those silent movie screen tests from 100 years ago in which Clara Bow would express fear or Theda Bara allure.

BWW reviewer Gary Naylor highlights his favourite theatre productions and performances of 2020.

Seeing so accomplished and engaging a production as this (VOPERA's first to boot), a genuine question arises - is the socially-distanced, digitally distributed show no longer merely a stopgap, an ersatz simulacrum, but a new art form in itself?

The infamous Baron Munchausen is updated for our times, given voice by Richard O'Brien who revels in recounting outrageous, outlandish stories.

Even the introduction of the excellent Naomie Harris can do little to rescue a show that makes you look forward to global warming.

A very different world (and a very different BBC) emerges from that most impenetrable of dark places - the recent past.

We spend 12 hours at an island's pagan festival where all is not as it seems.

Jude Law, Emily Watson and Paddy Considine do what they can with over-familiar hokum delivered with a grim earnestness.

Gary Naylor looks back nine years to the show that revealed the awesome and unique power of theatre

James Haddrell, Artistic and Executive Director of Greenwich Theatre, talks about life under lockdown and his new online production of Steven Berkoff's play, The Secret Love Life Of Ophelia.

The stories career along at the speed of a subway train, barely giving a moment for the dilemmas so skilfully set up to be mentally processed before another comes along to knock you off balance. That so many of these challenges do not apply to me nor to my two boys around Zyrick's age, is proof that the phrase 'white privilege' is no empty slogan.

Undone is an extraordinary examination of what it feels like to live in a world that appears more layered than linear, the past poking into the present so often that the boundaries soon cease to have any real meaning.

In the second of the new monologues and the last in the series, two women grieve for the same person (who happened to be two different men).

Technically excellent and engaging, the penultimate episode in this splendid reboot is let down by stakes that seem too slight to warrant our full emotional investment.

We will return to theatres very different from those we left - and we are different too. So what should we see? Here are five, very varied, suggestions.