Gary Naylor - Page 20

The Barn Theatre stream their Henry V right into your living room - why not watch it with your stay at home band of brothers?

Mike Bartlett's play has aged not a jot in its analysis of how one generation's freedoms constrains anothers. Funny and clever, it hits hard, even if it ultimately stretches credibility a tad too far.

Jan Ravens and Julia Watson excel in three of Alan Bennett's famous monologues, two of which pack a surprising punch, 30 years on.

Angel Theatre Company bring Beckett to Brockley and leave this first time viewer looking forward to more.

The Whip packs so much into its near three hour running time that its issues, anger and need to educate drowns its dramatic potential and we're left with something that fails to reach its considerable potential.

This show, by the company of ex-Principal dancer at The Royal Ballet, Carlos Acosta, gives the audience a mixed bill, as up close as the title suggests, with as much Cuba as you would find in a hand-rolled cigar.

Flights looks into the hearts of three men whose lives in rural Ireland are not working out as they once hoped.

In just 45 minutes, Caryl Churchill's Far Away walks a tightrope between tricksy surrealism and dystopian warning but stays upright due to its sheer theatricality.

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Kate O'Flynn is in award-winning form as the baby who grows into a girl and then a woman before her life's span is through in Alistair McDowall's clattering monologue.

Roy Williams and Clint Dyer's one man play explores the complexities of white working class identity in a multicultural, post-Brexit England with verve and passion.

Antony McDonald's production of Gerald Barry's hurtling dash through Wonderland and behind the Looking Glass is a delight from start to finish - or it will be for some.

Persona transfers somewhat uneasily from screen to stage in Paul Schoolman's new adaptation, but retains its intellectual heft and eerily subversive quality.

This is an Vanya for 2020 that loses nothing in Conor McPherson's sublime update.

Daniel Ward's autobiographical tale, told as gig theatre, has plenty to say and says it well - we would be wise to listen.

This no frills Twelfth Night rattles through Shakey's comedy getting laughs along the way, but includes some artistic decisions that didn't quite land as clearly as they were, perhaps, intended to.

Jason Kravits brings his big voice and madcap improv skills to London's leading cabaret room and the result is just what January needs.

Once shows all its crowdpleasing credentials in this new touring production with a tremendous cast doing full justice to its score and carrying a somewhat corny plot to a standing ovation curtain.

The Union Theatre's Essential Classics season kicks off with Phil Willmott's updating of a classic with much to say about England in 2020.

Richard Eyre's production gets yet another run out 25 years on, but it's so beautiful and brilliantly sung, no further justification is required.