Gary Naylor - Page 22

Hannah Khalil's new play grapples with some big issues for over two hours, but the biggest issue of all for any play - the drama between the characters - is absent for much of that time.

Danusia Samal's award-winning play packs plenty of issues, perhaps too many, into its drama but says important things about the way young Muslim women are expected to behave, as they navigate the first generation immigrant experience.

Assassins is never less than engaging and interesting, for all its structural flaws. Worth the ticket price just to see the virtuosity of this super-talented cast.

This Merchant of Venice is aimed at schoolchildren and it's a fantastic experience for them. It's also pretty good for anyone, whether a 100+ Shakespeares veteran like me or a first-timer.

For all its flaws, Brooklyn - The Musical features great songs sung by great singers. What more can one ask for really?

King John's themes are horribly present in today's febrile political climate making it exactly the right time to revive one on Shakespeare's less performed plays.

Despite a distracting set, the music and singing triumph on an evening that reminds us that you can be too clever by half when you seek to be kingmaker.

David Hare's play may look like it's set in an increasingly distant past, concerning itself with old arguments, but its brutal message is as important today as ever.

Conspiracy sees our three intrepid investigators set off to prove that one photograph holds the key to just about every conspiracy theory you ever heard!

Faith, Hope and Charity is a 21st century Boys from the Blackstuff, a searing indictment of austerity as seen through the eyes of decent people who want to be kind and need to be loved.

Guy Henry talks about his life as an actor on stage and television and about his role in Peter Gynt, at the National Theatre until 8 October.

Gary Naylor reflects on ten years as a BroadwayWorld reviewer.

Lit is an astonishing debut play from Sophie Ellerby telling the tale of Bex, a teen adrift in a world full of threats with wit, wisdom and overwhelming humanity. Eve Austin is in award-winning form as the girl on the edge.

Rust takes us into the lives - the other lives - of Daniel and Nadia, having an affair, but not quite able to leave their real homes at home.

Hedda Tesman transports one of theatre's great roles into the present day, but Cordelia Lynn's script never quite lands.

This take on the familiar tale brings out many of the subtleties of its source material and has much to say about today's world. It is a little too long though.

Hello Again is lovely to look at and a wonder to hear, let down only by a slightly half-hearted approach to the messy business of sex.

Gary Naylor sees his last show at this season's Grimeborn, an Italian opera based on the original sources of Romeo and Juliet sung with tremendous panache.

FormidAbility's unique approach to integrating those with disabilities on either side of the fourth wall enhances two pieces that prove tricky for the uninitiated to appreciate fully.

You know Scott Joplin is a genius, but having that conformed by this wonderful, uplifting, yet shocking opera, is a delight and a privilege. Beautifully performed too.