Gary Naylor - Page 25

Julian Glover talks about his long life on stage and screen, and about his role in the new production of The Night of the Iguana at the Noel Coward Theatre

Barrie Kosky's Carmen returns to the Royal Opera House for a second revival and still chalks up as many misses as hits.

Arthur Pita adapts Hans Christian Andersen's The Story of a Mother for Natalia Osipova and Jonathan Goddard in a contemporary dance work that is unblinkingly clear and ferocious in its storytelling.

Illuminated by a masterful performance from Bryn Terfel, this production is a gruelling but rewarding, often stunning, revisit to the Musorgsky's original 1869 version.

Adam Guettel's extraordinary music, wonderfully played by the Orchestra of Opera North, is the best reason to revive a show that is hobbled by a pedestrian book and awkward stereotypes.

The one-time highly controversial David Hare play still packs a punch and a message that seems, if anything, even more insistent in these Austerity / Brexit days.

Brexit looks at, well, Brexit and finds comedy in the twists and turns it forces upon the new Prime Minister, Adam Masters - but the jokes could be funnier and the satire more biting.

Anna Morrissey talks about her work as a movement director and the challenges of making her directing debut with Benjamin Britten's A Midsummer Night's Dream

Force Of Nature gives us an unprecedented up close and personal insight of the work of Royal Ballet Principal, Natalia Osipova, but leaves us wanting to know more about the woman who animates the dancer.

Education, Education, Education presses a lot of nostalgia buttons to generate laughs, but leaves its strongest storyline relatively unexplored.

A somewhat disengaged staging is saved by wonderful music played wonderfully well and a distressing coup de theatre brothel scene.

Alexander Feklistov talks about working with Cheek by Jowl, the differences between different audiences and how a 400 year old play resonates today.

Prasanna Puwanarajah's revival of Venice Preserved brings the look of the show right up to date - its narrative is very 21st century, so needed nothing.

Gorgeous and gruesome, this revival of Jonathan Kent's production fills the Royal Opera House with emotion and passion - and a warning of what chaos can ensue in a failing state.

USER NOT FOUND plunges us into the very contemporary and very real issues concerning one's digital legacy. Do you hit the big red button and kill ?that person again? Or do you let them live on, haunting ever diminishing spaces in the digital world?

When Davey musters the courage to go speak to Anita instead of merely stalking her, both have to confront psychological trauma that can no longer be denied.

Tom Brennan explains that what you want, what you really, really want, is a comedy set in a school in May 1997.

Andrea Chenier is a feast for eyes and ears with Roberto Alagna, Sondra Radvanovsky and Dimitri Platanias magnificent in the tale of the poet who stays true to love as the world descends into madness.

Happy Jack is an early play by John Godber full of working class warmth tempered with a hard edge of social criticism.

Ute Lemper: Rendezvous with Marlene sees a living legend portraying a now lost legend - up close and personal and a privilege to see.