Gary Naylor - Page 28

Stephen Adly Guirgis's play is as relevant today as ever, its coruscating examination of the nature of American justice and religious redemption losing none of its power a generation on from its first outing.

Cheating Death fails to solve the considerable problems of writing and staging farce in an ambitious show that falls well short of expectations.

The Royal Opera House revives its 2016 Cosi with all the mischievous wit and splendid music of Mozart and Da Ponte - but also lets us in on the game within the game - and the price that's paid

Charlotte Randle talks to BroadwayWorld UK about her role in Cougar, a new play, at the Orange Tree Theatre

David Bromley brings Italo Svevo back to life in Howard Colyer's monologue, As A Man Grows Younger, and finds plenty of parallels with the Europe of today.

There's much to admire in Eden, a play that pits town against country, development against conservation, corruption against integrity, love against careers, the big guy against the little guy.

Julia Burbach talks to BroadwayWorld UK about her role as Revival Director of the ROH's Cosi Fan Tutte and about her work as an opera director.

Paul Taylor-Mills hosted a conversation with Mark Shenton, one of a series at The Other Palace's MT Fest. Here are some of the key points that emerged.

Cyprus Avenue is a blistering black comedy illuminated by a sensational performance from Stephen Rea as Eric, a man adrift in a world that is changing too quickly for him, feeding a psychosis about to explode.

The Paper Man starts off with the story of Austria's 1930s football hero Matthias Sindelar but swiftly dummies the Nazis and nutmegs for a narrative about the construction of narratives - and becomes rather dull as a consequence.

Phil Willmott tries to rescue two shows with the plot of a third, but his show also never quite coheres, for all the energy expended by the hard-working cast.

The King's Head pulls off another re-imagining of a classic opera that packs plenty of punch and is a joy for newbies and old hands alike.

Rip It Up The 60s is unabashed entertainment full of great songs, plenty of dancing and a handful of stars from Strictly.

A wonderful version of The Winter's Tale that is made for young people but has plenty to say to those of us as old as Leontes and Polixenes.

The Moscow Pushkin Drama Theatre brings its modern, surreal take on Chekhov's classic play to The Barbican, with a barb or two directed towards some familiar faces.

BWW talks to Ruth Mary Johnson about her version of The Winter's Tale at the National Theatre and about her philosophy in making theatre works for young people.

The Orchestra digs into the hearts of the six women and one man stuck playing light classics in a hollowed out French spa town and finds bleak, Chekhovian humour in their plights.

Les Mis has been in London almost as long as I have - here's how we have grown old together.

Danielle Walker: Bush Rat takes on the tricky task of examining a largely happy family for comic material and, aside from a few references to the strange ways of Outback Australia, inevitably comes up short.

Kieran Hodgson dissects the history of the UK's relationship with Europe in this funny, poignant and wonderfully well-informed show.