Gary Naylor - Page 31

An all-singing, all-dancing old school musical that will delight fans of all ages.

A show about Judy, Audrey and Marilyn including songs by the gifted Beth Burrows - but does it tell us anything new?

Miss Littlewood pays tribute to a pioneer of British theatre whose work either side of the Second World War did more for what is called outreach these days, than any other figure before or since.

Courtroom drama set on the Western Front that doesn't convince in its script and staging but still presses the emotional buttons.

My Beautiful Circus brings a traditional entertainment to the village green but delivers it with 21st century savvy and morals.

As You Like It - wit, wisdom and flaws - done in the squares of London on beautiful summer evenings, What's not to like?

Britten's celebrated opera re-imagined for a summer evening pregnant with ill-resolved threat.

Moliere's masterpiece is given a 'fake news' update, but the narrative thrust gets lost in an avalanche of words.

The 80s West End hit is revived by the actor-musicians of the graduating class of Guildford School of Acting in a production that never quite settles on a tone that fits 2018 audiences' sensibilities.

Based on a true story, The Little Pony examines how two parents react to their child who clings to his pink backpack as the bullying, physical and psychological, piles up.

A play that explores the impact of gentrification on London through two characters, flawed but real, in an engaging work.

A curious tone in this bold adaptation that doesn't get everything right, but it's Chekhov, so there's more than enough to enjoy!

The Daughter-in-Law bristles with working class reality buoyed by dialect and accent rooted in the Nottinghamshire pits - but the characters never emerge from that backdrop and the play leaves one with an unsatisfying sense of disbelief.

Paterson Joseph's homage to a forgotten person, indeed, a forgotten people, has its moments but ultimately falls short of the drama required for it to really fly.

A timely and important new play that blends movement, comedy and pathos into a compelling mix that says much about how we value life in 2018.

The Rink revives a show received with lacklustre reviews and box office in the 80s and, through two brilliant central performances and a showstopper setpiece, make it a hit.

King Lear given the Game of Thrones treatment on the small screen, losing a little of the claustrophobic madness en route.

A revival of a work by the revered French playwright, Paul Claudel, that probably doesn't say enough, but does so at enormous length.

A curiously intrusive structure gets in the way of the extraordinary, one-off comic genius that was Spike Milligan in an affectionate tribute from Chris Larner and Jeremy Stockwell.

Great to see a comedy set amongst the dodgy types who frequent a 70s Brighton brilliantly conjured by set and costumes, but an overly episodic structure and predictable conclusion lets down what could be a super show.