Gary Naylor - Page 33

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.

Though a challenge for the concentration, Maly Drama Theatre delivers a definitive Vanya against which all others can be judged.

Hamilton not reviewed, but experienced.

Weimar Cabaret delivered with talent, humour and fear to burn!

A slice of working class life that tickles the funny bone and pulls at the heartstrings, but never quite resolves its structural issues.

Guillem Clua's new play is a serious examination of how love finds expression differently, beautifully translated and acted with great sensitivity - a thought-provoking and ultimately uplifting production.

A Lionel Bart post-Oliver! flop given a new book and a huge injection of energy just makes you feel happy - and ain't that a good thing!

Moormaid takes on a contemporary issue - the return to Europe of young men who fought in Syria - but fails to build characters in whom we can believe despite some fine acting.

The Golden F**king Years is a beautifully observed and acted farce that finds plenty of comedy in the tedium of ageing and the sudden opportunity of a bit of excitement - and the consequences that inevitably follow.

A play and accompanying exhibition about a renowned Indian singer, the eponymous Gauhar Jaan, and 'an incident' that gained infamy across India in the early 20th century.

Amongst the explosion of interest in Jean-Michel Basquiat, Sara Driver's film locates his emerging genius in a beautifully rendered time and place - late 70s New York City.

A powerful, perhaps even necessary, play that doesn't always succeed dramatically but can be forgiven for the boldness of its narrative and unflinching take on a divided city in a divided nation.

Once again, a fine production from Arrows & Traps theatre that reminds me, were it necessary, that if you can see Chekhov, you should.

Gilbert and Sullivan's comic opera delivered with the emphasis on the comic and more than a nod to the realities of 2018 sensibilities.

A sensational Bernadette Robinson brings five 'nobodies' and five superstars to life in a series of monologues with music that explore human fallibility with wit and wisdom to spare.

In our new series, BroadwayWorld UK writers nominate the shows they'd love to see revived!

A splendid production that shifts the action from Chekhov's original short story into 1920s Britain to add layers of meaning and depth to both the themes and characters - fringe theatre at its best.