Gary Naylor - Page 33

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.

Phil Willmott's The Cherry Orchard picks up Chekhov's action and moves it forward a decade or so to 1917, when the balance of power in Russia was tilted rather differently.

Claustrophobic play about two ill-suited spouses re-united for pragmatic reasons and working through their pain from ten years ago - a gruelling watch.

Ara Malikian showcases his talents with an eclectic mix of music spiced with showmanship and stories, with a twist in the tail.

Bold re-imagining of an early Tennessee Williams play that gives its themes a universality in a uniquely theatrical experience.

Technical shortcomings and an incoherent book overpower a show with a fine pedigree and good tunes.

Classic French farce gets a Bollywood makeover for the 21st century in Nigel Planer's enjoyable adaptation of Marivaux's comedy.

Macbeth delivered by dancers in a unique space, beautifully lit, creating an electrifying theatrical experience.

Princess Margaret brought to life by Felicity Dean in a production that promises more than it delivers about a tragic figure born a generation too early to change the Royal Family.

Ambition not quite matched by execution in an all-female production of The Tempest, one of fringe theatre's more challenging plays to get right.

Liberties have been taken with Bizet's opera, but none are diabolical, and what emerges is something which is sometimes less and sometimes more than its inspiration.

Just when the grimness is becoming tiresome, Philip Goodhew's script is transformed by an injection of darkest comedy without ever losing its focus as a searing indictment of modern life.

A little dated for sure, but with enough Ayckbourn (and even a touch of Fawlty Towers) to appeal to 21st century audiences, this is a pleasing, if unchallenging, evening's entertainment.

Eugenius is funny, bursting with great songs and great performances and, if a little overly familiar in terms of plot and characters, forgivably so.