Gary Naylor - Page 34

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.

Terry Johnson tells us of his lifelong friendship with Ken Campbell, an eccentric giant of English Theatre, in a funny, poignant and beautifully performed production.

Though Sacha Guitry is largely unknown in the UK, this production weaves five extracts of his plays into a single narrative and shows that the tag of 'The French Noel Coward' was not undeserved.

One for fans of Jane Austen and for anyone who likes to see an intelligent production performed with technical skill and rewarding wit.

A fine production that grapples with the play's tricky structure to bring home Brecht's political points with a relevance for today that can hardly be missed.

Doodle - The Musical starts with an unlikely idea that's spun out for nearly three hours - even some decent songs prove insufficient to rescue its poor script and dull characters.

George Bernard Shaw's Chekhovian black comedy has plenty of political heft, but lacks the dramatic clarity required to engage from first to last.

OperaUpClose condense and update Tchaikovsky's classic tragedy for a new space and a new culture, but never lose sight of its deep set Russian roots.