Gary Naylor - Page 38

Has theatre come to terms with 21st century women? Or are female characters too frequently there to help the men drive the plot from curtain to curtain?

Max Gill's clever adaptation of this classic play brings it right up to date, into the world of Tinder and Grindr and fluid sexual identities.

Ventoux captures two very different men going mano a mano against each other, against the Tour de France's most fearsome mountain and, ultimately, against history's insistence that they pay a full price for their sins.

Intense and focused, this adaptation of Dostoyevsky's celebrated novel ratchets up the tension without losing the material's intellectual heft.

Anyone Can Whistle is a rare combination of a well-deserved flop and a must-see show. Swallow the myriad flaws, and its an entertaining, sharp and eerily prophetic show.

The show has bags of potential, passion to burn and excellent singing, but is let down by a pedestrian book and sprawling subplots.

This one-off cinema presentation is a great way to see Newsies The Broadway Musical and get a feel for what it's like to be in a big New York audience.

Run The Beast Down creates a world collapsing psychologically and socially as the foxes, real and metaphorical, close in on Charlie.

Contemporary and hard-hitting, Alex MacKeith's debut, School Play, doesn't quite add up to the sum of its parts.

Impressively designed in a wonderful space, Theatre Lab Company's Salome isn't quite compelling enough as entertainment nor thought-provoking enough as polemic.

Gary Naylor traces five years in which a show playing to 32 customers in a rundown shop on a back street in distant district of South London made it first to the West End and now to New York.

Gary Naylor sees a new adaptation of an old favourite that hits the mark with broad appeal, plenty of laughs and fine songs.

Gary Naylor sees a play that examines the failures of the social experiment of Skelmersdale, a 60s council mega estate stuck between Liverpool and Wigan

Gary Naylor sees an award-winning show get a deserved transfer to the West End where it bubbles with laughs and some hard edged observations of how we live today.

Gary Naylor sees an extraordinary hour of storytelling that releases the human spirit from its physical incarceration.

Gary Naylor sees a comedy that lacks the pace and focus it needs to realise its potential.

Gary Naylor sees a wonderfully funny farce blessed with strong performances and a script that packs a punch along with the punchlines.

Gary Naylor enjoys a treat for eyes and ears with music and singing and love and hate coming together in opera's unique alchemy.

Gary Naylor sees a play with a tricksy structure and a vagueness in its script that leaves the actors with few places to go.

Gary Naylor sees a funny, contemporary comedy blessed with an Ayckbournesque script and some very fine acting.