Gary Naylor - Page 43

Gary Naylor sees an close-up, no holds barred production of Howard Barker's sexy, sweary, sinful take on Hamlet and tries not to think of Sid James's laugh.

Gary Naylor sees a big, bold production deliver a tremendous evening's entertainment as a 2013 smash hit is revived to great acclaim.

Gary Naylor sees an interesting, if ultimately somewhat unsatisfactory, slice of life set amongst the twenty-somethings of London.

Gary Naylor sees a very fine production of one of the most popular plays of the last twenty years, crowned by a superb central performance.

Gary Naylor sees a high octane, fourth wall smashing, hugely enjoyable production of Shakespeare's much loved comedy

Gary Naylor sees a musical that starts with a good idea and fades due to a script that lacks the pace and humour to drive the plot forwards.

Gary Naylor sees a couple of fine introductions to Shakespeare plays aimed at kids, but with more than enough for adults to enjoy no matter how familiar they may be with the sources.

Gary Naylor sees a fine revival of a play that was of its time in the buttoned up, pre-Beatles 1960s, but has much to say to audiences in 2016.

Gary Naylor sees a play that promised much and delivered for 90 minutes before falling away in a poorly constructed last half-hour.

Gary Naylor sees a play that covers some old ground in old and insensitive ways and concludes that it wasn't the best choice of what was available.

Gary Naylor sees a show that mixes warm and witty comedy with hard edged physics to create something both mentally stimulating and terribly entertaining.

Gary Naylor sees a strange, unsettling but fascinating play set in 1960s France, but it could be anywhere any time.

Gary Naylor sees a new musical which gets plenty right - and one or two things wrong!

Gary Naylor sees a Lear that resonates more through its political themes than its psychological or sexual elements - and sends a message to us all before the upcoming Referendum.

Gary Naylor sees a much performed cult musical that does its best work in the songs and the memories it brings forward.

Gary Naylor sees a Richard II for today which succeeds largely, if not totally, in its contemporary staging.

Gary Naylor sees a show that places an actor who is somewhat the worse for wear into Shakespeare's most loved play and then sees what comes of it - the title admirably clear!

Gary Naylor sees a skilful skewering of politics' favourite son, the blond bombshell Boris, Mayor of London and (maybe) next World King.

Gary Naylor sees an occasionally brilliant, occasionally confused new opera about life lived against the clock in the 19th century East End of London.

Gary Naylor sees a production that loses its way as a result of forgetting that the most important things to get right in musical theatre are the voices.