Gary Naylor - Page 49

Gary Naylor sees a jukebox musical that's short on plot but long on nostalgia and the catchy tunes of the Madness songbook, as popular today as ever they were 35 years ago.

Gary Naylor sees a tricksy, but ultimately very satisfying, adaptation of Anthony Trollope's novel, Lady Anna at the beautifully appointed Park Theatre.

Gary Naylor enjoys a wonderful evening's entertainment lit up by Bizet's music and a central performance that is as hot as its tropical setting.

Gary Naylor sees another splendid scaled-down opera that hits the heights while keeping its feet firmly on the ground.

Gary Naylor sees an ambitious, timely revival of a musical that crackles with life, full of great singing and splendid dancing, if a touch demanding at 100 minutes all-through!

Gary Naylor sees a supercharged political black comedy, 50 years old, but as fresh as if it were written on 6 May 2015 delivered by a cast well up to its considerable demands.

Gary Naylor sees a play that explores the impact of early success and the clash of egos as Orson Welles and Laurence Olivier joust for influence.

Gary Naylor sees another Shakespearean treat from Iris Theatre in an oasis of calm in the very heart of bustling London.

Gary Naylor enjoys a wildly entertaining adaptation of one of Rossini's early operas, relocated to Las Vegas and coming to a venue near you.

Gary Naylor sees a version of a classic that shows plenty of teeth that snarl as well as smile.

Gary Naylor sees a era-ending La Boheme, beamed from Covent Garden around the world - fittingly so for a worldwide cast and a global landmark in opera history.

Gary Naylor sees a play about a father and a son, about two engineers, about the city that we live in today - staged in the most extraordinary of venues.

Gary Naylor sees a marvellous performance of Ruddigore, fast becoming his favourite Gilbert and Sullivan, the magnificent songs given full value.

Gary Naylor sees an execrable play within a very funny play with echoes of The Play That Goes Wrong and even Fawlty Towers.

Gary Naylor sees an adaptation of a celebrated book that lacks the clarity and pace that musical theatre demands, despite plenty of endeavour.

Gary Naylor sees a gender-flipped Taming of the Shrew that would benefit from further focus on its two lead lovers (and fighters).

Gary Naylor sees a comedy drama with an edge as hard as the coal that used to be hewn from the pits beneath the village in which it is set.

Gary Naylor sees an intense drama, performed in the UK for the first time, that shows how imbalances of power can lead to abuse, but also to a kind of cynical deal that benefits those willing to settle.

Gary Naylor sees a man he feels he knows well (through over 60 years of diaries) brought to life in a warm tribute with just enough edge to show that he mattered.

Gary Naylor sees a musical revival that has its flaws but also has two flawless central performances, with acting and singing of the highest quality.