Gary Naylor - Page 49

Gary Naylor sees the European premiere of a play that has plenty to interest the audience, but not quite enough to engage it.

Gary Naylor sees the revival of an old favourite from Saturday night television in the years long before it was captured by Simon Cowell and his clones - for whom no number of raspberries can be too many!

Gary Naylor sees a fine selection of Sondheim's extraordinary songs delivered by an all-star cast for two very good causes in the magnificent setting of the Theatre Royal Drury Lane.

Gary Naylor sees an innovative take on Romeo and Juliet which gets plenty of laughs early on before a descent to murder and suicide.

Gary Naylor sees a scaled-back adaptation of Sondheim's A Little Night Music that manages to capture all (well, almost all) of the appeal of the West End show.

Gary Naylor sees a scaled back but utterly compelling version of Offenbach's Tales of Hoffmann, that makes the occasional compromise with the stories, but none at all with the quality of the singing nor the sets.

Gary Naylor sees a scaled back Werther that still packs an impressive punch, as two lives fall apart caught between love and duty.

Gary Naylor sees a brilliant revival of Tooting Arts Club's 2012 production of Barrie Keeffe's three mid-70s plays about lads growing up slowly in the mean streets of a London in the throes of huge social changes.

Gary Naylor sees a demanding, but rewarding, cinema presentation of Mozart's enduring comic opera, The Marriage of Figaro.

Gary Naylor revels in an extraordinary day at the theatre, an epic presentation of Shakespeare's account of what his royal family, the Tudors, inherited from the chaotic rule of the Houses of York and Lancaster.

Gary Naylor sees a fine production of a classic Ben Jonson play illuminated by a fine central performance by Pip Brignall.

Gary Naylor sees a gruelling production of Medea that updates its story to the present day but loses its sense of direction just when it needs it most.

Gary Naylor sees a play that may not fully realise all its characters, but raises interesting questions and provides a shocking denouement.

Gary Naylor sees a show that looks back at over sixty years of remarkable songs written by Leslie Bricusse, the Londoner who conquered Hollywood and Broadway.

Gary Naylor sees a comedy set in the unlikely environment of Central Baghdad, as the war of 2003 gets underway and Saddam begins his long journey to his awful demise.

Gary Naylor enjoys an show that defies description, but features as talented an ensemble as he can recall seeing on a London stage.

Gary Naylor sees a fine, if not quite perfect, stage adaptation of the famous 1973 film in a truly extraordinary location.

Gary Naylor sees a revival of an old show that remains bang up to date due to its wonderful tunes and spectacular lyrics.

Gary Naylor sees a one-woman show that tracks the life of Maria Anna Mozart, the sister, not the brother, the one forever referred to as The Other Mozart.

Gary Naylor sees a play that asks many more questions than it answers but leaves those without a stake in church's battles wishing that there were a few more hymns.