Gary Naylor - Page 54

Gary Naylor sees a revival of one of the 90s classic comedies that retains plenty of punch, nearly twenty years on

Gary Naylor enjoys a wonderful life-affirming show that paints a grim picture of London yet leaves you with a spring in your step, the world a whole lot brighter for the experience. Musical theatre at its best.

Gary Naylor sees another wonderful version of a most famous opera done in a way that is accessible for all yet pleases the aficionados too. A fine swansong to a venue that has provided a home for OperaUpClose for four years.

Gary Naylor sees a version of one of Shakespeare's more difficult plays set in the violent world of London's East End of the 1960s, but one with plenty of laughs too.

Gary Naylor sees the first ever drama production to be hosted by the Saatchi Gallery, Proud Haddock's smart Julius Caesar, set in the present day - and powerfully so.

Gary Naylor sees a fine cabaret that jumps in and out of French and English language songs before finishing with a classic in any language. You'll regret it if you miss it!

Gary Naylor sees two beautifully written, splendidly acted timeless plays that say as much about England today as they did in the 1980s. Funny, clever and relevant - what more can one ask?

What does a kid roughly the same age as Billy think about Billy Elliot The Musical? Linus Boselius gives his view of the show right here.

Gary Naylor sees his first Billy Elliot and marvels at a tremendous central performance while wondering if the show is just a little too manipulative for his tastes.

Gary Naylor sees a play that remains as relevant today as on its Broadway premiere seven years ago: one that scores high on talk but, inevitably, low on solutions.

Gary Naylor enjoys a stage adaptation of a Radio 4 sitcom set in an old record shop in Handsworth, Birmingham, populated by a family falling out and making up the way families do.

Gary Naylor sees a remarkable production of a classic musical, one that brings the audience right into Sweeney's shop for a shave almost too close for comfort.

Gary Naylor sees a brilliant new play about new media's impact on traditional news values and on the men and women caught at the sharp end of an industry hurtling ever more quickly towards an ever more uncertain future.

Gary Naylor sees a company brimming with talent and anger deliver a crushing critique of capitalism through dynamic, demanding drama - and plenty of well-placed sweary bits.

Gary Naylor sees a show that makes up for its lack of any real story with energy, spectacle and a real connection with an audience who went off into the London night dreaming of Rio.

Gary Naylor sees a twentieth anniversary production of a play that caused outrage in the mid-90s but feels overly familiar and overtaken by events in the mid-teens.

Gary Naylor sees a bold and ambitious, and demanding, production of Brecht's classic anti-war play set in the unique and spectacular grounds of the Royal Arsenal, Woolwich.

Gary Naylor sees a musical that captures the charm of its inspiration, A Midsummer Night's Dream, but is slightly let down by inconsistent singing.

Gary Naylor sees an old-fashioned crowdpleaser of a musical, stuffed with the clever, catchy songs of all-time Broadway great Irving Berlin. There is indeed no business like show business.

Gary Naylor sees a magnificently realised black comedy from debutant playwright Chris Urch, one that heralds a major new writer for the English stage.