Gary Naylor - Page 60

Gary Naylor sees a revival of the show that made the company's name.

Susie McKenna bites the bullet and gives a Puss in Boots that stays loyal to its complicated French story but still incorporates all the traditions of its madcap English format. It's a packed show, coming in at just over two and a half hours - fortunately the pace doesn't let up and the audience goes home well entertained having had their money's worth.

Gary Naylor enjoys a revival of an Ayckbourn Christmas play rather more than he did the first time he saw it.

Gary Naylor sees a show long on entertainment if a little short on plot

Gary Naylor sees another traditional panto at one of London's great panto theatres.

Robert Chevara explains why Joseph Strauss II's 'Three glasses of good champagne' is the ideal Christmas show

Chickenshed prepare to celebrate 40 years with a revival of an old favourite.

Gary Naylor sees a panto that lives up, or down, to its title.

Gary Naylor sees a modern classic - perhaps the first modern classic

Gary Naylor sees an engaging show about sibling rivalry - and love.

Gary Naylor sees a brilliantly realised homage to an immortal woman.

Gary Naylor sees a funny and poignant play about love, intimacy and electricity.

Gary Naylor sees a convincing recreation of Britain's favourite double act

Chickenshed launches its 40th Anniversary celebrations with The Night Before Christmas.

Gary Naylor sees a scaled down version of Verdi's classic that captures the soul of the story.

There was plenty of stardust scattered about in the foyer at the opening of the new, magnificently appointed Andrew Lloyd Webber Foundation Theatre at Chiswick's Arts Educational Schools, Chiswick. There's TV's Claire Balding. And there's multi-award winning actor Robert Lindsay. And there's theatrical grandee Trevor Nunn. And, of course, the Lord himself. But if we began the evening star-spotting amongst the already famous, we finished it spotting those who will be famous.

Gary Naylor finds that hell does indeed hath no fury like a woman scorned.

Like a bad night in Sauciehall Street, Jon Gun Thor's version of Macbeth is packed with scheming, macho violence and blood. Well, it is The Scottish Play after all. Pared back to 90 minutes and with a cast of six, many playing multiple roles, there's so much brawling and calling out that it sometimes feels like the a medieval Wrestlemania

Gary Naylor sees a version of a classic that's never, well, hardly ever, been done before.

Towards the end of Keeler (at the Charing Cross Theatre until 14th December) old newspaper photos flash on the big screen behind the stage and it all becomes clear.