Gary Naylor - Page 7

Eddie Izzard's Broadway smash comes to the West End to capture the hearts and minds of a new audience

Good performances illuminate a show that a bold new production tackles with confidence, if not complete success

Entertaining from first to last, this less well-known play sparkles for three hours and finishes with a heartfelt plea for harmony

Martin Blackburn's comedy starts like a whirlwind but can't quite sustain its promise

Crowdpleasing production based on the printing of Shakespeare's plays (harder than you think!) makes for a diverting and pleasant couple of hours in the theatre

The longtime secret story of the double-life of one of Italy's favourite sons is brought to the stage in a bold new musical

Ryan Calais Cameron follows up the runaway success of For Black Boys... with a very different play that goes to the weighing of principles and pragmatism in a dysfunctional society

An 18th century insurance case inspired one black man to tell the world of the horrors of the slave trade and, more than two hundred years later, another to do the same thing

Josie Rourke's new production has much about it to admire, but has little to say on the changes in Ireland since the play's first incarnation on the South Bank in 1990

Striking Irish shopworkers become unlikely (and problematic) heroes in a crowd-pleasing dramedy

Fine performances and a good helping of laughs, but the violence throws a wet blanket over the fun

Touring production of play that explicitly warns of the dangers of politics as practised today loses focus by adopting a curious set of priorities

A necessary play that is as entertaining as it is moving

Tony Britten's play is funny and moving if, at times, tricky to follow

Another extraordinary Spring show has completed its run but leaves a legacy of lives changed on both sides of the fourth wall

Existential questions abound in world premiere of a musical that does not make the fur fly

Taut and razor-sharp verbatim adaptation of a famous debate from the 60s is entertaining and enlightening

Richard Vergette's one-man play is never less than engaging, but one wonders why here and why now?

Flabbergast Theatre take a bold approach to a familiar play and hit and miss along the way

As perfectly realised a revival as one could ever hope to see, full honour paid to both the incomparable source material and the times in which we live now