590 stories by "Gary Naylor"
Seventeen captures a cathartic moment in young people's lives - the last day at school - but does not reach its potential due to a largely lacklustre script.
Limehouse focuses on the events concerning the founding of the Social Democratic Party the SDP and the drafting of the Limehouse Declaration that led to it. Many, many parallels with today's…
Daniel and Laura Curtis showcase their current album, Overture, and give us a glimpse or two of emerging work, the songs belted out by A list West End performers.
Wisdom of a Fool resurrects the much loved Norman Wisdom in Jack Lane's respectful and entertaining show that charts his rags-to-riches story.
Handbagged imagines what was said by Mrs Thatcher and The Queen in their weekly meetings to hilarious effect in Moira Buffini's award-winning satire.
Three short plays introduce the writing of BS Johnson, a revered man of English letters whose influence resonates through the last 50 years.
Cult
Ionesco's absurd theatre brought to life in a handsome production that is full of wit and humour, but never loses its avant garde character.
Swifties examines the obsessive nature of fandom, as dress-up and role play turns into something much more sinister in this reinvention of Jean Genet's The Maids.
Hamlet anew in this technology infused but oh so human production of Shakespeare's great tragedy in which Andrew Scott gives us a warm, flawed, and eventually mad Prince.
Gary Naylor sees an energetic, loud and often charming tale of love in a wartime POW Camp.
The Cherry Orchard retains its power to reach across decades and tell us harsh truths about a changing world.
The Sorrows of Satan delights from beginning to end, packing in witty songs, wonderful performances and a laughs per minute ratio as high as any in the West End.
The Wild Party is plenty wild enough, but its overly ambitious book and parade of cookie-cutter characters means that it never lands a knockout punch - or song.
Has theatre come to terms with 21st century women Or are female characters too frequently there to help the men drive the plot from curtain to curtain
Max Gill's clever adaptation of this classic play brings it right up to date, into the world of Tinder and Grindr and fluid sexual identities.
Ventoux captures two very different men going mano a mano against each other, against the Tour de France's most fearsome mountain and, ultimately, against history's insistence that they pay …
Intense and focused, this adaptation of Dostoyevsky's celebrated novel ratchets up the tension without losing the material's intellectual heft.
Anyone Can Whistle is a rare combination of a well-deserved flop and a must-see show. Swallow the myriad flaws, and its an entertaining, sharp and eerily prophetic show.
The show has bags of potential, passion to burn and excellent singing, but is let down by a pedestrian book and sprawling subplots.
This one-off cinema presentation is a great way to see Newsies The Broadway Musical and get a feel for what it's like to be in a big New York audience.
Run The Beast Down creates a world collapsing psychologically and socially as the foxes, real and metaphorical, close in on Charlie.
Contemporary and hard-hitting, Alex MacKeith's debut, School Play, doesn't quite add up to the some of its parts.
Gary Naylor traces five years in which a show playing to 32 customers in a rundown shop on a back street in distant district of South London made it first to the West End and now to New York.
Impressively designed in a wonderful space, Theatre Lab Company's Salome isn't quite compelling enough as entertainment nor thought-provoking enough as polemic.
