Gary Naylor - Page 50

Gary Naylor sees a version of a classic that shows plenty of teeth that snarl as well as smile.

Gary Naylor sees a era-ending La Boheme, beamed from Covent Garden around the world - fittingly so for a worldwide cast and a global landmark in opera history.

Gary Naylor sees a play about a father and a son, about two engineers, about the city that we live in today - staged in the most extraordinary of venues.

Gary Naylor sees a marvellous performance of Ruddigore, fast becoming his favourite Gilbert and Sullivan, the magnificent songs given full value.

Gary Naylor sees an execrable play within a very funny play with echoes of The Play That Goes Wrong and even Fawlty Towers.

Gary Naylor sees an adaptation of a celebrated book that lacks the clarity and pace that musical theatre demands, despite plenty of endeavour.

Gary Naylor sees a gender-flipped Taming of the Shrew that would benefit from further focus on its two lead lovers (and fighters).

Gary Naylor sees a comedy drama with an edge as hard as the coal that used to be hewn from the pits beneath the village in which it is set.

Gary Naylor sees an intense drama, performed in the UK for the first time, that shows how imbalances of power can lead to abuse, but also to a kind of cynical deal that benefits those willing to settle.

Gary Naylor sees a man he feels he knows well (through over 60 years of diaries) brought to life in a warm tribute with just enough edge to show that he mattered.

Gary Naylor sees a musical revival that has its flaws but also has two flawless central performances, with acting and singing of the highest quality.

Gary Naylor sees a play that intertwines eight monologues from eight women getting by as best they can in contemporary London.

Gary Naylor sees a musical that has much going for it, but is let down by a predictable script and some uneven singing and acting,

Gary Naylor sees an important work of 20th century drama delivered with great confidence by superstar actors but, ultimately, finds it just a little too bloodless for his tastes.

Gary Naylor sees football brilliantly brought to life on stage in a cautionary tale about what happens when 18-year-old players are handed a professional contract and what happens when they are not.

Gary Naylor sees a wonderfully funny swearfest of a comedy set in the moral cesspit of a newspaper not too dissimilar to one or two in a newsagent near you.

Gary Naylor sees a classy cabaret perfectly staged downstairs in a cafe located in the very heart of London's throbbing West End.

Gary Naylor sees a play set in a private school, packed with drama and distinguished by a tremendous set of performances by young non-professional actors.

Gary Naylor sees a play full of innovation, one that could only have been written in the last year or two - a rare example of truly contemporary theatre staged in 2015.

Gary Naylor sees a visually stunning and powerful version of one of Shakespeare's problem plays, stripped back to its moral dilemmas