Gary Naylor - Page 51

Gary Naylor enjoys an unorthodox version of one of British Theatre's most performed shows - and finds it as modern and majorly entertaining as ever!

Gary Naylor sees a debut musical that has great songs and an important message, but needs to get more from its cast in order to reach its potential.

Gary Naylor sees a scary, shocking, sordid evocation of a murder now 90 years in the past, but still capable of making one stop and think about whether we're really all that different from the psychopaths portrayed.

Gary Naylor enjoys a funny, and very scary, play that imagines just what may have happened to see off Margaret Thatcher, one of two politicians to win a secure majority in a UK election in the last 45 years.

Gary Naylor talks to Sasha Regan ahead of the UK Tour of her All Male Pirates of Penzance. He learns that some people find that casting unusual, but soon settle into a unique experience.

Gary Naylor sees a musical adaptation of one of the icons of British 20th-century tabloid media, Viv Nicholson, who won the pools, lost a husband (or five) and gained the wisdom of late middle age - and survived.

Gary Naylor sees a claustrophobic examination of personalities on the edge of cracking, incapable of occupying the same space, yet lost without each other.

Gary Naylor sees a 25th Anniversary Show of a classic musical that, even after all those performances, still has the feel of a first draft in need of a tidying-up.

The Demon Barber is back! With the seal approval of the highest authority in musical theatre, Tooting Arts Club have transported their pie shop from SW17 to W1 to recreate one of 2014's smash hits.

Gary Naylor is left awed by the performances, the spectacle and the sensory overload of the penultimate show in the New York Met's season of operas broadcast to cinemas around the world.

Gary Naylor sees a fierce condemnation of the multi-faceted situation that led to 34 men, many of them teenagers, losing their lives on a mountain pass between Turkey and Iraq.

Gary Naylor sees a tremendously impassioned production of Puccini's masterpiece, its power given full rein by musicians and singers who can fill a large theatre with this magical opera.

Gary Naylor sees a rare revival of one of Gaetano Donizetti's many works and finds it lovely to listen to and as packed with emotion as one has come to expect from Italian opera.

Gary Naylor sees a show that goes straight to the crowdpleasing mega-hits dispensing with any plot and lets the songs stand, magnificently, on their own two feet.

Gary Naylor sees a ballet version of Romeo and Juliet that builds the story through scenes drawing on a wide range of music and dance.

Gary Naylor enjoys an extraordinary evening of vignettes by ultra-talented dancers that underlines, again, that balance, grace and technique lie at the heart of what pleases the eye in any physical endeavour.

Gary Naylor sees a reminder of the persistence of the brutality of war sung wonderfully well with the power of an orchestra in the pit and a libretto that does not flinch in the face of horror.

Gary Naylor sees a show full of great songs and strong performances and the professional debut of Liberty Buckland - a name to remember.

Gary Naylor sees a show that isn't quite stand-up, but isn't quite experimental theatre either, delivered by an 80s and 90s icon who is channeling his energies into a call to action.

Gary Naylor sees a Romeo and Juliet that boldly goes into territory often left dormant by more orthodox directorial decisions.