Gary Naylor - Page 56

Gary Naylor sees a spectacularly entertaining show in which the laughs and the learning keeps coming and coming and coming - though Cher fans may wish to take a raincheck.

Gary Naylor enjoys an adaptation of a classic that stretches both the running time and the whimsy , but delivers on the spectacle and the humour. Do wrap up warm though!

Gary Naylor sees a play about a person's transition from female to male and how that impacts on her best friend - and himself. Though the context is historical, the lessons are as relevant today as ever.

Gary Naylor sees a warm and witty slice of London life from a young production company that have all the tools to really go places over the next few years.

Gary Naylor sees an ambitious new play that gives plenty of laughs, and a few tears too, but never really escapes from the limitations placed on its four characters, who just aren't quite believable enough.

Gary Naylor sees a beautiful, horrible, fascinating adaptation of Shakespeare's epic poem, a story of chastity and its destruction and of its consequences in shame and revenge.

Gary Naylor sees the West End's Jean Valjean deliver an exhilarating preview of his forthcoming album, High, with plenty of top notch guests to lend more big voices to an already very big voice indeed.

Gary Naylor takes a magnificently entertaining trip through the history of the British Musical, a show brimming with intelligence, wit and great tunes delivered with great skill and warmth.

Gary Naylor sees a revival of Stephen Sondheim's strange 1970s musical about 1850s Japan, production that borrows from a variety of theatrical styles without ever fully establishing its own.

Gary Naylor sees a perfectly realised adaptation of August Strindbeg's Miss Julie, packed with dramatic tension, big ideas and superb acting. If there's a more satisfying 80 minutes anywhere on the London stage today, I'd be surprised.

Gary Naylor sees a open air promenade production that exhausts cast and audience with its relentless spectacle and cruelty - but believes it was all worth it for such a splendid production.

Gary Naylor sees a kitchen sink drama for our times that captures the sense of claustrophobia of Britain's (especially London's) debt culture and the swirling social ills that flow in and around inner city's sink estates.

Gary Naylor sees a piece of dance-theatre that covers the familiar ground of the Depression-era US dancing marathons that cruelly manipulated both competitors and audiences with ruthless cruelty.

Gary Naylor sees a magnificently accessible production of Twelfth Night, brimming with charm, music and laughter, aimed at kids, but suitable - recommended - for everyone!

Gary Naylor has a lot of fun with Fashion Victim, a satire on popular culture with songs, dance, some terrible plotting and some good jokes, but is left wondering if it shouldn't be a lot more.

Gary Naylor sees a long, but rewarding adaptation of Joseph Heller's notoriously unadaptable anti-war novel, Catch 22. Fifty-three years on, its message is still as relevant today as ever.

Gary Naylor sees an evocation of a Seventies superstar in a jukebox musical that delivers all the crowdpleasing moments one could hope for, if ultimately feeling a little light on dramatic tension.

Gary Naylor sees a beautiful but sad cabaret based on the life of Mata Hari the woman shot by the French Army for spying whose short life contained more dramas than a hundred others.

Gary Naylor sees a play overly determined by its length and its extreme loudness, a victim of the ambition of a young company that will come back stronger and wiser for the experience.

Gary Naylor sees a slice of London's Victorian underbelly brought back to life in a play that packs less punch than it might do despite some committed performances and a fascinating set-up.