Gary Naylor - Page 41

Gary Naylor sees a play that builds atmosphere rather than narrative and now feels of its time - 33 years ago

Gary Naylor sees a revival of a show that deserves, and gets, the full 'Big Musical' production treatment.

Gary Naylor sees a showbiz monument and finds that it's still as entertaining and as relevant as ever.

Gary Naylor sees an ambitious production that runs parallel storylines but doesn't solve the considerable problems so caused.

Gary Naylor sees a lovely show packed with great songs and imaginative staging.

Gary Naylor sees an enthusiastic revival of Moby Dick The Musical that rather loses the wind from its sails in the second half.

Gary Naylor sees a magnificently realised revival of a show that has never been more relevant since the novel was published in 1975.

Gary Naylor sees a play from Europe that can't quite decide what it wants to be but raises interesting questions all the same.

Gary Naylor sees an opera dating from its earliest period that brims with emotional energy, if a lacking a little in 21st century pace.

Gary Naylor sees a spectacular and thought-provoking revival of Cavalli's 17th century opera of gods, myths and mortals.

Gary Naylor sees a well performed and funny satire on Donald Trump that struggles to be more outrageous than the real thing.

Gary Naylor sees a relationship swell and suffer over 20 years in two plays lit up by linguistic excess.

Gary Naylor sees a brilliantly realised updating of Handel's Xerxes set in the Battle of Britain and featuring an astonishing countertenor voice.

Gary Naylor sees Southend pitch up in Southwark as Tramp Theatre revive a Tennessee Williams slice of life on the margin.

Gary Naylor sees a show that bristles with wit, warmth and wonderful songs and speaks directly to Londoners in 2016.

Gary Naylor sees an award-winning musical that provides few catchy tunes, but revels in a marriage of music and vocals that lays feelings bare and says much about life today.

Gary Naylor sees a play that wears its heart on its sleeve, but suffers as a result of ill-conceived staging and characterisation.

Gary Naylor sees a remarkable tour-de-force that produces the definitive version of a tricky but utterly compelling piece of musical theatre.

The Libertine makes a return to the London after adaptations for screen and stage, but fails to go out in a blaze of glory

Gary Naylor sees a musical packed with agreeable songs but short on characterisation, charm and credibility.