Gary Naylor - Page 2

Paul Ruder's opera, based on Margaret Atwood's celebrated novel, has, frighteningly, gained more relevance since its premiere in 2000

Aaron Kilercioglu's play may, or may not, be an allegory for Turkey's changing state in a changing world

Loretta Monaco's play introduces interesting ideas, but lacks the characterisation and dialogue required to build convincing and engaging characters

Dina Ibrahim's play is important and heartfelt, but never establishes a tight grip on the audience's emotions

25 years on, Strut & Fret revive and update their backstage comedy to winning effect

Keith Allen and Mica Paris lead a tremendous cast in a musical that deserves a bigger stage

Michael Hastings' debut play is both of its time and anchored in an adolescent scream for stability and meaning

Lee Mack and Frances Barber lead a fine cast in Steven Moffat's comedy, sailing back into the West End for a limited run

Some highlights of the last year and some optimism for an uncertain future

Luke Adamson's backstage tale proves both a celebration of the joy of seasonal theatre and a condemnation of the loneliness it can bring

Wonderfully warm show by the soi-disant 'Pod-Gods' taps into a desire for a gentler, more considerate politics

Ten questions for The Artful Dodger's boss

Five opera singers are holding out for a hero

The joy springs from stage to stalls and back again in a wondrous update on Pinocchio

Family show retains enough edge to honour its sources, providing thrills and spectacle and that wonderful, wonderful score

Ada tells the story of the neglected pioneer of computing and, if you look a little, also the story of a foundation stone of English Theatre

21st century language and sensibility ensures that Shakespeare's most dated plot fizzes with new energy and relevance

Carey Mulligan impresses in a movie not so much ill-focused as misfocused

Sensational staging and great music sung with such passion, but are changing mores transforming how we see the sad clown and his wicked revenge?

One of the great 20th century plays staged by one of London's great 21st century directors, but the alchemy doesn't quite create theatrical gold