Gary Naylor - Page 3

Empowering musical still has work to be done, but demonstrates its potential to captivate an audience

Paula Paz's unique staging of Lorca's brief but compelling play finds plenty in its text and invites the audience to find even more.

A play about a play that never emerges, gives a platform that reveals potential, but does not go far enough in exploring the talents on stage

Up and down show about the annual cheese-chase in Gloucestershire as a metaphor for seizing control of one's destiny

Robert Bathurst holds fort with tale after tale in the pub from which most of them started and a few finished

Post-lockdown, Murakami's themes of emotional and sexual isolation resonate all the more in a world of increasingly technologically mediated relationships

A unique production from a unique playwright / director has its faults, but far outweighs them with its warm truths and redemptive conclusion

Joakim Daun’s new play, made with extensive migrant input, is an often funny, sometimes heartrending tale of adjusting to changing circumstances born of tragedy and fear

It may be old enough to collect its state pension, but this classic play still has much to say about life as it's lived today

Two-hander comedy feels a little underpowered, but gathers its fair share of laughs while making valuable points on both sides of the argument

Marianela Nuñez and Vadim Muntagirov sizzle in a crowdpleasing revival of the Royal Ballet's 2013 production

Did they do it? It's a 50/50 and you decide. And you have a lot of fun getting there too.

Liparit Avetsiyan lends emotional weight to an opera that veers a little too close to pantomime on occasion

Sondra Radvanovsky, Brian Jagde and Etienne Dupuis lead a wonderful cast and orchestra in a near-overwhelming production that fully justifies its four hours running time

Anne Rabbitt plays the British movie star who burned out too soon in the cauldron of Hollywood's casting couch environment of the 60s.

The thrill of operatic voices singing up close and personal in a radical re-interpretation of an opera ripe for bringing into the 21st century

Hannah Kumari's warm, funny and ultimately disquieting monologue tells the story of a girl who doesn't fit into other people's idea of boxes, but becomes a lifelong fan of Coventry City

Beautiful production that expands on its source material but adds confusion as a result.

Beautifully sung South American opera flawed a little by its overpowering religious messaging.

Boutique opera now 72 years old but could have been written yesterday in terms of its music, its themes and its relevance, performed with verve and confidence