Gary Naylor - Page 9

A very young cast perform a new musical that needs work but has as good a chance as any if it gets the expertise and time in requires

Not an easy play to watch, but a fascinating analysis of some of humanity's darker corners

Important plays that make demands on the audience, but also demand to be seen.

The Charles Court Opera company team up with Opera Holland Park in a co-production that that is just what we need right now

A play that reminds us of theatre's power to entertain us, to affect us and, one hopes, to stir us to action

Grimeborn delivers another little gem with this pared back version of a somewhat obscure Spanish zarzuela

Whether we need another wartime tale of very decent Allied blokes escaping not at all decent Nazi blokes, isn't really answered in this new take on The Great Escape's inspiration.

Crazy show that might become a cultish success, but currently just looks misconceived and misplaced

Bold programming pays off with an opera that has its demands but offers rewards in equal measure

Jean Paul Gaultier deploys dance, music and video to tell the tale of a life that laughed at convention but had hard work, technical mastery and a generosity of spirit at its heart

John Heffernan and Katherine Parkinson lead a superb cast in a brilliant realisation of director, Simon Goodwin's, conceptualisation of Shakespeare's comedy.

Charles Dickens' novels are filled to the brim with characters who capture different elements of the human condition - evil and good and, crucially, plenty in-between. Perhaps the most fascinating of them all - at least she was to me when first I read Great Expectations in my mid-20s - is Estella, Pip's paramour who isn't, Miss Havisham's instrument of revenge on men and the high maintenance, intelligent, beautiful woman a certain kind of man is always going to fall for.

A splendid central performance illuminates a play full of humour that also smuggles in deeper considerations on the character of art in a changing world

Russell Thomas, Christopher Maltman and Hrachuhi Bassénz excel in an emotional and relevant production of Verdi's adaptation of Shakespeare's masterful study of jealousy, ruthlessness and much more.

The infamous Count explains his history to his prisoner and expands on his hatred of the British Empire

Gregory Doran brings the RSC's decade long History cycle to its conclusion with a worthy, if wordy, Richard III

Tom Ratcliffe's new play sets up some very interesting relationships in a fascinating environment, but doesn't solve the structural problems that arise as a consequence

Two splendid plays, performed with skill and verve, at the National Theatre's Connections Festival

Early staging of a song cycle that is a delight from start to finish - and can only get better still!

Funny, frightening and thought-provoking, The Southbury Child cannot quite keep all its plates spinning, but is bold in its ambition and execution