Gary Naylor - Page 16

Shakespeare in Italy's debut production clarifies and amplifies the wonderful, if problematic, play

Lin-Manuel Miranda brings Jonathan Larson (winningly played by Andrew Garfield) to the screen as he tries to get his first musical produced against the backdrop of New York's AIDS pandemic

Gentle rom-com that breaks no new ground but is easy on the eye and ear and has its fair share of laughs and 'ahhsss'.

The classic play has all the set-pieces and much imitated dialogue in a revival that also underlines the persistence of the anxieties and neuroses it exposes.

Super songs from Jack Terroni rescue a play with music in which dramatic potential takes a back seat to didactic proselytising

Sydney seen through the eyes of a fracturing family over 40 years introduces many of the issues faced by post-industrial cities, but this play doesn't really explore them in any depth.

The Northern Comedy Theatre's madcap mash-up hits more than it misses with laughs broad and subtle.

A strange decision to return to a novel very much of its time and place appears even stranger after seeing the show.

The stage version of the successful comedy podcast flounders on the transition from the everyday to the absurd

Not for the purists but beautiful to behold, this Pinafore updates the humour while respecting the music.

Igor Memic's Papatango Award winner introduces us to four compelling characters and reminds us of the brutality of war

Richard Norton-Taylor and Nicholas Kent have fashioned a play from statements at the Grenfell Inquiry that leads a horrified audience to specific and more general conclusions and the siren call that 'this must never happen again'.

This new play raises interesting questions about father-son relationships in a world in which middle-aged men can struggle to find a role, but its lack of detail prevents its potential being realised fully

Marek Horn's blistering satire hits plenty of marks as he gets a tune out of a fine cast obsessing about tuna

Francesca Annis is in show-stealing form in Chekhov's masterpiece of changing times in a Windsor I last saw on television coverage of Harry and Meghan's wedding - appropriately enough.

Saoirse Ronan provides a much needed opportunity to listen and learn from Shakespeare's tale of ambition's dangers amidst much wailing and gnashing of teeth

This Swedish satire on loneliness in the city hits its marks but is undermined a little by the method of its creation

Archie Maddocks' new play treads some familiar ground, but updates it for the 21st century, as identities are forged and fractured in the contested spaces of gentrifying London.

Irrational Theatre resurrect a long neglected work from the early days of the celebrated composer and find plenty of parallels with 20th century comedy and 21st century politics.

Ambitious and never less than interesting, the 90 minutes all-through running time turns already gruesome material into a tougher watch that it need be.