Hollywood
screen legend faye Dunaway brought her extraordinary talent to
the English stage for the first time last night.....within
minutes of overcoming her first night nerves she was turning
in a display of positively Quixotic power - changing in an
instant from flashing anger to beguiling sexuality.
Daily Express, Rosalie Horner
"Can you imagine the thrill of having
it staged by someone who is at one and the same time a great
playwright, a great director and a great dramaturg with the
finest turn for the English language thrown in [...] I'm
talking about a level of insight, a reading of the text, and a
control of the sensuous realisation of it that is quite
incomparable. Harold has gathered a team and a mis-en-scène
with some of the best people."
Donald Freed to Ossia Trilling, The Stage, 5
June 1986.
"There is something very old about
Harold's work which is the ravishing beauty of it. At the End
of Circe and Bravo, for instance, there is a litany of horror
as all the bombs dropped on mankind are individually named.
Harold created a perfect dialectic between terror and
beauty."
Donald Freed in Michael Billington, The
Life and Work of Harold Pinter, London: Faber and Faber,
1996, p.303.
"Pinter was drawn to Freed's play by
something much more potent: its moral outrage at American
foreign policy and at the growing belief in strategic victory
in a protracted nuclear war"
Michael Billington, The Life and Work of
Harold Pinter, London: Faber and Faber, 1996, p.303.
"By the end we know this woman, and
feel for her [...] Stephen Jenn is marvellous in a part that
demands impassivity for nine-tenths of the play, and Pinter
deserves much credit for both performances."
Mary Harron, The Observer, 8 June
1986.
