in 'Sweet Bird of Youth'
To watch this lady in action is to appreciate
how a legend was built. Here is an actress not living on past
celluloid memories...rather adapting to the stage by being unafraid
of playing 'big', and by bringing to it the great quality of presence.
She is quite magnificent.
Mike Allen on Plymouth Sound Radio
"Mr. Pinter's production walks a sure path
between exaggeration and meticulousness. His concern with what
the players do with their hands gives us unexpected delights:
Boss Finley just restraining himself from seizing his dazed daughter
by the throat; Tom Junior clenching and relaxing his menacing
right hand in his confrontation with Chance Wayne; Miss Bacall
herself striking grand actressy attitudes which lead the eye always
to the tips of her elegant fingers."
Martin Cropper, The Times, 10 July 1985.
"Harold Pinter's humane and questing production
for the most part constrains the play's indulgences while being
unafraid of its emotion."
Ros Asquith, The Observer, 14 July 1985.
"Pinter's production gets full value out
of a play that is simultaneously East Lynne for the intellectual
classes and a tribute to the dignity of defeat."
Michael Billington, The Guardian, 11 July
"Harold Pinter's direction discovers its
latent humour and often highlights his author's placing of devastating
John Barber, The Daily Telegraph, 11 July
"Pinter also realised that the ultimate castration
of the gigolo-hero by a Southern redneck's bully boys was not
just a piece of overheated melodrama; it was a symbol of Williams's
hatred of the Fascist instinct in American life."
Michael Billington, The Life and Work of Harold
Pinter, London: Faber and Faber, 1996, pp.302-3
"Pinter makes good his admiration by making
full value to Boss Finley's sidekicks as threatening, shadowy
thugs we have seen in The Birthday Party or No Man's
Michael Coveney, The Financial Times,
10 July 1985.