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
"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,
"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
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.