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The Wall Street Journal has a great feature story raving about The Importance of Being Earnest, saying it alone is worth a trip to Stratford. Teachout has positive notes about Three Sisters and adds that Colm Feore’s performance in Macbeth “leaves no doubt that he’s one of the finest classical actors around.”
Read Full ReviewA feature story, scroll down to: “[Feore’s] performances couldn’t be more different. His proboscis-enhanced Cyrano is overtly demonstrative, at least when it comes to swordplay and wordplay; his Macbeth more resolutely introspective. And it’s Cyrano who wins by more than a nose. (Sorry.)”
Read Full ReviewA short radio interview with Connie covering the town, and touching on three shows.
Read Full ReviewA very thoughtful piece, it’s an example of how online reviews need not be constrained by editorial space or time. ” …this is a production worth seeing – for Colm Feore and Yanna McIntosh first and foremost.”
Read Full Review” …taut, thoroughly fresh “Macbeth” is a poetic and theatrical triumph…What makes this “Macbeth” so compelling is the director’s respect for Shakespeare’s words, for the way the words illuminate and explain the characters, for the gunpowder contained in the poetry.”
Read Full Review“McAnuff falls back on modern technology, throwing everything he can find at the stage, just to see what might stick.”
Read Full Review“His [Feore’s] real ace is his command, both technical and intellectual, of the text. He continually comes up with surprising new readings that turn out to be absolutely valid. He acts the language… fully displayed here by only two other actors: Geraint Wyn-Davies, the suavest Duncan I’ve ever seen, and Tom Rooney.”
Read Full Review“…fine supporting performances elsewhere in this Scottish/African power struggle. As King Duncan, Geraint Wyn Davies – who was a formidable Polonius in Hamlet last year – once again creates a gull you are sorry to see culled. As Malcolm, Duncan’s son, Gareth Potter has power, charisma and a firm grasp of the text…”
Read Full Review“…in the end, despite a potentially great cast, a lot of technical fireworks and an interesting setting (colonial Africa in the 1960s), this Macbeth commits the most unpardonable sin of all: not murder, but dullness.”
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