“The last time director Robert Icke and Juliet Stevenson collaborated, it was on Mary Stuart at the Almeida. That play was a storming success and went on to the West End. Audiences went in with high expectations that were not disappointed. This challenging and intelligent examination of religion, race, gender and class has been very well received. You might be able to pick up a returned ticket for the Almeida run but you may be better served booking for the West End run.”
“You should think of booking ahead for Robert Icke’s free adaptation of Arthur Schnitzler’s 1912 play, Professor Bernhardi, because there is nothing that Icke has done at this address that hasn’t been class. This is his final show before he goes off to direct a string of productions in Europe. Add to that a terrific cast lead by Juliet Stevenson and Ria Zmitrowicz and you can see why this Almeida swansong is likely to be as hot ticket.”
(noun) one who mends or repairs; in popular current use, applied to any medical practitioner. Also a traditional healer or diviner.
(verb) to treat so as to alter the appearance or character of; to falsify, tamper with, disguise.
Almeida Associate Director Robert Icke and Juliet Stevenson reunite at the Almeida for their third collaboration, following Mary Stuart and Hamlet.
The cast also includes Ria Zmitrowicz who returns to the Almeida following Dance Nation and Three Sisters. Further casting to be announced.
Juliet Stevenson is brilliant in an ethical debate that is both thrilling and challenging
The Arts Desk
Intense, challenging swansong for Almeida's Robert Icke starring spellbinding Juliet Stevenson
Juliet Stevenson is fantastic in Robert Icke’s brutal depiction of a modern-day witch hunt
An astonishing, gripping evening
Robert Icke offers brilliant diagnosis of modern ills
Juliet Stevenson triumphs in this swansong from Britain's best director
Juliet Stevenson is magnificent in provocative, wonderfully upsetting production
A magnificent performance from Juliet Stevenson
Juliet Stevenson is devastatingly good in Robert Icke’s intense but flawed final play for the Almeida
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