"I’ve always believed very, very strongly that the way you treat people is more important than anything, professionally or otherwise." - "I had the time of my life. It's a wonderful lesson that if you do the things you love, that's the way to go."
Oh, it must have been a fantastic night! They look happy - I love the curtain call pics! I hope the audience was clapping until the palms got red! Rufus was just gorgeous, wasn't he? All photos prove this!! Even watermarks can't ruin my joy. Thanks for posting the pics! #8 is my favourite. Or #2 with the happy girls. No. #10 with that cute smile!! #21 The "No, it wasn't me who made Kristin laugh." pic ;D Oh, every pic is my favourite.
Thanks for the article, Barbicanbelle! Nice one. I hope all critics are looking for beautiful words. (You don't need to be biased, just praise Rufus, okay?) I know Barbicanbelle quoted the Guardian article, but I think an extended quote can't hurt. "The chemistry changes, however, according to who plays what. Scott Thomas's Anna is cool, classy and ironically mocking in her disdain for Deeley; and that makes all the more shocking the way she in turn is destroyed by Williams's tough-as-nails, quietly acerbic Kate with the withering line "I remember you dead". But, while this is the more obviously dramatic combination, I found the reverse pairing even more hypnotic. Williams's Anna is earthy, gossipy, a bit brassy: a figure whom you can easily imagine haunting louche London pubs in the 1950s and whose claims on Kate depend on memories of a shared, rackety past. Meanwhile, Scott Thomas's Kate curls up on the sofa looking as inscrutable as a Siamese cat until she at last puts out a devastating claw. You could argue that the dual casting proves Anna and Kate are two sides of the same person: I think that limits Pinter's idea that what we are watching is a ferocious contest for possession of an individual soul.
If Scott Thomas proceeds by stealth and Williams by frontal assault, both are superb and offer the subtlest variations on single lines. But one thing is common to both versions: the total demolition of Deeley's sense of security. And Sewell charts that excellently by starting the play on a note of Coward-like insouciance: even the way he tiptoes over to the brandy bottle, as if being slightly naughty, suggests he takes Anna's visit lightly. What starts as a game turns into a threat to his manhood and when Sewell hisses, through gritted teeth, that the question of Kate's passion "is my province", you know that he is losing the fight. Although Sewell sounds vocally stretched during the exchanges of 1930s popular song, he captures every phase of Deeley's downfall in the minutest detail."