Geoffrey Rush and Susan Sarandon gave absolutely fierce performances on Friday in Neil Armfield’s revival of Ionesco’s rarely-performed absurdist classic. I’ll reserve the bulk of my commentary for a later, longer piece, but I must say that I can’t remember the last time my emotional response to a work swung so sharply — and more over, so genuinely — from delight to depression, wild laughter to aching tears (Incidentally, am I the only one who is all but certain that Rush modeled his King Berenger on Keith Richards’s tweaked-out mannerisms?)
+ Sorry, Your Highness, but You’re So Over (NYT)
+ Re-enter Ionesco: Broadway Awaits (NYT)
Image courtesy the Times
