It’s a gruelling piece to perform, but Dwan, pregnant beneath her skirt of earth, is in her element, at once hypnotic and human.
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Trevor Nunn’s beautiful, deeply considered 60th-anniversary production offers a shock to the system in new and unforeseen ways.
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Nunn's production: tempered yet unambitious, is about as faithful a replication of Beckett's intentions as one would hope for.
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Whatever the reason, this is the most powerful Happy Days I’ve experienced in multiple encounters with this play, dating back to the great Irene Worth at New York’s Public Theater back in the day.
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Lisa Dwan, a formidable interpreter of Beckett’s work, has the audience spellbound in this 60th-anniversary production.
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Dwan, the leading interpreter of Beckett’s work today, treats the limitation as an inspiration, giving a performance of immensely rich texture both physically and verbally.
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[Lisa Dwan gives] an impressive, occasionally overly broad performance.
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Dwan’s performance is compelling, but there is the sense that there is a weightier, more potent Winnie lying further down, deep within her.
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