“Ultimately, it feels like a missed opportunity on many levels. The disquieting presence of the Primes when they're not being used is left unmentioned, leading to a lack of atmosphere. The flops of Marjorie's cultural references are the only indication of a vague time setting, but they just act as lighthearted comedy. Dromgoole can thank his cast: they're the ones who make the show.”
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“This borderline abstract play is very well served by its cast. Freeshman’s physicality impresses as the closest of the Primes to a robot, and his unusual relationship with Reid’s skillfully rounded Marjorie provides the early heart of the play.”
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“I mean it as a compliment to ‘Marjorie Prime’ to point out that the questions it poses change dramatically along the way. You start by asking how it might be possible to re-boot life, only to realise that the play’s fuller engagement is with the unnerving half-smiles that signal the play’s acquaintanceship with the unknowable landscape that lies beyond death.”
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“Thought-provoking and full of ideas, but it’s lacking in heart and Dromgoole’s austere production doesn’t exactly help the medicine go down. If this is the future, it’s a cold place.”
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“It’s a satisfyingly understated and well-played evening, albeit a rather cheerless one. I’d recommend it but would also advise an upgrade next time.”
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“ ‘Marjorie Prime’ offers stimulating ideas and some great acting, but it’s not a great play.”
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“It’s a satisfying 80 minutes at the theatre with a more abstract final scene that gestures to a more chilling potential vision of the future, one where humans could be squeezed of their stories and then discarded, like used tubes of toothpaste. It’s a welcome note of terror in a play that often feels too cosy.”
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“What Harrison has given us is a thought-provoking miniature that doesn’t quite generate the dramatic tension you hope for...The power of Dominic Dromgoole’s sleek production lies in the quality of the performances.”
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