"The play it's certain to divide both audiences and critics: its effect ultimately depends on what one looks for. It's only a shadow of the book, but, realistically, this is probably the best adaptation fans and sceptics will get.”
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“What comes out of ‘A Little Life’ is not the excessive trauma and graphic abuse, but rather, how amid these terrors, the characters remain steadfast in their dedication to one another, searching for common ground and belonging even while struggling with trust and intimacy.”
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“...’A Little Life,’ it can change you. Whoever you are as you approach the Harold Pinter Theatre, you’ll leave someone else, having seen and heard things that can never be unseen or unheard...Here, we assure you, there isn’t an ounce of exaggeration.”
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“I can’t help but think ‘A Little Life’ is probably essentially meaningless, a horrible story told for the thrill of telling a horrible story, its nihilism ultimately sophomoric and unserious. Brilliant acting, great direction, but at heart it’s simply an empty vision of despair.”
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“...here’s my content warning: the exposition-heavy script is as overstated as the accompanying string music – a little less of it, in fact a lot less of it, would help.”
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“Yanagihara’s perspective seems to be that abuse messes you up for life, making emotional intimacy almost impossible and suicide the only way out...Real-life suffering is more complex, interspersed with moments of joy, care and healing – and recovery is too precious to give up on.”
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“I felt I had witnessed a terrible, truthful depiction of the ongoing effects of mankind’s capacity for cruelty. I still wondered why I would want to delve so deep, but there is no doubting the production’s power – or the belief and excellence of all the actors.”
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“I still can’t decide if ‘A Little Life’ is a work of great empathy, great voyeurism or some conflation of the two. But it’s been staged here with consummate skill and Norton’s astonishing performance puts him into the top rank.”
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