09 November, 2013


Edward will appear as guest lead in an episode of the forthcoming television adaptation of Jonathan Strange & Mr Norrell, the 2004 debut novel by Susanna Clarke. The story is an ‘alternative history’ set in nineteenth-century England at the time of the Napoleonic Wars and is based on the premise that magic once existed in England and has returned with two men, Gilbert Norrell and Jonathan Strange. Edward will play the part of King George III.

The book was longlisted for the Man Booker, shortlisted for the Whitbread First Novel Award and won a total of six awards, including The Times Best Novel of the Year.

The seven-part TV series is adapted by Peter Harness and directed by Toby Haynes. It will be broadcast next year on BBC One and BBC America.

02 November, 2013


From Michael Coveney’s WhatsOnStage blog, ‘Superb BBC films celebrate the National; so does Edward Petherbridge’, (1st November):
As we all gear up for tomorrow night’s anniversary gala in the Olivier – I count myself lucky and privileged to have a ticket – which is broadcast live on BBC2, there’s just time to acknowledge another important contribution to the literature surrounding the occasion (no sign yet of Daniel Rosenthal’s “authorized” history): a reissue of Edward Petherbridge’s Slim Chances.
Petherbridge’s new sub-title – “NT 50: Personal, Partial, Unofficial” – is a treasure trove of wonderful stories, poems and memories of his time in Olivier’s company, from playing small parts in Othello and Royal Hunt to Ferdinand Gadd in Trelawny of the Wells and Guildenstern in Stoppard’s debut play; and then beyond to his participation in the Hall regime (he ran a company with Ian McKellen) and Trevor Nunn’s.
He’s particularly touching in conveying the downside of being an actor, the odd feeling of being lonely and undervalued in an otherwise happy ensemble, something Michael Blakemore doesn't quite catch in his own wonderful account of five years with Olivier, Stage Blood (Petherbridge had six with Sir).
“No job gave me a stronger sense of desolation, of being nothing” writes Petherbridge, “than standing in the plainest of 17th century garb with Christopher Timothy, on Dutch Courtesan nights, waiting to lay a carpet to give Billie Whitelaw somewhere to lounge.” Who’d be an actor, even at the National?
To read the post in full, click here.

Order a signed copy of this special edition of Slim Chances, complete with bonus 78-minute CD, from Peths Staging Post.

From the book: The Old Vic rehearsal room. Left to right: Gillian Barge, Frank Wylie (seated), Laurence Olivier, Michael Turner (in back), Edward Hardwicke, Margot Cunningham, EP, Kenneth Mackintosh. Photo by Chris Arthur

22 October, 2013


Today marks the National Theatre’s golden anniversary and the official publication of Edward’s NT 50 special edition of Slim Chances, complete with bonus CD. The CD features a feast of extras and surprises.

The book will be available to purchase from Amazon and the NT Bookshop and signed copies are exclusively available from Peth’s Staging Post.

View the trailer here.

In a recent poll conducted by the Telegraph to decide the ten best productions of the National Theatre’s first decade (1963-1973), Rosencrantz and Guildenstern Are Dead (1967) was voted No. 1.

John Stride and EP in Rosencrantz and Guildenstern Are Dead.
Photo by Anthony Crickmay

06 October, 2013


Back cover design

Pre-order your signed copy of the NT 50 special edition of Slim Chances, complete with bonus CD, from Peth’s Staging Post.

The official publication date is 22nd October 2013.

27 September, 2013


Photo by Manuel Harlan

We are delighted to announce the exciting news that Edward has been nominated for Best Performance in a Play for My Perfect Mind in this year’s UK Theatre Awards.

The UK Theatre Awards, established in 1991, recognize stage productions presented throughout England, Scotland, Wales and Northern Ireland.

This year’s awards, presented by the Theatrical Management Association (TMA), will be held at London’s Guildhall on Sunday, 20 October.

See the full list of nominations here.

And a reminder of some of the plaudits Edward received for his performance last spring:

Petherbridge’s mixture of bravado and frailty brings real heart to the enterprise. GUARDIAN

Petherbridge deliver[s] the mad king’s lines with a rare, spellbinding gentleness … My Perfect Mind is a show unlike any other and one that captures Petherbridge’s endearing personality, both as an actor – who can forget his extraordinarily moving Newman Noggs in the RSC’s Nicholas Nickleby? – and as a man. TELEGRAPH

Petherbridge gives a layered performance that combines candour, wit, quizzical vagueness and a dry dignity. His understated yet heartfelt work is essential to the success of this playful and highly unusual piece. EVENING STANDARD

In the guise of Lear, Petherbridge is both fragile and volatile – a great actor feeling at home in a great part. THE STAGE

What came out of all the heartbreak, physiotherapy and intense work Mr Petherbridge had to overcome was this stunning and incredibly beautiful production that in the case with all great works, left the audience laughing with the two actors but also more importantly empathising, a rare treat for any play to deliver in such great quantity. LIVERPOOL SOUND AND VISION

With Paul Hunter. Photo by Manuel Harlan

23 September, 2013


As part of the National theatre’s 50th anniversary celebrations, Edward will be appearing in a ‘National Histories’ Platform on Monday, 7 October 2013 at 6 p.m. in The Shed (the striking temporary studio theatre in the NT’s forecourt).

Joan Plowright, EP and Anna Carteret
Edward will be joined by another veteran of the NT’s Old Vic years, Anna Carteret, with whom he appeared in Natalia Ginzburg’s The Advertisement in 1968.

The Platform’s running time is 45 minutes. Tickets are £4 (Concessions £3). Book online here.

25 August, 2013

QUOTE ... UNQUOTE, 26/08/13

This Bank Holiday Monday at 3pm (BST) on BBC Radio 4, hear the second of Edward’s ‘appearances’ on Quote ... Unquote. The episode will be repeated on Saturday 31 August at 11 p.m. and available on BBC iPlayer for seven days after that.

30 July, 2013


Edward is to feature in two forthcoming episodes of the celebrated and long-running BBC Radio quiz, Quote ... Unquote chaired by Nigel Rees.

The first episode will be broadcast on Radio 4 at 3pm on Monday 5th August. For international listeners it will also be available on BBC iPlayer.

Edward with fellow panellists Viv Groskop, Martin Kemp and David
Schneider, reader Peter Jefferson and chairman Nigel Rees.

22 June, 2013


On Wednesday 19 June, Edward was a guest on BBC Radio 3’s Night Waves to discuss Memory with presenter Philip Dodd, psychologist Giuliana Mazzoni and historical novelist Lawrence Norfolk. The programme was designed to coincide with the opening of a new exhibition at the V&A inspired by Hari Kunzru’s dystopian novella Memory Palace.

Edward talks in part about the experiences recently dramatized in My Perfect Mind and about the ‘musicality’ of memory.

Click here to listen to the discussion. The episode will be available on BBC iPlayer for a year.

11 May, 2013


Listen to an interview Edward and Paul Hunter did for Theatre Voice in which they discuss the conception and nature of the hugely successful My Perfect Mind.

The interview was recorded at the Young Vic on 25 April 2013. It runs forty minutes and can be downloaded in mp3 form from the Theatre Voice website.

16 April, 2013


Listen to a wonderful interview with Edward and his My Perfect Mind co-star Paul Hunter on the BBC World Service programme Outlook. The interview was first broadcast on Monday 15 April and is now available on the BBC website. It begins 27 minutes into the programme.

12 April, 2013


Owing to fantastic reviews in the national media, and by popular demand, My Perfect Mind has been extended another week at the Young Vic. It now closes on Saturday, 4 May. Book tickets here.


‘King Lear is an oak and I’m more of an ash tree, or a silver birch – or privet,’ declares Edward Petherbridge in his silvery, whimsical way. The seventy-six year old actor can smuggle a lot of wry dissidence and bathos through customs with that pit-a-pat mock-distracted, throwaway manner and there's many a fast and delicious aside in My Perfect Mind, a very funny show inspired by a very unfunny real-life setback.

In 2007, Petherbridge, his non-oak status notwithstanding, got to fulfil a long-cherished dream by flying out to Wellington, New Zealand, to begin rehearsals as Shakespeare's mad monarch. Two days into rehearsal, he suffered a stroke that left him partially paralysed and thus ineligible for the production, despite the remarkable fact that he could remember the lines.

Remarkable in a different way is the fact that his mother up in Bradford had a stroke just two days before she gave birth to the future theatrical luminary, veteran of Olivier’s National (where he was the original Guildenstern in Stoppard’s instant classic) and mainstay of the RSC (where he was an indelible Newman Noggs in the Nunn/Caird Nicholas Nickleby).

From the title and the circumstances, you may have thought that My Perfect Mind would be a solo piece in which Petherbridge, now recovered, got his own back on fate, big time, by playing all the roles in the play as Bottom longs to do in the Dream. In fact it's a gently hilarious, intermittently (and understatedly) haunting double-act piece which plays sometimes daft, sometimes pointed variations on the Lear/Fool dynamic and is superbly directed (on a set that has a modish, deliberately inconvenient tilt) by Kathryn Hunter who remarkably has performed both those roles.

Lovely Paul Hunter, from Told by an Idiot, plays a variety of roles from a mad German professor who thinks that Petherbridge is a fraud with Edward Petherbridge Syndrome, to a marigolds-wearing female Romanian Shakespeare Professor who has been reduced to charring for him, to (in an absolutely side-splitting interlude) Laurence Oliver combining the gait of Richard III with the make-up (big brown circle) and words and manner of Othello. The last of these perhaps provides the most fitting occasion for the running gag that aspects of the show are ‘borderline offensive’. And through the luvvie-guying laughter, there is the always the chance of some situation arising that will crystallises a slightly disconcerting connection with Shakespeare’s tragedy and balance the exquisite lightness of the show with a sudden intimation of depth.
Paul Taylor, INDEPENDENT,  9 April 2013

‘And, to deal plainly, I fear I am not in my perfect mind.’ So speaks King Lear towards the end of his monumental journey of self-knowledge that has taken the mad monarch from the highest to the lowest reaches of human experience.

Unsurprisingly, it was an ambition long held and within the grasp of the actor Edward Petherbridge to play Lear, widely regarded as the summit of a classical thespian's career, when, in New Zealand to take on the part in 2007, he was struck down by not one but two strokes.

The miracle is that he is here to tell the tale and, what’s more, to devise – at 76, as he keeps reminding us – such a beguiling, funny, and poignant piece around that fateful day in Wellington. The result allows for a mirroring of sorts of Lear's own painful trajectory while letting Petherbridge seem to improvise and ramble through his past.

A clever sleight of hand, this Drum Theatre Plymouth co-production links the performer with two of our cheekiest, most ingenious and subversive theatrical talents: actor/director Kathryn Hunter, no mean iconoclast herself and one of the few women to have played King Lear, and Told by an Idiot’s Paul Hunter, who plays the Fool, his mum, Laurence Olivier, a char-lady, his childhood dance teacher, a mad brain professor and much else besides.

It works wonders. Name-dropping theatrical anecdotes can, in the wrong hands, feel self-indulgent. That such a situation is avoided here is thanks in part to Paul Hunter’s chameleon, jack-in-the-box persona, never happier than when causing mischief and casting sidelong knowing glances at his audience as if to say ‘you’re not really believing this are you, suckers?’ And, of course, there is Petherbridge himself, stealthily directed by Kathryn Hunter to underline all his distinctive vocal and self-deprecating strengths.

Bradford-born Petherbridge cuts a fine figure. Soft-voiced, elegant, he’s every inch the romantic actor with the profile of a superior gazelle, and as a mainstay of British theatre for over half a century, Petheridge’s CV charts many of its highlights. Chiefly known as a classical actor, having worked with Olivier at the first National Theatre at the Old Vic and been the original Guildenstern in Rosencrantz and Guildenstern Are Dead, Petherbridge all but feeds Tom Stoppard’s brilliant conceit into My Perfect Mind as he and Hunter sit on the side of the precariously tilting stage and chat and gossip like Stoppard’s two conspirators passing the time of day.

This madcap mixture of the seemingly spontaneous and improvised – yes, now and again, he does fluff a line or need a cue from the ever-watchful Hunter – gives My Perfect Mind its special pull, while tantalising excerpts from Lear hint at what we have missed.

That, a certain bravery, and an irreverent modesty. The piece finishes appropriately in understatement, Petherbridge telling another anecdote about his forebears and noting that we all end in ‘primeval sludge’, then a final exit to Morecambe & Wise – absurdism, maybe, but at its sweetest and best.
Carole Woddis, THE ARTS DESK,  10 April 2013

The classical actor Edward Petherbridge was due to play the role of a lifetime, King Lear, when he suffered a stroke two days into rehearsal that left him partially paralysed. Bizarrely, however, he was still able to remember all of his lines. This play was painted as a poignant study into that time in the actor’s life: a celebration of courage in the face of adversity. What unfolds is in fact a tongue-in-cheek, self-effacing series of vignettes on Petherbridge’s entire career, including his longstanding dream to play the part of Lear.

Now fully recovered, Petherbridge makes light of his own theatrical failures alongside his successes. The Fantasticks, a panned musical that only ran for four weeks (‘Six, including previews,’ notes Petherbridge lugubriously) is treated just as comically as Petherbridge’s work with Laurence Olivier at the National, or his RSC accomplishments. The time frame is as skewed as Michael Vale’s stage design, the action veering from childhood to learning lines for Lear at Petherbridge’s home in Hampstead, back to his mother pregnant with him, then to his life post-stroke.

Paul Hunter is the composed Fool to Petherbridge’s Lear, assuming a host of characters with comedic intensity including a Romanian cleaning lady, a lunatic German neuroscientist, a New Zealand taxi driver and a particularly luvvie theatre director, with dodgy accents acknowledged as “borderline offensive”. Hunter is funny but not farcical (although he strays close). Both he and Petherbridge earnestly mock the theatre world, parodying the pretentiousness of actors and directors alike. They do this even as they confidently tick a checklist of theatrical tropes: self-deprecating asides, ineffectual mime, using artificial wind machines and sound effects onstage. They effectively demolish the fourth wall, so frequently are their lines addressed to the audience.

Kathryn Hunter’s direction is light-hearted and clever, showing her as a tour de force on stage and off. The production errs more on the side of comedy than it does an emotional reflection on Petherbridge’s stroke – but that is not a disappointment, only a surprise. Petherbridge is dignified, pleasingly modest despite his illustrious career, and far sharper than he makes himself out to be. Shakespeare’s play is interwoven throughout – so really this is all a grand scheme on the part of Petherbridge to finally speak the lines that he knows so well.
Catherine Bennett, THE UPCOMING, 10 April 2013 

09 April, 2013


A few years ago, that whimsical and touching actor Edward Petherbridge suffered a stroke while rehearsing the title role of King Lear in New Zealand. He was almost unable to move, but could remember every word of Lear’s lines. You might expect this theatrical re-enactment of the trauma to be a misery memoir or a tale of courage in adversity, but it is neither of those things.

Co-written by Petherbridge, his co-star Paul Hunter and the show’s director Kathryn Hunter (who once famously played King Lear herself), this is a show of constant invention and delight.

We get a lot of King Lear, with Petherbridge delivering the mad king’s lines with a rare, spellbinding gentleness, but as the actor himself has said, the show is like watching a masterclass on King Lear under the influence of LSD. Even the stage design is tilted at a crazy angle.

Petherbridge, now 76 and fully recovered, revisits his childhood in Bradford, and delivers entertaining theatrical anecdotes about his time at Olivier’s National Theatre. He even does on-stage paintings of Lear and his daughters that are part Jackson Pollock, part Rolf Harris.

This is also a show about putting on a show, and one that frequently strays into fantasy, with Paul Hunter playing, among many others, a lunatic brain doctor in a terrible wig convinced he is treating the real King Lear, as well as giving touching performances as both Cordelia and Petherbridge’s mother. He also offers some hilarious impersonations of Laurence Olivier.

My Perfect Mind is a show unlike any other and one that captures Petherbridge’s endearing personality, both as an actor – who can forget his extraordinarily moving Newman Noggs in the RSC’s Nicholas Nickleby? – and as a man.
Charles Spencer, TELEGRAPH, 8 April 2013

Photo by Alastair Muir

In 2007, the veteran English actor Edward Petherbridge went to New Zealand, expecting to play King Lear. But within a couple of days of starting rehearsals, he had a stroke and his hopes of tackling this exacting Shakespearean role were dashed — though the lines were all intact in his memory.

My Perfect Mind explores this episode and its implications. It is the work of Told by an Idiot, a company with a gift for inventive physicality. Taking its name from one of Lear’s self-diagnoses, a fearful statement about his crumbling sanity, it mixes tomfoolery and pathos.

Petherbridge blends autobiographical recollections with snatches from his unseen Lear, shaking them around to create an unlikely but juicy cocktail. Paul Hunter plays several characters: among them are Petherbridge’s doctor and mother, as well as Laurence Olivier and a theatre director whose manner put me in mind of Rhys Darby’s hapless fixer Murray Hewitt in Flight of the Conchords. The results are charming, sometimes very funny and occasionally bizarre.

On a sloping set designed by Michael Vale, the two actors evoke a lopsided world. This is obviously an image of Petherbridge’s post-stroke existence but it’s also a vision of the peculiarities of theatre. My Perfect Mind sometimes feels like a critique of stage lore and actors’ arcane practices — from the conventions of the rehearsal room to the limitations of mime — and as such it will probably appeal most to theatre junkies.

Certainly there are moments where the show edges towards being a parody of a high-concept dramatic provocation. Yet it is much more than that, suggesting among other things the way performers are haunted — not just by the achievements of their predecessors but by ghostly intimations of where their own careers might have led.

It’s a celebration of theatre’s special capacity to “stab at the truth” in a way that often seems difficult in real life.

There is a carefully managed chaos in Kathryn Hunter’s production. Paul Hunter treads a fine line between zany charisma and clownish excess.

Meanwhile, Petherbridge gives a layered performance that combines candour, wit, quizzical vagueness and a dry dignity. His understated yet heartfelt work is essential to the success of this playful and highly unusual piece.
Henry Hitching, EVENING STANDARD, 8 April 2013

08 April, 2013


Six years ago Edward Petherbridge flew to New Zealand to play King Lear. But two days into rehearsals a stroke paralysed this fit septuagenarian’s right side. The irony was that, just before his birth, his mother also suffered a stroke and achieved recovery with ferocious determination in defiance of contemporary doctors.

The same determination gripped her son seven decades later and he made a good recovery with — to his surprise — the whole of the Lear text still word perfect. But he was unlikely to get the chance again: his first outing was in an awful fey musical called The Fantasticks, which bombed in 2010. Reviews were lousy, but I remember how he stole the show in an hilarious caricature of an ancient actor “proving that, to portray a terrible old ham, you need a serious, un-hammy old pro".

He struck up a friendship with Paul Hunter during that doomed venture, and they cooked up the idea of a two-man show weaving in the stroke story, some Lear speeches and bits of Petherbridge’s early life in Bradford.

I had expected something affecting, a bit solemn and memento mori, even though Kathryn Hunter, who has rattled the cages by playing Lear herself, is director and co-creator. But add to that Petherbridge’s gift for dry self-parody and Paul Hunter’s quirky company Told by an Idiot and it all becomes wilder and funnier.

On a crazily sloping stage, with a trapdoor through which the pair crawl grumbling from time to time, the disjointed, almost hallucinatory format veers and crashes around with deliberate (stroke-like) confusion. Hunter becomes a comedy psychiatrist, doctor, cab driver, crass Kiwi director, Goneril, Cordelia, the Fool, a childhood ballet mistress and — affectingly, despite the hairnet — Petherbridge’s mother. When he first struggles silently to walk along a hospital corridor she crosses silently, doggedly supporting herself with a chair: a role model from long ago.

Hunter also dons a striped blazer as a talent show compere, while the silver-haired, rangily distinguished adult Petherbridge discards Lear and adulthood to become a nine-year-old of long ago, piping a nonsense rhyme. It’s a beguiling oddity, its serious core thrown away in one line amid the foolery. Our hero says that it is “easier to stab at the truth in the theatre than in real life …” And so it is.
Libby Purves, THE TIMES, 6 April 2013

Photo by Manuel Harlan

This two-man show is the oddest of mixes: part trawl through the life and times of the classical actor Edward Petherbridge, part Shakespeare recital, part theatrical in-joke and part metaphysical meditation on the frailties of old age and the extraordinary abilities of mind and body to renew themselves. Told by an Idiot’s My Perfect Mind is an exquisite piece of tomfoolery, inspired by Edward Petherbridge’s experience of not playing King Lear. It offers a playful and moving exploration of life as an ongoing performance. It is infected by gleeful madness.

The facts are these: in 2007, Petherbridge travelled to Wellington in New Zealand to fulfil his long-cherished ambition to play Shakespeare's mad monarch. But two days into rehearsal, he suffered a stroke that left him partially paralysed. Remarkably, he was still able to remember every word of King Lear.

Played out on Michael Vale’s tilted stage – a world that’s off-kilter and difficult to physically negotiate – and directed by Kathryn Hunter (who has played both Lear and the Fool), the show mirrors the relationship between the foolish king and his wise fool. Paul Hunter plays a series of fall guys, from a German psychiatrist to a Romanian Shakespeare professor, and Laurence Olivier, who advises that the essential requirement for an actor who plays Lear is a Cordelia who weighs very little. There is a running gag that all these impersonations are “borderline offensive”.

In fact, the entire show gurgles with merriment as it skewers luvvydom, pokes fun at conceptual art and offers tongue-in-cheek advice to theatre-makers on how to treat the audience: “You've got to shove it up their arses before you shove it down their throats.” The theatrical in-jokes would wear thin, were it not for the fact that Petherbridge’s mixture of bravado and frailty brings real heart to the enterprise. So, too, does the untangling of his relationships with his mother, who herself suffered a stroke two days before he was born, and his brother.

It’s a show that invokes the ghosts of Petherbridge’s childhood, the ghosts of all those actors who have played Lear, and the ghost of the performance that Petherbridge never got to give. The result is a funny, moving reminder that however much we aspire to be the king, we are all fools in one way or another.
Lyn Gardner, GUARDIAN, 7 April 2013

Photo by Manuel Harlan
My Perfect Mind, if anything, is a homage to the actor’s life and this remarkable man who, after being struck down by one of the most dangerous, debilitating diseases has come back fighting fit. The fact he’s not just come back from this, but written about it with such humour, eccentricity and joy, is what we found ourselves applauding. 

The ‘very fond, foolish old man’ speech is deeply touching and shows audience members what New Zealanders missed out on. Long before that, the evening opens with a kind of Germanic prologue as a doctor of some indeterminate type with a terrible wig warns us to anticipate a bad case of Edward Petherbridge Syndrome. In fact, the evening turns into a charming example of that syndrome, showing the veteran actor to good effect, particularly when his perfect comic timing is called upon.

Check back here for more reviews ...

05 April, 2013


Listen to a fascinating interview with Edward on last night’s edition of BBC Radio 3’s Night Waves. The interview begins at 34:37 and ends at 47:40. Edward’s fellow guest is cultural critic and clinical neuroscientist Raymond Tallis. Together they discuss the neuroanatomy of memory in relation to the stroke Edward suffered six years ago on the eve of playing King Lear.

31 March, 2013


Those of you in the UK, or who subscribe to The Sunday Times online, can read Bryan Appleyard’s interview with Edward in Culture this Easter Sunday – ‘Lear and yet so far’.

There is also an appreciation of My Perfect Mind by Kathleen Riley at Vulpes Libris.

07 March, 2013


View from Hope Street.
Photo by EP
My Perfect Mind opened at Liverpool’s Unity Theatre on Tuesday night. Among the latest reviews are two that award this funny, moving and very special piece five stars.

What came out of all the heartbreak, physiotherapy and intense work Mr. Petherbridge had to overcome was this stunning and incredibly beautiful production that in the case with all great works, left the audience laughing with the two actors but also more importantly empathising, a rare treat for any play to deliver in such great quantity. …The moment when the audience realises that Mr. Petherbridge has put himself through physical and emotional pain barriers in recreating this towering monument to his life and the words of King Lear and it all boils down to one focused hand gesture, a piece of theatre that in the end meant everything and proved everything. My Perfect Mind is not just incredible, powerful and life affirming, it is the fitting testament to human endeavour and the ability to come back from the brink of uncertainty. Liverpool Sound and Vision (Read full review)

Audiences in Unity Theatre were truly privileged as they were treated to a delightful evening, entertained by distinguished actor Edward Petherbridge. Throughout the night, wonderfully captivating recitals of scenes from the great Shakespearean tragedy King Lear were woven into depictions of key moments from Edward’s life, as well as other antics found along the way. … A truly enjoyable play, humorous in all the right places, with an uplifting feeling of hope and resilience at its heart. Liverpool Student Media (Read full review)

And new from Whatsonstage:

Mr Petherbridge is an actor of wit and elegance; a raised eyebrow can convey so much. He has obviously taken to heart his dancing teacher’s advice of ‘economy and selection’. Paul Hunter plays every other role with such great comic skill. 

My Perfect Mind will occasionally make you laugh out loud, smile, chuckle and in some of Lear’s final minutes may make you cry. What a moving Lear Mr Petherbridge would be. It is good to have him back on stage.

 (Read full review)

Metropolitan Cathedral of Christ the King.
Photo by EP