is either a delight, an arrow, or both, from era-defying comic asides. “An alternately joyous and heartrending celebration of language – even the sword fights are rendered with nothing more than pointed words. has, in his sixties, written an absolute banger in his startling adaptation of Rostand.” – Time Out New York a weaponless marvel of language.” – The Observer ★★★★★ “A beloved tale of yearning, beauty, and desire. ★★★★★ “The most breathtakingly exciting show in London right now.” – Evening Standard ★★★★★ “Funny, thrilling and deeply moving.” – WhatsOnStage ★★★★★ “I defy anyone not to fall in love with it.” – The Telegraph Sentimental monument to love.” – The Washington Post The production highlights a cool new vocabulary for Edmond Rostand’s With a whip-smart script by Martin Crimp, I spent most of the production’s swift two acts fully engaged in its humor, pathos and fury.” – The New York Times It’s also a world in which, as the baker Ragueneau (now a poet, too) predicts, ‘There’s going to be a new force of words’. Replacing Rostand’s stately 12-syllable alexandrines with jumpier rhythms, its euphemisms with plain speech and its perfect rhymes with ones so slant they serve as italics, Crimp rockets the action to a world drunk on language as it’s actually spoken.
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