Circe and Bravo by Donald Freed, The Hampstead Theatre, 29 May 1986 and Wyndham1s Theatre, 23 July 1986
Faye Dunaway in 'Circe and Bravo'

Designer - Eileen Diss
Lighting designer - Mick Hughes
Costume designer - Jane Robinson
Circe - Faye Dunaway
Bravo - Stephen Jenn


"The play I really had a tremendous time with was Donald Freed's Circe and Bravo. I thought it was really an original piece of work."

Harold Pinter to Mel Gussow, Conversations with Harold Pinter, London: Nick Hern, 1994, p.134.


Hollywood screen legend faye Dunaway brought her extraordinary talent to the English stage for the first time last night.....within minutes of overcoming her first night nerves she was turning in a display of positively Quixotic power - changing in an instant from flashing anger to beguiling sexuality.

Daily Express, Rosalie Horner

"Can you imagine the thrill of having it staged by someone who is at one and the same time a great playwright, a great director and a great dramaturg with the finest turn for the English language thrown in [...] I'm talking about a level of insight, a reading of the text, and a control of the sensuous realisation of it that is quite incomparable. Harold has gathered a team and a mis-en-scène with some of the best people."

Donald Freed to Ossia Trilling, The Stage, 5 June 1986.

"There is something very old about Harold's work which is the ravishing beauty of it. At the End of Circe and Bravo, for instance, there is a litany of horror as all the bombs dropped on mankind are individually named. Harold created a perfect dialectic between terror and beauty."

Donald Freed in Michael Billington, The Life and Work of Harold Pinter, London: Faber and Faber, 1996, p.303.

"Pinter was drawn to Freed's play by something much more potent: its moral outrage at American foreign policy and at the growing belief in strategic victory in a protracted nuclear war"

Michael Billington, The Life and Work of Harold Pinter, London: Faber and Faber, 1996, p.303.

"By the end we know this woman, and feel for her [...] Stephen Jenn is marvellous in a part that demands impassivity for nine-tenths of the play, and Pinter deserves much credit for both performances."

Mary Harron, The Observer, 8 June 1986.

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