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PRIDE AND
PREJUDICE by Jane Austen
"Becky George as Jane, Lydia, and Charlotte Lucas
was perfect. Her Mrs Reynolds was a truly amazing
characterisation, and had a wonderfully brisk way of
walking around all those long corridors in Pemberley
House. If this production of Pride and Prejudice is
coming near to you my advice is to GO TO IT! You will
have one of the best, fun-filled evenings ever"
austenonly.com (25 July 2010) |
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PRIDE
AND PREJUDICE
"Two of the other sisters, each of them dimmer
and shallower than Elizabeth, are nicely done by Becky
George. She's also good as Mrs Reynolds, with a Scots
accent, and she brings out the pathos in Charlotte."
Nottingham Evening Post |
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PRIDE AND PREJUDICE
"Wildly camp and hilariously funny, yet
surprisingly skilful in creating sincerity for those
moments when painful passions and perils broke through
the romping comic capers. The cast were superb,
especially[] Becky George who took on a medley of young
ladies of which my favourite was Lydia, batty as
Blackadder’s Queenie and just as imperious"
Plays International |
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THE WILD DUCK by
Ibsen
Pegasus Theatre, Oxford
“Becky George is outstanding as Hjalmar’s
daughter Hedwig, the innocent victim in all this”.
Paula Clifford, Oxford Times |
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ALICE THROUGH THE
LOOKING-GLASS
The Minack theatre.
Minack’s magical
looking glass
“All credit to
the cast who may be small in number but are big in heart
and talent – Becky George as a blonde, bright and
breezy, very English and no nonsense, Alice, for making
one believe in and enjoy “The pleasance of their fairy
tale”.
Frank Ruhrmund, The
Cornishman, Thursday 24 June 2004. |
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ALICE THROUGH THE
LOOKING-GLASS
Newstead Abbey.
Play on words
well staged
“Funny and
visually attractive. The five actors do a remarkable
job. Becky George, as Alice, convinces us she is all
elbows, a gawky, animated seven-year-old”.
Alan Geary |
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ALICE THROUGH THE
LOOKING-GLASS
Williamson Park,
Lancaster.
“Illyria played
the pantomime, farce, music hall, burlesque, camp songs,
Commedia dell’Arte and the other theatrical dimensions
of this imaginative adaptation with total
professionalism, superb timing, fine singing, and deft
and vived movement”.
Michael Nunn, Friday 13 August 2004 |
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