Her NINA was fine. One-note imperiousness, which she’s good at. She had, as I remember, a tic involving her chin jabbing upward repeatedly.
The production was stolen by Edward Petherbridge (spelling? The brilliant fellow from the « Nicholas Nickleby »company).
It’s an odd though long play, and Nina (a very long part) comes off as calculating and cold.
I think Jackson’s best when her prideful, contemptuous mask is at risk of being subsumed by the vulnerability and/or madness it rests upon. As with her Corday, her Gudrun, her tremblingly contained Elizabeth R. |
