Peter Sullivan Actor

Peter Sullivan

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Press Reviews

“The language of the characters falls short of their feelings and the gap between language and feeling is one of Wilder's themes as much in his plays as in his fiction. Our Town requires unhurried but firmly placed direction and the rarest qualities of acting where pause and tone, false-starts and vain striving after sense do what more continuous dialogue does in Strindberg. Peter Sullivan, who plays George, the young man whose marriage and bereavement become the focal experiences of the play, delivers an outstanding performance. His agonised courtship in which his shyness is overcome by love and his gormlessness transfigured when he finds himself to be loved could not be bettered....”Our Town The Independent
“Max Stafford-Clark's performers are all excellent but Peter Sullivan particularly so, for his Ray emerges as a fascinating character, quiet yet seething, confident yet oddly vulnerable when he finally faces the robust Catholic mum who rejected him....”Drummers The Times
“..Mercy deserves attention. it is a skilful piece about a group of alienated people and a dysfunctional social worker, outstandingly played by Peter Sullivan, that in Paul Miller's unrelenting production commits us to a long night's journey into darkness...”Mercy The Observer
“All this is clearly articulated in Trevor Nunn's excellent production. Brian Cox exudes massive power as Max, Rufus Sewell charts immaculately the character's graduations and Sinead Cusack and Peter Sullivan as the Havel-like protester turn in equally strong performances....”Rock n Roll The Guardian
“This is a nice looking production by Anthony Page but its constantly hampered by Ibsen's interfering puppetry. The only redeeming feature is Peter Sullivan as Mortensgard, the dashing revolutionary. Sullivan has the slow, benighted nonchalance of a rock star and he's able to suggest a continent of predatory menace with the flick of an eye....He's the show's best asset and he's on stage for barely five minutes...”Rosmersholm The Spectator
“As JPW King, Peter Sullivan must tackle what is by far the most difficult scene in the play: its conclusion, when his character must sing like Gigli. In world drama, only The Winter’s Tale has such an ending: it seems miraculous on the page, but is almost impossible to pull off on stage. The audience, after all, must literally believe that King is singing, but in most productions it looks instead as if he is miming to music that is being blasted over a PA system. Sullivan deals with this problem by contorting his body as the music begins to play: one senses that the song is being pulled from his guts into the auditorium, almost against his will. This sense that the audience is “required to awake our faith” in the supernatural is further emphasised by Davy Cunningham’s lighting, which throws King’s body in enormous silhouette against the back of the set, so that it seems as though the character has been possessed by something demonic. I remain unsure of whether audience members who don’t know the play will fully understand the significance of what’s happening in this scene. But I also can’t imagine a better solution to the problem posed by Murphy than that offered by Sullivan – until, that is, we find an actor who actually can sing like Gigli.”The Gigli Concert The Irish Times
“Helen McCrory plays the role as if it were a classic of 20th-century theatre, a kind of Judith Bliss without the perfumed smuttiness. Her vitality and thwarted charm are captured quite beautifully. As her husband, Peter Sullivan delivers another of his exquisitely measured and formidably funny essays in understated satire. This is the most acutely observed comic performance you’ll see anywhere in the West End....”The Late Middle Classes The Spectator