Helen Edmundson’s stage version of Anna Karenina is not the period drama an audience might expect. It leaves the social realism of Leo Tolstoy’s novel behind and embraces an imagistic memory aesthetic, in which Anna slips in and out of the afterlife in which she is trapped, to participate in the self-inflicted tragedy of her life.
Director Michael Barker Caven embraces the bold abstracted style of Edmundson’s play, eliciting physical performances...
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