Analysis of information sources in references of the Wikipedia article "Мензис, Тобайас" in Russian language version.
...a lanky trainee actor (the excellent Tobias Menzies) who struggles to disguise the hefty handicap to his stage career (the character is stone deaf) by anxiously lip-reading.
Tobias Menzies - Rupert Goold's inspired casting as Hamlet - slithers around the stage in a scanty dress, enjoying his antic disposition. He plays the fool dazzlingly: a stage natural. <...> Menzies's performance is a triumph. He gives it everything, even the fight.
There is a remarkable performance, too, from Tobias Menzies as the slick supply-teacher historian, who believes academic success is merely a matter of tricks and spin. But Menzies also discovers a surprisingly attractive vulnerability in the character I missed the first time around.
One of Shakespeare's greatest innovations was to dramatise people's thought processes: the articulation of the mind's search for meaning and identity. This is where Menzies' performance is most thrilling. He shows how language strives to express the self and to pin down the truth. Who am I? What do I think and feel? Menzies' delivery of the "To be or not to be..." speech burns with intelligence. This is one of the finest and most exciting Hamlets I've seen. Observe his face: it seems to mature, grow softer, more observant and expressive, and his death becomes a fulfilment as well as a failure.
...a lanky trainee actor (the excellent Tobias Menzies) who struggles to disguise the hefty handicap to his stage career (the character is stone deaf) by anxiously lip-reading.
Tobias Menzies - Rupert Goold's inspired casting as Hamlet - slithers around the stage in a scanty dress, enjoying his antic disposition. He plays the fool dazzlingly: a stage natural. <...> Menzies's performance is a triumph. He gives it everything, even the fight.
Tobias Menzies is an awesome and breathtaking Hamlet. The portrayal of this deranged and demented young man is a hugely memorable performance.
One of Shakespeare's greatest innovations was to dramatise people's thought processes: the articulation of the mind's search for meaning and identity. This is where Menzies' performance is most thrilling. He shows how language strives to express the self and to pin down the truth. Who am I? What do I think and feel? Menzies' delivery of the "To be or not to be..." speech burns with intelligence. This is one of the finest and most exciting Hamlets I've seen. Observe his face: it seems to mature, grow softer, more observant and expressive, and his death becomes a fulfilment as well as a failure.
There is a remarkable performance, too, from Tobias Menzies as the slick supply-teacher historian, who believes academic success is merely a matter of tricks and spin. But Menzies also discovers a surprisingly attractive vulnerability in the character I missed the first time around.
