Beat the Devil, Bridge Theatre review – Ralph Fiennes delivers an arresting account of Covid-19

In the fascinating atmosphere of Ralph Fiennes for 50 minutes, fascinating – usually surprisingly humorous –

Provide an account

Political and personal are the same.

Political and personal are the same. In script writer

He was infected with the virus in March while the government was still distressed by the lockdown. The place where he was arrested called the disease "a kind of dirty bomb thrown into the body".

Sitting in the auditorium now feels very radical. This auditorium used to have 900 seats, but it has now been changed to 250 seats. This is just a metaphor, showing that this metaphor is as powerful politically as it is physically. The theater here has become an anti-microbial behavior that all of us are still trying to understand. In the show and director 

 As the first season of the solo season, the London Theatre Company co-director Nicholas Hytner (Nicholas Hytner) once again demonstrated his keen understanding of how theater touches the core of social function.

Here, there is an urgent need to discuss together what we can control the disease, if any, Hare described in another point as "swallowing the Catherine wheel." In his 2003 verbatim broadcast 

, Hare pieced together to explain the details to the witness, and launched a fierce attack on the British railway: now he himself is a frontline witness in a very different story of political disaster.

On a stage with only tables and chairs as props, Fiennes will play M again in Bond, which is delayed this fall, describing the distressing symptoms. He said loudly: "Sewage has all kinds of smells." It started with "Platonic disease" and started with "Many black and white movies in the afternoon", and as the process progressed, he went from "sweat" at a high temperature of 40 degrees. Woke up, endured vomiting for several days and even contracted herpes. A wider observation of the terrible challenges facing medical experts further amplified his personal insights; a thrombosis professor told him "she saw the stickiest blood in her career." During his illness, he felt "completely desperate" for a moment, even though he mentioned his wife [Nicole Farhi (Nicole Farhi)" "because I was Bela Lugosi (Bela Lugosi) skin color. Terrified", bringing him a little anger. 

If the Hare’s public political views are less hit, it’s simply because the Conservative Party’s incompetent farce (at least in this weekend’s polls showed Johnson’s profligacy on the Labour Party) shows that we are familiar with these arguments. Nonetheless, post-disgrace political endurance still means that it is still important to continue to elaborate on the dangerous mix of political arrogance and incompetence: insufficient testing and tracking, nursing home scandals, and often insufficient protection for frontline employees.

Hare also talked about promoting populism in Britain and the United States in an attempt to change attitudes towards the disease. Whether it’s Trump’s dismissal of taking “losers” seriously, or right-wing journalists clamoring that the pandemic is a war that is bound to be lost, it’s all part of the terror, even after thousands of deaths. The disastrous consequences of the terrorists can be seen in the anti-lockout demonstration in Trafalgar Square this weekend.

However, despite his anger and eloquence, when he made a simple and almost primitive appeal to "truth" that night, it was the most powerful point of the evening. He referred to other profoundly divided political events from Bloody Sunday to the Glenfell Building disaster, and he proactively declared that in the end, facts proved to be the only way to solve and cure such disasters. The moment Fiennes uttered the word, the atmosphere in the theater changed, and it was possible to hear the entire auditorium breathe more quietly. When we are clearly in the post-truth era, then you have to remember how important it is to be in the same room with others again.

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