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October 30, 2008

A flash of gold gleams briefly, an unexpected burst of warmth among the chilly palette of gray, black and white that dominates Peter Brook’s severe production of “The Grand Inquisitor,” which opened Wednesday night at the New York Theater Workshop. This source of precious light is a small crucifix, an object you would expect to find in the hand of the man who holds it, a cardinal of the Roman Catholic Church and the play’s title character.

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