From left, MacIntyre Dixon, 82, as the title character, Colin Pip Dixon and Arnaud Ghillebaert in “His Majesty, the Devil.” Credit Ruth Fremson/The New York Times

Photo appeared in The New York Times August 7th, 2014. From left, MacIntyre Dixon, as the title character, Colin Pip Dixon and Arnaud Ghillebaert in “His Majesty, the Devil.” Credit Ruth Fremson/The New York Times

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“His Majesty, The Devil is a rare masterpiece inspired by the opus of Fedor Dostoevsky, one of the shrewdest and most prophetic psychologists who ever wrote. […]  a unique and unforgettable theatrical experience.  Like Dostoevsky, it makes us think and feel, hope and fear, laugh and weep.  It is a must-see.”
– Deborah A. Martinsen President, International Dostoevsky Society, 2007-2013
Full Review

“… an exquisite play. The fusion of the music and the language set my soul adrift among the notes and letters. I was transported. […]  [MacIntyre] Dixon is an astonishingly fine actor. He carries the play with ease. The character he creates is truly unforgettable. His Majesty, The Devil is a show you won’t soon forget either. It uses the power of music and inspiration to create moments of theatre that will take your breath away. 
 – Richard Hinojosa, NYTHEATER NOW, August 13th, 2014
Full Review

“Mr. Ghillebaert is a brilliant violist. He weaves a wordless story with beautiful tone, haunting phrases and the occasional vocal harmony. Colin Pip Dixon plays the Young Man with painful intensity and his excellent violin playing underscores his characterʼs search for meaning. A gifted composer, heʼs created a musical web for the play to rest upon. The jagged patterns and melodic leaps as the violin and viola dialogue give a Hindemith meets Shostakovich feel to his music. MacIntyre Dixonʼs performance is breathtaking — boldly theatrical, passionate, truthful.” 
– Navida Stein, STAGE BUDDY, September 1st, 2014
Full Review

I absolutely adored this. It captured the philosophical funniness of Dostoyevsky that is usually ignored. MacIntyre Dixon is such a versatile actor and no matter what roles he assumes, he is forever entertaining and can pull off pathos and comic punches with equal aplomb. Arnaud Ghillebaert is a noteworthy musician playing Colin Pip Dixon’s intricate music. Mathilde Schennen directed this cleverly written play by Alexandra Devon with just the right touch.
– Eva Heinemann, Hi! Drama, August 22nd, 2014
Full Reveiw

“For those of you who seek some spiritual escape from the Summer of Hate, with its shrill partisans on the left and the right, its cries of hypocrisy and privilege, its seething rage, where, in Yeats’s words, “The best lack all conviction, while the worst / Are full of passionate intensity,” His Majesty, the Devil is a must-see.”
–WM Kenton , Cultural Capitol July 23, 2013
Full Review

“Very thought provoking – and very well acted.”
– Ros MacKenzie, Lothian Life Magazine, August 2013
Full Review

“Move over, Terry Pratchett’s Mort, the new order is called by His Majesty the Devil […] It is a rare privilege to watch a grand Master of the theatre with as prolific a film and broadway history as MacIntyre Dixon in an intimate Edinburgh venue.”
– Sarah Martin, Venue 40 Quaker House Review, August 2013
Full Review

“What will strike people straight away about Elsewhere Ensemble is the incredible musical talent showcased in the violin performances. More than anything else, the music is what really steals the scene, creates the atmosphere and makes His Majesty, The Devil what it is…”
“Aside from their violin playing, the actors themselves are all very skilled performers, including the silent figure who remains in the background of every scene, watching without comment the interaction between the young suitcase bomber and his majesty, the devil. Although surely the devil can’t really be there, he must just be a figment, right? This is what the performance questions. What is the devil’s role and is he really there? Or is he just a scapegoat invented by those who do – or plan to do – bad things? Where does faith come into all this, and who has it?”
– Emma Ainley-Walker, The Skinny, August 2013

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