Berkoff on Dillon
| FREE ASSOCIATION, 1996 |
| "...when I recently saw the young and talented George Dillon adapt [The Master of Café Society] for a one-man show I felt the awfulness and pain of it all over again. His performance was a masterpiece of timing and observation, but most of all he let himself go. I was most proud of my written work when I saw him." |
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| THE LIST, August 1994 |
| "The best example of someone to watch how to perform is George Dillon. He uses tremendous fluidity of movement, almost balletic grace, giving the distance that it needs, and he almost flatters my work." |
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| THE LATEST, January 1997
| | "Physical theatre suggests... working with the body and not with the voice. But the uniqueness with George is that he's an excellent speaker with a wide vocal range and is able to marry the two parts. He's driven to always find material that's dangerous and emotional. George sniffs out what's underneath the surface, which is what I've always tried to do. But he's gone much further than I ever did; areas into which I just gently dipped my toe he has plunged from the cliffs headfirst." |
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| THE SUNDAY HERALD, July 2002 |
| "There are some brilliant one-mans and one-womans about: such as George Dillon, one of the Festival's staunch samurais, who has adapted several of my works and undertakes tasks that would make most actors blanch, such as learning almost my entire book Graft, a collection of short stories at whose centre is a bitter actor. Dillon returns each year with regularity like a comet trailing his undying fires behind him, and usually leaves broke." |
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| The photo of George and Orla Dillon at the top of this page was taken by Steven Berkoff in 1997. |
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