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Antony Sher, best known for serious classical roles, reveals himself as a natural farceur here as Freud, who has to conceal a scantily clad woman in the lavatory and puncture the megalomania of the insufferable DalÃ. Yet even in the farcical mayhem, Sher somehow never lets us forget that Freud was a great man. There is a palpable intellectual and emotional hinterland here, highly unusual in farce, and a moving sense of mortality and human fallibility, too.
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