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Summers gets much more than he bargained for in trying to lay down the law with a suspicious Foyle who sees right through him to his ulterior motive.

Excerpts from Jonathan Meades’s rapturous critique (The Times, Nov. 16, 2002) of Michael Kitchen’s acting in Foyle’s War:

Michael Kitchen’s playing of the title role in a show called Foyle’s War … is uplifting because it is an unalloyed display of high art.

His performance is singular, serious, very quiet.  He does something that only the greatest actors are capable of, that is to convince in character while employing consummate professional skills.

Kitchen’s instrument is his face.  He has used it to create a gestural language of the utmost suppleness and complexity… His sheer control is awesome.  His repertoire causes us to rethink the possibilities of facial musculature.

There are occasions when an interpretation can quite overcome the creation it supposedly serves.

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