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Ben Brantley catches us up with what’s going on in London theater:

In a season rich with A-list actors giving bright external life to the shadows of the human mind, it is often—more than anything that is actually done or even said—the thought that counts.

Consider, for example, the supremely articulate silence of Michael Gambon, who never utters a word in Atom Egoyan’s production of Samuel Beckett’s Eh Joe at the Duke of York’s Theater, a half-hour production that seems to last both a lifetime and a nanosecond.