(Michael Billington’s article appeared in the Guardian, 2/10.)

A three-play David Hare season kicks off with a revival of his 1978 study of the lies and disappointments of the postwar world. And, even if I'd like to see the play on a bigger stage, Thea Sharrock's immaculate production is nuanced and precise. Instead of allowing Hare's heroine, Susan Traherne, to overwhelm the action with her spectacular peacetime decline, Sharrock makes her more interesting by giving her a credible opposition.

via www.guardian.co.uk

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