You can’t help but feel a little sullied by a show that robs one of the greatest stories in theatre of its mystery.
David Grindley's production is possessed of a quiet, steely dignity that makes it impossible to leave without feeling newly shocked at the terrible waste of men at war.
One of the best and bravest decisions that Nicholas Hytner has made as head of the National Theatre is to give director Katie Mitchell free rein.
Though this has acquired the status of a modern classic, Martin McDonagh’s play is a black and bilious satirical assault on the very idea of an Irish classic play.
Katie Mitchell’s staging of Thomas Heywood’s rarely revived Elizabethan tragedy, static and over-busy, robs something of the script.
