[The] playwright should be encouraged to aim bigger to fulfil the potential of a play that feels like sketches for the epic political drama he could write.
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Direction from Sam Pritchard confidently steers a strong ensemble cast of six, as they deftly multi-role between a revolving door of characters whose lives have been impacted by violence.
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Every element of this performance works together beautifully; the set is understated, but it becomes more and more layered as the play unfolds.
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Sometimes the dialogue flickers into quirky life. More often, the director Sam Pritchard allows it to fall into static exchanges where, on Rosie Elnile’s functional set, there is little to nourish the eye.
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There are nods to Harold Pinter and Caryl Churchill in its eerie normalisations of extreme violence, yet it’s most obviously in conversation with South America itself, with its incomprehensible history of disappeared people and terrifying political regimes.
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