"Morgan has inarguably produced a work that speaks to the moment – not just in terms of the war in Ukraine, but our own political squabbles."
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"Goold’s direction is economical and unremittingly pacy, but assigns random regional accents to characters willy-nilly. The shoehorning of facts into dialogue, and the deployment of Berezovsky’s mathematical interest in infinity and the science of decision-making are a bit obvious. But overall this is a cracking, exciting piece of theatre that’s become, sadly, very timely."
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"It’s an interesting, informative play, with three great performances in Hollander’s brilliant, quicksilver Berezovsky, Keen’s hypnotically plausible, hangdog Putin, and Luke Thallon’s Abramovitch, essentially a nice enough guy who realises he needs the patronage of the others to succeed and sucks it up humbly, becoming stupendously rich in the process."
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"Morgan’s play certainly draws our minds to how Russian’s 1% ended up here, playing out their power battles in UK courtrooms as was in the case with Berezovksy and Abramovich, and as fascinating as this post-perestroika era may be, it begs for a far fuller look at the London connection."
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"The director, Rupert Goold, manages to impose some sort of shape in the first half... By the second half, however, Hollander can’t lift a script that limps from one crisis to another as the shadows close in. "
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"Morgan tells the story with methodical, cerebral coldness. While there’s a dose of suitably dry humour in the smart script, its slow pace and short, episodic scenes rarely generate enough conflict to really captivate."
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"It's highly watchable, and moves at a lick; Morgan writes with admirable precision. And it's good to get an insight into the machinations of the Russian state at a time when they're threatening to destabilise the world."
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"To watch a Peter Morgan drama is to have a fly-on-the-wall’s perspective of modern history."
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