Love her or hate her, Katie Mitchell is surely our most bravely iconoclastic theatre director working in Britain today. If Robert Lepage is the magician who smoothes the cracks between technology and stagecraft, Katie Mitchell is the one who adds tough edginess.
And what an excruciating, yet devastatingly brilliant, two hours they are. The play shows episodes from the life of the women of one family spread over three time periods: one starts in the 1970s, the next in the 1990s and the third in the 2030s.
Politics is a serious business, but it’s also a fun spectator sport. Think of the duels in Prime Minister’s Questions; or the marathon that is Brexit.
Katie Mitchell’s revival of Sarah Kane’s 1998 play sees it as a ghastly nightmare, but overburdens the text with too many additions.