How many productions does it take for a playwright to have a moment? We could be on the cusp of a William Wycherley wave, with the second production of The Country Wife to arrive this year (the first being at the Southwark Playhouse in April).
A satire that managed to predict just how powerful a tool populist anger can be when leveraged effectively, it is transformed into the immersive bustle of a TV studio, that of UBS Evening News where old hack Howard Beale – a transcendent performance by Bryan Cranston – has been handed his notice.
Which is a roundabout way of saying that Robert Icke’s production of The Red Barn was not the play I thought it would be. And that my initial slightly cool reaction was as much a response to that as it was to the material itself.