It’s an intentionally provocative play that coats its ugly premise with wit and words. The production feels almost too polished at times, but no less powerful for it.
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Its ambitious scope of ideas ensures that the play is funny, challenging, audacious and profoundly unsettling. Three hours seldom passed so quickly.
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Instead, as Parks's cunning title suggests, the play refracts race, and racism, through the dynamics of the quartet on view - each of which consists of a white and a black partner...
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It’s thorny and thoughtful, not nihilistic but possessed of a morbid fascination for the society it is dissecting. It’s also finely acted...
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The pace of Polly Findlay’s production ... is an icy determination to make us acknowledge our darkest thoughts and question our belief that we are among “the good guys”. I found Parks’s argument about colonialism’s evil legacy convincing, the expression of it less so.
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Polly Findlay's taut production speeds through its almost three hours with control and concentration. There's an awful lot to pack in and some of the plot developments...stretch credulity. But the propulsion of the ideas is strong and devastating.
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Parks’s play is undercut with a fatalism about a culturally required wokeness that only goes surface-deep ... It’s grim, brilliantly perceptive, and lets no one off the hook.
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Polly Findlay’s production coats the play’s absurdist tendencies with a veneer of metropolitan gloss. Lizzie Clachan’s revolving set delivers urban chic, and the actors fire their lines at each other with panache. The problem remains that the characters are never more than two-dimensional.
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