The effect of the set is striking and disorienting and the cleverly draws you into its before you fully understand what you're watching.
Exeunt Brydie Lee Kennedy
Mike Lees's set is striking; clipboards holding photographs of wanted criminals form an effective backdrop. And there's an agreeable surrealness: in the opening scene the cast move around in synchronization on office wheelie chairs to perfectly timed lighting and a soundtrack of news reports. As its coupe de theatre, just as everyone's worlds come collapsing around them, the set too, falls kabuki like to the floor in an amazing clatter revealing the clawed and scratched walls of a Nazi Gas chamber.
Time out Lucie Horton