As we stagger towards electoral chaos, isn’t it comforting to think there might be a master plan at work? That Russell Brand’s meddling is preordained, or Cameron’s ‘brain fade’ an act of divine intervention? The second play in Rufus Norris’s inaugural season – and first with the new boss in the director’s chair – constructs a self-consciously colloquial, contemporary framework for 15th-century morality tale Everyman, but no amount of synchronised coke-sniffing, public urination or shiny mannequins disguises the fact that this universe’s unquestionable, safely ordered Christianity renders it alien.
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