Infidelity, hypocrisy, disillusionment, betrayal – and yet this is by far the lightest of French playwright Florian Zeller’s current London hat trick. Premiering in 2011, and thus sandwiched chronologically between the bleak pair of The Mother (2010) andThe Father (2012), it takes a comparatively sunny approach to the fracturing of trust and deconstruction of the moral ideal of truth.

Read my full theartsdesk review here