It’s a bigly Trump-fest over at the Donmar, with adaptor Bruce Norris determined to make Brecht great again – or at least pointedly contemporary. Despite a legal disclaimer in the knowing prologue, the current tangerine regime looms large, replacing (or indeed merging with) Hitler as the main target in this parable of emerging demagoguery, set in Thirties gangland Chicago.

Read my full theartsdesk review here