Tony Kushner’s landmark two-part play begins at a funeral, with a rabbi solemnly naming a woman’s surviving relatives; partway through the interminable list of grandchildren, he stops and sighs. It’s a witty opener for a piece that’s epic in every conceivable sense of the word, taking almost eight hours to tackle not just state of the nation, but state of humanity and the divine. Though there’s the odd lull, particularly in Kushner’s baggier, wilder second part, Marianne Elliott’s revival – 25 years after the influential National Theatre production - is a monumental achievement.
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