Tom Stoppard’s latest – and possibly final – play has few of the dramatic hallmarks you might expect from him: the dazzling linguistic flourishes, the formal trickery, the knotty metaphors and giddy metatheatricality. Instead, we have a relatively straightforward, linear piece, initially overburdened by information, but with an immense accumulative power that leaves audiences awed and tearful.

Read my full BroadwayWorld review here