Unfortunately, the script doesn't quite live up to expectations. Instead of sharp and nuanced takes on how society functions today, most of the commentary falls into the overdone "We live in a society" trope in an attempt to capture the zeitgeist.
The self-congratulatory script offers no new takes on contemporary culture, instead reviving the stale talking points we've seen since the turn of the century. Think the classic "technology is bad" arguments.
This is perhaps most evident in one of the final scenes, where the elite of today are dressed up as members of the Grand Siècle-era high society, under the guise of a costume party. While incredibly visually impressive, this is a ham-fisted comparison that reads as disjointed from the rest of the production.
Where Martin Crimp's wit appears is in the fourth-wall breaking jabs at the theatre, which are sprinkled throughout the script and never fail to land. The rapid-fire couplets are also an interesting and immersive feature, adding vigour during rapid-fire scenes.
Some of the best moments of the production come in the duo scenes between Sandra Oh's Alice and Paul Chahidi's John, with a natural ease and obvious friendly chemistry between the pair.
Kudos must be given to Anna Meredith's heavy pulsating score, adding an extra layer of tension and foreboding, particularly during the visually stunning Grand Siècle scene, in which Robert Jones's surrealist chandelier-dripping set is one of the production's high points.
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For more of our thoughts on the latest London theatre, check out our War Horse review and Beetlejuice the Musical review.
The production will run until Saturday 11 June.
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Tickets have been heavily in demand for this production and there are few left- if you fancy getting your hands on one, we'd recommend you act fast!
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