Jonathan Church’s production, which originated at Chichester’s Minerva Theatre late last year, is a handsome, thoughtful addition to the West End roster. It may sometimes be gruelling to watch, but it is never less than absorbing.
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Stoppard, now 77, is still spinning the plates of philosophical enquiry and discourse in the world premiere of his latest play, but it presents hard dramatic, as well as intellectual, problems that director Nicholas Hytner’s sparse and elegantly inhabited production can’t fully solve.