MAYER WAKEFIELD applauds Rosamund Pike’s punchy and tragic portrayal of a multi-tasking mother and high court judge
Latest editorial
Absolutely hellish tedium
Excellent performances can't redeem the inconsequentiality of Rodney Ackland's play, says MAYER WAKEFIELD
FIONA O CONNOR recommends an unflinching depiction of child sexual abuse and its aftershocks, set in a working-class Liverpool family
New releases from Paul Weller, Wet Leg, and Dino Saluzzi
PAUL DONOVAN relishes the spectacle of a 1950s detective in pursuit of a 500-year-old murder mystery
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
Absolute Hell
National Theatre, London
RODNEY ACKLAND'S 1952 play Absolute Hell and the director of this latest revival, Joe Hill-Gibbins, both come with a reputation for raucousness. Surprising then that, despite many a flourish, this production fails to deliver on its satanic promise.
Set in the immediate aftermath of WWII Soho, with a Labour election victory looming, Ackland’s work — initially titled The Pink Room — was greeted with such negative critical fervour that it was forced to close within three weeks, losing its producer Terence Rattigan £3,500 and their friendship to boot.
A series of high-profile revivals have restored the play's reputation and that of its author, but, despite painting beautifully detailed character sketches, the full picture ultimately underwhelms in 2018.
More from this author
MAYER WAKEFIELD applauds Rosamund Pike’s punchy and tragic portrayal of a multi-tasking mother and high court judge
![SISTERS IN HARMONY The Company of The ministry Of Lesbian Affairs [Pic Mark Senior]](https://dev.morningstaronline.co.uk/sites/default/files/styles/desktop/public/2025-07/The%20Company%20of%20The%20ministry%20Of%20Lesbian%20Affairs.jpg.webp?itok=47hfE2GG)
MAYER WAKEFIELD relishes a witty and uplifting rallying cry for unity, which highlights the erasure of queer women
MAYER WAKEFIELD laments the lack of audience interaction and social diversity in a musical drama set on London’s Underground
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
