First presented on the same stage 44 years ago, this tale of a couple whose freefall marriage is defined by their daughter’s disability may be a jazz-soundtracked period piece, but it retains more comedic edge than much contemporary fare.
IF Ricky Gervais wants a few tips on what constitutes real artistic taboo-breaking, he should perhaps consider attending Phillip Breen's revival of Peter Nichols' dangerously black comedy.
First presented on the same stage 44 years ago, this tale of a couple whose freefall marriage is defined by their daughter’s disability may be a jazz-soundtracked period piece, but it retains more comedic edge than much contemporary fare.