Whatever happened to political theatre? Actually, it never went away but just got redefined by some - feminist, lesbian and gay, ''ethnic'' (ghastly word), and the even less happily named ''disabled'' lobby - who, to this day, still fail to be recognised as ''political theatre''.

So there's a kind of appropriateness in Seeing Red, a new season of ''political'' plays staged by Red Room's Lisa Goldman and Emma Schad. Ambitiously commissioning 16 writers (don't ask how they're paying for it - love and the odd pint), the season marks the 30th anniversary of the student revolts in 1968 and Blair's first year in Downing Street.

With 11 plays down and another five to go, the style definitely tends to satirical rather than, thankfully, polemical. Inevitably the standard varies - Tony Craze's rambling Fragmenting Red didn't quite come off but Peter Barnes's absurdist duologue recalling Ionesco, Beckett et al managed both melancholy and regret.

Many of Blair and Blairism's defining tics get a lightweight drubbing - the arts as ''creative industries'', communitarianism - while Paul Sirett's The Mandelson Files posits a wonderfully absurd vision of the Minister without Portfolio as a Marxist-Leninist ''sleeper''.

Enoch Powell is attacked as a rotten poet and his racism the result of a disappointed homosexual love affair in Tanika Gupta's On the Couch with Enoch.

But it is Judy Upton's Know Your Rights and Kay Adshead's remarkable The (Bogus) People's Poem that stick in the memory - the first a brilliantly understated dialogue between an older white woman (Frances Cuka) and a black single mum (Noma Dumezweni) showing the dehumanising effects of our over-litigious society - the second, again with Dumezweni, a heartfelt prose-poem on British treatment of immigrants.