Arthur Miller's only full-length play to deal with his own and every other Jew's Jewishness is given a risky but rewarding expressionistic makeover by director Iqbal Khan.
Written in 1994, when Miller was in his late 70s, and located in 1930s Brooklyn, the play is populated by different types of Jew. At one end of the spectrum there is the self-hating kind, bank worker Phillip Gellburg (Antony Sher), and at the other there is the well-adjusted Dr Harry Hyman (Nigel Lindsay), who is attracted by the body and plight of Gellburg's wife Sylvia (Lucy Cohu). After reading about persecuted Jews in Berlin, she has become mysteriously paralysed in the legs. Though the trigger is fear, Hyman soon diagnoses the cause - the Gellburgs' dysfunctional marriage.
This is not Miller's finest play, and even he struggles to connect a Brooklyn marriage to events in Berlin. But with the help of cellist Laura Moody, whose sonorous strains serve as a tragic chorus, Iqbal's production highlights the psychology of the Jewish condition.
Sher is mesmerising; Lindsay is terrific, as is Cohu, if surely too young to play a sexually neglected wife married for 20 years. Though not without flaws, this is as powerful an evening as you will find in London. (Tel: 020 7328 1000)