It is proving to be one of the essential plays of the past 20 years. In 2002, A Number carried a special, current thrill, tapping into debates about cloning. On an almost bare, tousled stage a baleful Michael Gambon confronted three versions of his son, all played by a clenched Daniel Craig. Is one of these more “real” than the others?
Questions raised in Caryl Churchill’s drama continue to matter long after Dolly the sheep has ceased to bleat. What counts more, inheritance or upbringing? How do we recognise another individual? Why do we think of ourselves as being singular? This is the fifth production I have seen: each has glinted with different alarms, jokes and sorrows. Directed by Lyndsey Turner, ignited by magnificent performances from Paapa Essiedu and Lennie James, it has a new luminosity.
