All That Fall originated as a radio play, but why adapt it for the theatre if not to let us see it? It might be thought that we are being short-changed, but in fact much is gained in the darkness. One reason is that this approach creates a kind of aural spaciousness, a vivid three-dimensionality of sound as the actors move around an audience that has to rely entirely upon what they are hearing. One’s imagination is set to work hard.

This, thankfully, is a version which remains largely true to the spirit of the original while clearly having a direct relevance to our own troubled times. Writer Brendan Kennelly’s language is vigorously contemporary, employing rhythm and rhyme but often shockingly direct and free from poetic euphemism when describing the fate that awaits these women when the winners take the spoils of victory.