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No playwright has staked a greater claim to defining the state of the nation than David Hare, for whom the National Theatre might almost have been custom-built. Plenty declared ambition on the scale required – hurtling from 1943 to 1962, from the war past the Festival of Britain to the Suez Crisis and the final years of the Tory government before Harold Wilson’s election victory. It encapsulated the collective experience of gathering disillusion through the alluring figure of Susan Traherne (Kate Nelligan) imploding in the post-war landscape having shone during her liberating days as an undercover SOE agent in occupied France. It may have been no masterpiece but it had plenty to say and required others to follow suit.
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