“We likely are good,” says David Tennant’s Halder, reflectively, towards the finish of CP Taylor’s Good. That is something we as a whole need to accept of ourselves, yet never need to try by the situation. Upstage three splendid bits of the show to test it for us: to test and disrupt our souls and to pitch profound individual quality against social obligation. This is a moral and close-to-home exercise: propping, arresting, and electrifying. Each play is stuck to the stage by a shining focal execution as a person goes…
David Tennant grasps in 1930s-set moral show Good — theatre review
