That they’re all dead is one thing but more importantly, Elliot Levey’s Brod promised Daniel Weyman’s Kafka that he would destroy all his writings on his death but published them instead, garnering the writer unimaginable posthumous fame. And as it turns out, Sydney is something of a Kafka scholar who focused on the family dynamic of the Czech, so the arrival of Matthew Kelly as Hermann adds a surprising depth to the play, far beyond the initial comic stylings.
Nicholas Burns and Samantha Spiro are both excellent as the Yorkshire folk, completed by Barry McCarthy as a fusspot father, and David Grindley’s production has a keen eye for the way in which the play evolves, always maintaining the, well, Kafkaesque nature of the ever-strange situation.