Michael Gray, The Public Reviews Sat, 2011-06-11 01:00

Dee Evans’ direction did much to underscore the message and the magic of the piece. The opening sequence, with the child and the lament, which both appear again at the end, the confession with its weighty crucifix, the laundry where you could almost smell the washing, and the shrinking wall of light at the back, ingeniously suggesting the door and the distance.