Death and the Maiden must surely be one of the most important plays of the decade. It makes a powerful and salutory political statement in the tense and contemporary language of a psychological thriller which reverberates with the themes of classical tragedy.
Ariel Dorfman's compelling text poses disturbing questions - is Roberto really guilty of the crimes which he confesses then denies? Is Paulina the victom tuned inquisitor, so mentally scarred that judgement and recall are irrevocably impaired?
As the play develops mere answers lose their relevant by comparison with the overwhelming indictment of every oppressive regime that denies freedom of opinion, using the weapons of terror and torture.
The intensity of Dorfman's chilling scenario is undeniable.
