Sharp describes the writing of Road in 1986 as “an urgent response to the society that was being unravelled and reimagined under our noses”. More than 30 years later, it still has a sense of urgency. “It’s nostalgic while being prophetic,” says Tiffany, observing how the drama both looks to the past and anticipates the widening gap between rich and poor. His production, he hopes, will demonstrate how relevant – politically and artistically – Road remains. “It’s another chance to explore the play and to see its place in theatre history, and how much it still says about now.”

Society was being unravelled’ … Pontypridd in Wales during the miners’ strike. Photograph: Sipa Press / Rex Some of the events in 'Road' can leave the play open to accusations that it is depressing - certainly we see on various occasions humanity at its lowest points. Indeed some characters express a distinctly pessimistic outlook, perhaps most succinctly put when Scullery says "And just remember folks, if God did make them little green apples, he also made snot". But for me the lingering message is one of optimism. As the four youngsters, at the play's climax, purge themselves of their fears concerns and disappointments, they provide for us a glimpse of hope, their message of escape unequivocal. Tiffany’s new production at the Royal Court aims to celebrate the play’s history while also reimagining it. “It’s absolutely Road as written,” he says, “but it’s a very different presentation of it.” This revival is abandoning the now familiar promenade form, but it still bridges the usual gap between performers and audience. Chloe Lamford’s design features a set of steps that will connect the stage with the audience, allowing the cast to get in among the spectators. In 1994 the play was produced by Out of Joint theatre and directed by Max Stafford-Clark. The production toured the UK and performed at the Leicester Haymarket and the Royal Court. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

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The inequality and hopelessness of then is at least as prevalent now,” Dudgeon continues. “And I think the strength and humour of the characters is as beautiful and funny and moving now as it was then.” There are striking performances by Michelle Fairley, sadly hilarious in a scene where she vainly seeks to seduce a drunken soldier, and from Mark Hadfield and June Watson as solitary oldsters and from Shane Zaza and Faye Marsay as the death-haunted lovers.

Two - Octagon. Young Vic Theatre. Winner of: Manchester Evening News Theatre Award for Best New Play. directed by Andy Hay

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Among the old-timers, Peter Corrigan, David Penrose, Sally Hartley and Peter Woodward impress, while Ingrid Corrigan impresses and amuses mightily as the neighbourhood mad old bag. One always has faith in actors of this standing and here that faith is not betrayed.

Road has enabled director Nathan Chapman to showcase the wide variety and wealth of talent this company possesses and the cast of over 20 were outstanding. Demonstrating some very sharp characterisation, many as monologues interspersed with humorous mini sketches. Pre show and interval activity made full use of this large cast. It’s talked of with such fondness’ … Shane Zaza and John Tiffany during rehearsals. Photograph: Johan Persson But it's still all worth it for that last scene. Probably my favourite scene in any play ever, to be perfectly honest. Somehow a somehow.Eight Miles High - Octagon * 1994 & 1995 Bristol Theatre Royal Nominated for Theatre Management Association Best Musical Award. directed by Andy Hay