Even with the violent material in a 17th century setting, the formula here feels stale, like it's been done recently more than once.
Old-world tradition clashes with the 21st century, and upper-class pomposity comes nowhere near to clashing with the realities of the common man.
Make sure you get a sitter for the night, because you're not going to want to bring your kids to this one.
Following the awards and hullabaloo of the New York run, the expectations are a little out of reach.
Stoppard's play dissects the complexities and infidelities of the human heart, in a way that resembles stories from his own past.
A dining room full of pompous, uppity characters go round and round, slugging down wine and spitting out snobbery.
Mark Haddon has done well in examining human disorders, but his technique is complicated when brought to the stage.
The 60s musical comes to London with a full transplant of the Broadway cast.
A play that had an electric charge of controversy a hundred years ago now feels like an only slightly newer version of an old thing.
If you lived in Britain during the 1970s, you might be reminded of the bad television at the time while watching this one.