[The critic W. Stephen Gilbert] once hesitatingly dubbed Brenton and [David] Hare the Lennon and McCartney of the New Wave. Indeed, the comparison has its point. Brenton is most at home when creating startling and often outrageous coups de théâtre or when composing choice, vernacular exchanges for his favourite characters, who are usually villains, policemen or angry, disenfranchised youngsters.

Hare once confessed, albeit wryly, that he can only write about the middle classes; and while it is true that he can pen convincing dialogue for Chinese peasants or zonked-out rock musicians, his most memorable creations stem from the highly articulate but often emotionally sterile bourgeoisie….

Brenton has fewer fears about the content of his plays, seeing himself in the epic theatrical tradition of Brecht, a playwright politicized by his own writings. Even in his most accessible play to date—Epsom Downs—Brenton creates a vivid dramatic tension...