How to characterise Suzan-Lori Parks' play, Father Comes Home From The Wars? It is a play about civil rights, which burrows into the American psyche with dauntless precision. It apes Pinter - the fault line between comedy and tragedy is trod with a halting, humorous gait- that nevertheless defies a happy ending. It feels long; very long. Very (try three hours). It plays free and wild with dramatic convention: at times adopting Classical chorus, at times setting aside tradition for a theatre that's more clown school than west end.

Out of these conflicting forces, director Jo Bonney had managed to create an incredibly watchable, if somewhat baggy, production for the Royal Court

Parts 1, 2 & 3) was talk of the town when it premiered in New York in 2014. It galvanised audiences and New York Times theatre critic Charles Isherwood described it as his play of the year and the best play yet by the Obie, Pulitzer and MacArthur 'Genius' award-winning writer.

In a playful structural reflection of Homer's The Odyssey, Father Comes Home From The Wars is a play of three parts (Parks promises a further six plays to complete the saga). It tells the story of Hero, a slave who is promised his freedom in exchange for joining the confederate army. So, he fights against those that seek to abolish slavery. As necessitated by the poignant subject matter, there is plenty of thought-provoking drama. But the complexities of freedom and obligation are played out with an exhilarating blend of gravity, humour and humanity. It moves between melodious verse to impish wit and stark realism.

It cold have done with a chop - we won't deny it. But the second half of this production rises and sings high and clear of the world we came from, and where we live now.

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