At a time when a convicted drug smuggler is rumoured to be about to collect a fortune for her remarkably unremarkable story and when we are heading into a new round of so-called ‘culture wars’, in which an extraordinary amount of heat will be generated with precious little light accompanying it, it is refreshing to be presented with another of Michael Gow’s forensic explorations of the world in which we stumble around. From that explosion of fury, pain, and Wagner, The Kid (1983) onwards, Gow has observed society with a ruthless but compassionate eye. Anger and grief are the dominant emotions that fuel his work, and they are very much in evidence in his latest play, Once in Royal David’s City.