First seen at the Royal Court in 1997, Martin Crimp’s postmodernist piece has been translated into 20 languages; and it’s not hard to see why. In denying the idea of fixed identity or linear narrative, it speaks to the modern age. But, much as I admire Crimp’s text, I’m not sure it is helped by Katie Mitchell’s hi-tech revival, which has strong echoes of her recent version of Virginia Woolf’s Waves.