Structurally, Mike Bartlett's 'Albion' is a very conventional play: an ensemble of characters meet up at intervals, sometimes histrionically, at the same location (in this case a garden); in between these encounters, dreams blossom then die. The garden is a place of some importance to the central character, Audrey, who wants to make it just so; but her resistence to change is futile, her indifference to the will of others mutually destructive. The play's title suggests a Brexit metaphor; but the politics don't neatly align with Audrey's social class; and while her rationale is that of a Brexiteer, her general attitude is more that of a baffled remainer who can't understand why everyone else just can't accept that she knows best. It's strange that the two sides of the argument are embodied in the same character; it's in Audrey's nature (and the line even exists in the play) that she likes everyone else to be her own support act; but the narrative might have been stronger had someone been about to balance her in the script.
