Skylight, by David Hare, Wyndham's Theatre, directed by Stephen Daldry

This is about as blockbuster as London’s West End can get. Carey Mulligan, one of the world’s most recognizable actors, and Bill Nighy, one of England’s most treasured talents, treading the boards together in David Hare’s timeless mediation on the nature of contemporary British society.  Oh, and its directed by Stephen Daldry, the Oscar-nominated man who brought up Billy Elliot the closing ceremony of London 2012.

Set in a grimy flat in Kensal Rise North London, the play is as pertinent today as it was during its premiere in 1995. Intricately exploring the relationship between the public and private sectors, the play interweaves a narrative of lost loved that unfolds during one fateful evening while snow blankets London’s streets.

Kyra is a sanctimonious teacher working in one of London’s roughest schools. Tom, her ex-employer and illicit lover, is a wealthy restaurateur who personifies the Thatcherite characteristics that are derided by the left-wing press. They muse over their differing positions in society as the evening wares on and they discuss the recent death of Tom’s wife Alice.

The opposing values that Kyra and Tom represent risk descending into a crude dichotomy between the saintly public sector and the nefarious private sector. Thankfully, in Hare’s safe hands the play gives both sides of the argument equal billing. While Tom’s crude elitism is derided as out-of-touch, Kyra is equally scorned for her self-righteous attempts to masochistically fix society at her own expense.

Hare’s dialogue is scintillating throughout. The verbal dexterity of the intellectual sparring and the careful dissection of the complex issues are thrilling. What is essentially a dramatized version of a Guardian comment piece is enthused with life because of the romantic plot.

Bill Nighy and Carey Mulligan are both on top form in their demanding roles. There is also excellent support from Matthew Beard as Tom’s disgruntled and wayward son Edward.

Hare intriguingly leaves the play’s personal and political questions unanswered. At a time when the public sector is being peeled back and the private sector is being wholeheartedly championed once again it is edifying to see Hare’s timeless play back in the West End.