Dejevu is an enthralling and often exhilarating sequel to Look Back in Anger. Jimmy Porter, now JP, is still smoking, blowing his trumpet and despairing of the Sunday newspapers. Jimmy's only obsession was always himself, and the spiritual fulfillment he once found in his blistering tirades has dwindled to something meaner, sadder and much more affecting; a last line of defense against the yawning abyss of anonymity and death e He is still in the Midlands, but he no longer runs a sweet-stall. The surroundings are more comfortable. Cliff is visiting from Twickenham and Alison is still ironing his shirts. Not Alison his wife, but Alison his daughter eThe new play is a self-referential deconstruction of the old one. It is both an update and a throwback, a repetition and a variation, a sequel and a sure sign that while the arteries have hardened, the blood is still hot, thick and red e For Osborne, the capacity for love is all. JP postpones the emotional reckoning with his egocentric sermonizing. This is what makes him a great character, not a bore, and Osborne a great dramatist. In an age when reactionary pundits bark at us from all corners of the media, Osborne alone raises bilious invective to an art form and reminds us that good theatre is most powerful when it makes you want to shout back. (Michael Coveney, from London's Observer) One int. set.