For anyone who likes Havel, this is certainly a treat. But all the controversy that the theatrical staging of the play in Prague aroused detracts from the work itself. It is not a blockbuster, a life-defining statement, or a philosophical wrap-up of a world-renowned career. It's even hard to cal it a grand re-entrance onto the theatrical scene. It's just another Havel play, and I felt throughout that Havel was struggling and playing with this opposition all along, being very conscious of the fact that his audience (at home and abroad) will want to have a lot to say about his first play in over 13 years (or something like that). He starts to be epic, he follows classical themes (Cherry Orchard most prominently), makes very obvious references to politics of his era, yet every time we're not sure if he really wants to make a grand statement, if the orchard being cleared at the end in order to build a mall is satirical or just pointless, and if vice-president Klein is really Vaclav Klaus (Havel's real life political archenemy) or if Havel is just trying to stick it to us for expecting him to be so straightforward. ( )