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The paper focuses on the twenty-first-century resurgence of political concerns in British theatre, in the traditional (post-1950s) sense of criticising the unequal distribution of power in society. A key approach combines the seemingly incompatible genre characteristics of dystopia and the Theatre of the Absurd to foreground immobility, and two representative cases of such absurdist dystopias are studied in detail: Mark Ravenhill's  The Cut  (2006) and Edward Bond’s  Have I None  (2000).

The Immobility of Power in British Political Theatre after 2000: Absurdist Dystopias