Can’t See For Looking articulates one of the central reasons I will perpetually champion fringe theatres – they are often the spaces where the least heard voices, ones that frequently speak the most important human messages, get the chance to take the stage. Next time you’re strolling down Oxford Street or along a residential Marylebone road, I implore you to travel 20 minutes further to The Cockpit, and empathise with the hidden suffering that lies beneath London’s glitz.

GEORGIA GIBSON, STRAND

The performance is confident and engaging. The play, with a touch of the thriller, always holds our attention as it encourages more understanding and greater compassion for people whose difficulties in seeking asylum are too often made worse by the public debate around migration.

Not only are the victims of modern slavery traumatised by the horror and sometimes shame they have suffered living effectively as a prisoner in a foreign country, but if they escape, they are then forced to endure a cold bureaucratic system of checks that might result in deportation to greater danger in their home country.

KEITH MCKENNA, BRITISH THEARE GUIDE

… what’s commendable about the show is its depth and complexity without sacrificing narrative. It’s a pacily directed, well-acted and hugely compelling look at a painful topic, culminating in a powerful ending. Highly recommended. Hugely Compelling.

SOPHIA HOLME, DAILY INFO

Two other sharply drawn characters add to the piece’s power: Nura, the martinet mother of Rosa’s employer, who runs the household and whose pride in being guided by her religious faith does not embrace non-Muslim servants; and Hetty, the cut-glass British chairman of the Expats Social Club.

Nura can’t see herself for looking: Hetty can’t see beyond wealth and status. Nura is the obvious baddy, being directly responsible for Rosa’s appalling treatment. Hetty finally gets a tongue-lashing from the angry Angel – the only character who both looks and sees.

This is theatre that’s political and personal, with great characters, with drama and humour.

Outstanding.

DANIEL NELSON, MIGRANT VOICE

It feels like it’s been a long time since I’ve watched a show that made me feel ‘angry’ about ‘the way things are’ and the absence of visible justice. However, this play is a reminder that theatre can have something to say about the here and now, and that just because it has a message, doesn’t mean it’s didactic or ‘preachy’. If anything, the power of Can’t See For Looking lies in the fact that it shows all sides of the argument of modern slavery, and if you want to apportion blame for how and why it thrives in the 21st century, governments the world over need to address their blind spot to where the money trail leads to.

That’s where the due diligence should lie.

MICHAEL DAVIS, BREAKING THE FOURTH WALL

I was so impressed and so upset and so horrified all at the same time. It was magnificent and so well done. How you wrung so much out of just 6 actors, no scenery and almost nothing else to help them I can’t comprehend – even some of your legendary humour. As always it was your words that did everything. Never a wrong word and each one right on for the particular emotional nuances of that occasion and that person. Congratulations another creative masterpiece.

JOHN STEIN

It was so moving and powerful with scripted characters with such depth that allowed us to explore the challenges and contradictions and complexity – and made us look to our own values and attitudes.

LUCY JENKINS