Main House: I Am Yusuf and This Is My Brother

Coverage of the Chilcot inquiry might persuade you otherwise, but it's not news when British foreign policy makes a balls-up of the Middle East. It's tradition. Amir Nizar Zuabi's play rewinds to 1948, when the UN votes to partition Palestine, Israel is created - and the British Crown abandons its Palestinian subjects to their appalling fate.

'I Am Yusuf' is more elegy than drama. Performed in English and Arabic, it's a memorial to the uprooted people of Baissamoon, Al-Ramlah, Haifa; to those who died and to those who were driven away. It's a restatement of an old grievance rather than a new perspective - new perspectives being hard to come by, perhaps, in a country hurting from a 60-year-old wound that won't heal.

The story is of the childlike Yusuf ('you are the village fool - that's what you are'), his brother Ali and Ali's sweetheart Nada. The love affair is opposed by Nada's father - who is later shot for collaborating with the invaders. The play comes to life most vividly in these moments, when Ali is accused of the murder, and his feelings for Nada come into conflict with loyalty to his people and their cause.

Elsewhere there is mordant wit, as when a stirring address by a British soldier to his local charges is translated as 'some lies about the British mandate taking care of us'. Like much of the play, the violent expulsion of the Palestinians acquires a mythic dimension, as villagers carry away their lives on their backs (one, memorably, shoulders a full-grown tree), as they did fleeing the Crusaders, the Tartars and Titus Andronicus in years gone by. Their procession is mirrored in the deterministic fluidity of the play itself: a testament to a tragedy, to which we become, like Yusuf himself, impotent witnesses.