'Light Shining in Buckinghamshire' by Caryl Churchill, strikes a fascinating balance between evoking England at the time of the 17th Century civil uprising, and dramatising debate with hugely contemporary political resonance. Written in 1976 the title of the play is taken from an anonymous Digger pamphlet dated 1648.

The drama debates political and religious ideology but shows ultimately that, even at this extraordinary time of significant civil uprising, the consequences of revolution to the very poor do not amount to much change. We see the base simplicity of a parochial and contained way of life, and hostility to outsiders. As order falls and the peasants react, if they steal, it is for basics such as food; they are portrayed as essentially not artful or greedy. There is an acceptance that to live is to bear suffering, and an overriding conviction in the imminent coming of Christ.

Polly Findlay's production is presented 'in the round', on a raised surface, with a cross-shaped earth-filled trench in the centre of room. Entering the studio, the audience are immediately in contact with the soil on the floor, a tangible sense of the land. There is a distinct Englishness to the imagery, black and white Puritan clothing, bread and beer and choral singing. The costume design moves from period to modern, emphasising the contemporary relevance of the play.

Dramatisation of The Putney Debates, with passionate ideological discussion gives a sense of politics having real meaning. Churchill presents the arguments of Cromwell, Diggers, Levellers, and a free-spirited group of thinkers. Discussion about how to run a society, the term of a parliament, who can vote, renders modern politics of recent months truly lily-livered by contrast.

Churchill's play shows history's inevitable repetition of events. There is a sense of crushing disappointment from the soldiers of the New Model Army, who've been fighting for seven years yet see no change. Their reluctance to go to Ireland in the name of religion, can't fail to provoke thoughts of contemporary so-called 'just' wars. A woman pulled from a meeting and assaulted for expressing her views, brings to mind the ejection of 82-year-old Walter Wolfgang from the 2005 Labour Party Conference. We have a strong sense of the austerity and earthiness of the life of a wandering class who debate and preach, which is contrasted with the warmth of their group discussions and their heartfelt singing.

Churchill engages us with an artful use of language and meaning with humorous twists, such as a conversation about Christ, in which she moves from religious imagery into blasphemy, and, in fact, every day terminology.

The performance is an evening of powerful ensemble playing, with many memorable moments such as the wonderment of peasant women (Helena Lymbery and Michelle Terry) seeing their reflections for the first time in a broken bit of mirror; and a butcher (Kobna Holdbrook-Smith), cleaver in hand, bare from waist up. Resplendent in black pvc apron and Doc Marten boots he reproaches and berates the privileged for their treatment of the poor. 'You cram yourselves with their dead children'.

In the second act, lighting designer Matthew Pitman engages the device of contained boxes that fall open to cast shafts of light on protagonists, as they speak of the future, of doctrine, and of history. Live glowing light bulbs are laid down in the earth in the closing scene. We step out of the studio avoiding treading on the bulbs, which provokes thoughts of their fragility and the inevitability of the light being crushed beneath our feet.

Runs until 07 August

Arcola Theatre, Studio 1

www.arcolatheatre.com

Review by Bryony Hegarty