Kate Bassett for The Independent posted her review of the play in today's paper.

There is no happy ending in Judgment Day, a gripping drama by Odon von Horvath which is, unbelievably, little known in Britain. Newly translated by Christopher Hampton and staged by James Macdonald, this is a darkening portrait of a 1930s Germanic small town and, more particularly, of its station master – a seeming model citizen called Hudetz.

Judgment Day starts out as a satire of parochial lives. Sarah Woodward's frumpy Frau Leimgruber sits on the platform, next to a bovine farmer, battening on any titbits of gossip with growls of pleasure, like a terrier mauling a bone. Meanwhile Joseph Millson's uniformed Hudetz keeps himself to himself. Quietly shy, he pops in and out of his office, switching the signals. He's always lived by the rules until, finding himself alone with the innkeeper's daughter (Laura Donnelly's sprightly Anna), he's suddenly kissed and forgets the signals, with fatal repercussions.
What's fascinating is the moral messiness of the recriminations and exculpations that ensue. Hudetz swears he's blameless. Anna perjures herself in his defence. The liars are exonerated by the biased community, the prosecuting evidence judged pernicious.

Yet the menacing fear intensifies that the guilty truth will out, and Hudetz and Anna will be hunted down in the woods, either by a lynch mob or by their own internalised furies.Designer Miriam Buether's slow-turning set, surrounded by a gloomy palisade, is ingeniously fluid and claustrophobic, and the repressed tenderness of Millson's Hudetz is unnervingly combined with a lethal iciness.