What happens to the theatre of resistance when the struggle moves on? In some cases it disappears, in some it redefines itself and its targets, and in others it becomes part of the cultural heritage. The oppositional is now part of the mainstream.
That seems particularly true of South African theatre, which during the years of apartheid gave a voice to black South Africa abroad and helped open people's eyes to the horrors that were taking place. Now anniversary productions bearing the tag "classic" are to be found touring British arts centres and theatres, benefiting at the box office from the appearance of South Africa and its apartheid years on the national curriculum.
In some cases, such as the recent revival of The Island, revisiting the piece reminds us that we were always applauding the art and not just the sentiment. With Percy Mtwa, Mbongeni Ngema and Barney Simon's devised show Woza Albert!, which burst with electrifying energy upon the Edinburgh festival 20 years ago, the situation is not quite so clear cut.
A satire that imagines the second coming of Jesus Christ in apartheid South Africa, this two-man show remains remarkable for the richness of its poor-theatre techniques and its stunning physicality that still puts so much British theatre to shame. Its content, however, is so specific to its period that it feels like a museum piece. Originally it was fuelled as much by its message as by its medium; take away what it is struggling against and it loses its raison d'être.
That said, it provides an enjoyable 90 minutes (especially if you bone up on the programme so that you catch all the references). And it boasts two crazily energetic, inventive performances from Siyabonga Twala and Errol Ndotho, young men who would have been just kids when Woza Albert! played at this same address 19 years ago. Think about what Woza Albert! must mean to them rather than to you, and the evening doesn't have to justify itself at all.
· Until June 22. Box office: 020-8237 1111.
