The production is part of Manchester's current "It's Queer Up North" festival, and, in focusing almost exclusively on the king's love for his "minion" Gaveston, it emphasises the play's vision of gay persecution. Since the directors faced a work listing 32 parts with nine actors, clearly there were no auditions to play Rice ap Hwyl. Lawrence Till and Kate Raper's new version of Marlowe's Edward II is a fascinating instance of how a repertory theatre can deal with present-day imperatives, labouring in some respects, seizing opportunities in others The first imperative is, of course: be resourceful. At that point, she confesses, the humanity died within her and the slide into a career of butchery began. The harrowing aspect of this is that she was persecuted in the first place for being a woman of humanitarian principles Hers is not a case I would like to try.To 8 June Booking: 0171-328 1000.

When she's intimidated by a violent crowd, her courage fails her and she obeys their command to hack down her own Tutsi godfather. And Michael Cochrane's brilliantly sleek, lounging playboy of a Goering conjures up, in his insouciantly arrogant manner before the court, odd memories of Alan Clark.The acting is very fine. As Field Marshall Keitel, William Hoyland conveys, in his ramrod bearing, the instinctive, inhuman obedience of the Prussian soldier. Thomas Wheatley's Hoess, the Commandant of Auschwitz, answers questions about the mass murder of four million prisoners with the air of someone taking part in an interesting quiz about his pet subject. Having watched the preceding pieces, you can't help but feel that the prosecutors at Nuremberg, where there was documentary evidence and where the culprits had been arrested, faced, in some senses, an easier task than do their equivalents at the Hague. And given that the justice meted out was so clearly victors' justice (the Soviet prosecutor quite undeterred by the thought of his own country's atrocities), you may conclude that the only way to avoid this insidiousness happening again is, as Goldstone argues, through a permanent international war crimes tribunal.Femi Osofisan's Reel Rwanda, a clumsily constructed piece, but the most distressing of the three " responses", presents the story of a moderate progressive Hutu lawyer (Joan-Ann Maynard) who has seen her likeminded husband and children butchered and the rest of her family disown her.

Not many black faces there in 1946.The production comes from the same team that created Half the Picture, the Scott Inquiry drama at this address in 1994. Kent has reassembled a number of the actors from that event and seems to be inviting you to notice parallels, notwithstanding massive differences in gravity. When Jeremy Clyde's Rosenberg starts quibbling over the meaning of Ausrotung (extermination) and declares there is a distinction between the extermination of "Jewry" and of "individual Jews", it is tempting to recall the niggling disputes in the Scott Inquiry over whether, say, an effect was incalculable because it was huge or because it was minuscule. Kent, who has watched footage of the trials at the Imperial War Museum, presents the proceedings with a fine sense of atmosphere and period detail, once or twice twisted to artful effect.