MASS Donmar, WC1

AFTER THE SHOOTING Despite the title, Anna Yates’ setting in an episcopalian church room full of calm skylight, and one effective moment near the end, Fran Kranz’ tense 105-minute play draws little from any Christian sensibility of forgiveness or eternity. It concerns, like James Graham’s PUNCH but in real time, an episode of restorative justice. In this case it is vicarious on both sides: the perpetrator is dead. His parents are at a table with parents of one victim. The scene is set before, Susie Trayling’s nervous Judy and the teenage (possibly community-service) assistant Brandon , fuss about setting up, worry whther there should be coffee and food . Kendra, a masterful social-work figure, checks it up. And then the pairs arrive. We do not for a while know the full circumstance, or whether the victim was targeted. Kranz’s technique, directed with purposefu slowness by Carrie Cracknell, is uninterested in projection or , for a while, building much dramatic tension. This actually is…