JEZ BUTTERWORTH’S Jerusalem was first staged in 2009, in the acid reflux of the post-financial crash era and the hangover of the Blair era’s unfulfilled promise. Its themes of dysfunctional Englishness twirl around the maypole of its protagonist, Johnny “Rooster” Byron, who channels mysticism, bloody-mindedness, artfulness and delusion across a riveting three hours at London’s Apollo Theatre.
Byron (Mark Rylance) resides in easeful squalor in an old Airstream caravan in the woods outside the village of Flintock in west Wiltshire, dealing “whizz” (amphetamines) and on the verge of
