I just re-read this, in preparation for teaching it, and--damn--it's good. I first read the play upon its initial run in England, and yet I find now--with the subsequent foreground of torture into our political discussions--the play engages on even more cylinders.
A key thing--to toss to Gio?--is that McDonagh, here and in most of his work, resists or confounds identification. The poles of this play's conflict are between totalitarian interrogators and a writer of repugnant, vicious material. It's a nice disruption of our desires for the neat opposition, and I particularly dug the way he deploys the "disabled" brother Michal in ways which evade and elude the simple characterizations of "the simple" in most mass culture.
Plus it's damn funny. Glad I'm getting this chance to see it tossed around in the classroom.