His [director Daniel Syrkin's] choreography of the action, along with the overall restraint he elicits from the cast, keeps us attentive despite the extremities of the plotting and the occasional woodenness of the writing, at least in translation. The show is beginning to have an echo-chamber quality — we’ve been watching the same people in crisis in the same place for a while now — but it can still suck you in.

The return of this exhilaratingly knotty espionage caper proves worth the wait.

While Laurie’s presence Anglicises Tehran a bit, we’re still intrigued by the subtleties of Tamar’s and Faraz’s stories, especially now that their stories have started to come together.