This contribution begins by analysing the British critical reception of Hans-Thies Lehmann's Postdramatic Theatre (translation 2006), firstly in terms of the national theatre landscape in the UK, which diverges from theatre in German speaking countries with respect to the dominance of commercial theatre and the privileging of playwrights over directors, and secondly in terms of Lehmann's heterogeneous theorisation of the role the text in postdramatic theatre. The contribution subsequently explores how selected plays by Sarah Kane and Tim Crouch can be described as 'no-longer-dramatic' texts that call for postdramatic theatre forms, while at the same time retaining some dramatic elements and referring to the dramatic tradition. The chapter proposes that it is often the plays at the interface of the dramatic tradition and postdramatic theatre that are especially political.