Century, he calls The Colline Pentad and considers his major project of the past decade. Chair was praised in Exeunt, Variety, TheaterMania, and The Guardian, but criticized in Financial Times and The New York Times. Of A Window, Lyn Gardner wrote, "This is a knotty and uncomfortable play of austere poetry and vision, written by a playwright who is like a latter-day Tiresias: sometimes gnomic, but seldom wrong". Gardner described the play as having "understated power". In 2002, Arthur Smith said of Existence, "It was all so powerful and demanding that at the end of it I fell into a disturbed sleep for an hour and a half." In 2005, David Davis lauded Born as "perhaps his greatest play to date". During the early years of the 21st century, there has been renewed worldwide interest in Bond's work and ideas on drama. In France, he has held several conferences with participants drawn from a wide audience, has directed many workshops in Paris and elsewhere, and is the most performed playwright after Molière (according to Lynne Walker in 2005). He has been invited to take part in conferences and workshops all over Europe and America. In the United States, Robert Woodruff and the American Repertory Theatre produced Olly's Prison in 2005; Woodruff also directed Saved (2001) and Chair (2008) at Theatre for a New Audience in New York. In Germany, interest in his plays has remained high since the seventies. In Britain his plays are now regularly revived in community theatre and in 2008, he had his first West End production in a career of almost fifty years with Jonathan Kent's revival of The Sea at the Theatre Royal Haymarket, with David Haig and Eileen Atkins. Among recent productions are revivals of Lear at the Crucible Theatre Sheffield featuring Ian McDiarmid and Restoration with added songs, toured in early 2006 by the Oxford Stage Company. During the autumn of 2010 The Cock Tavern Theatre in London produced six of his plays simultaneously (one chosen from each decade), including a new one, provisionally entitled There Will Be More, commissioned for this occasion and performed although unfinished. Notably, Bond himself directed a revival of The Fool and took over the direction of There Will Be More. The Guardian's Lyn Gardner wrote, "There is some hard, unflinching writing here, but uncertain performances and an awkward, often unintentionally comic production make this seem perilously close