Troilus and Cressida Review

Troilus and Cressida

Swan Theatre, Stratford-upon-Avon

My week at Stratford-upon-Avon finished with a performance of Troilus and Cressida. The RSC and an American theatre company, The Wooster Group, have collaborated to create this production. This would be the third Shakespeare play I am seeing for the first time this year.

This play is set during the Trojan War, where the Greeks spend several years besieging the city of Troy to take back the abducted Helen of Troy. The story follows two Trojan lovers, Troilus (Scott Shepherd) and Cressida (Marin Ireland). The lovers are separated when Cressida's father, Calchas (Scott Shepherd!?) defects to the Greeks and subsequently asks them to negotiate the exchange of the captured Trojan general, Antenor (Zbigniew Bzymek), for his daughter. Elsewhere, the Greeks have become lax after years of besieging Troy and their greatest champion, Achilles (Joe Dixon), refuses to fight for them. The Trojans meanwhile debate whether it is worth continuing the war for Helen (Scott Handy!??).

The idea behind this collaboration is that the two companies each play one warring faction. The American Wooster Group play the Trojans whilst the RSC play the Greeks. This allows them to show the differences between the two factions. The Wooster Group is an experimental company and it shows in the Trojan scenes. They present the faction as Inuits in a Alaskan setting. At first it was unclear and looked odd seeing the Wooster actors running on the spot and speaking softly using microphones, in what I assumed were Inuit accents. Once it was realised what their idea was, it was interesting to hear the amplified voices and music create this icy world. That said, the actors were at times inaudible against the loud music.

However, another idea they had was to use a number of small screens dotted around the stage showing clips that really did not relate to the story. All they do is show "real inuits". What the actors do with these screens is copy the actions that occur during these clips.  This idea of mimicing actions on screens hampered their acting since a lot of the time they were staring at these screens waiting for the cues to mimic what happened in the clips. For example in the scene where the lovers first meet lacked chemistry because they were also interacting with screens! This gets tiresome quickly, and it does not help that this takes up half of a 3 Hour and 35 Minute production. This may be the first week that this production has been on, but I cannot see how this can be improved upon since it is, rather sparsely, timed and would have to be radically edited.

The saving grace of this production was the RSC company. In comparison to The Wooster Group, their contribution felt like an acceptable RSC standard. The best performances were Joe Dixon as the soft hearted, yet mighty, Achilles, and Scott Handy as the shrewd and resourceful Ulysses. There were some odd characters, such as Aidan Kelly sporting a pumped up muscle costume as the boorish Ajax, whilst Zubin Varla played the fool of the play, Thersites, as a transvestite. What was more bizarre was that Scott Handy also played the part of Helen, the woman "who launched a thousand ships", in her one appearance.  The gender change roles I have seen earlier this year at the RSC I could accept, but this one took me aback and seemed to have little point to it. Yet in comparison to labourous interpretation provided by The Wooster Group I took  the occasional odd interpretation of roles by the RSC for granted.

As well as the screens there were sound desks at the back providing the visceral sounds through a collection of loudspeakers hanging above the stage. Also at the back was a revolving stage with a metal wall on it. Whilst the wall added to this icy world, by revolving it the two factions could be shown on either side of the wall. The Greek side consisted of an assortment of objects around a teepee tent whilst the Trojan side was bare except for the occassional set piece that they brought on. The Trojans wore traditional, styrofoam Inuit clothing, though occasionally they dressed the backs of their heads with some form of cast derived from classical statues, thereby connecting them to the play's original setting. Why they would do that I do not know. The Greeks meanwhile wore modern army uniform. I would just like to note that there were brief scenes of nudity.

A 3 Hour and 35 Minute production, where half of it consists of staring at screens, is quite a challenge to sit through. Yet the other half managed to make this watchable. The play itself was interesting to watch but I would like to see this produced better next time. It was obviously not to everyone's taste because about a third of the audience, including my companion, left at the interval.  Tread carefully, but only see this production at a Restricted View. 

The Tempest Review

The Tempest

Royal Shakespeare Theatre, Stratford-upon-Avon

Like Much Ado About Nothing this is the first time I have seen a professional production of The Tempest, after seeing three outdoor theatre productions. I was looking forward to seeing Jonathan Slinger playing the leading role, Prospero.

Upon this familiar stage that has been used for the last two productions in this Shipwreck Trilogy, the identity of the island is rather ambigious. The stage is rather bare with the occasional stone dotted around, resembling pieces of statue. The background, which could be clearly seen in The Comedy of Errors, makes the place look like an industrial site, especially when there was a see through cube that looked metalic, representing Prospero's cell at the back. This was a dark world, which made the magic feel beautiful and somber, a reminder of the Twelfth Night that is running alongside this. I have now seen five David Farr productions and it is becoming clear that he prefers to do a darker interpretation of the plays he directs.

Having now seen him in 13 productions, it is clear that Jonathan Slinger is a versatile actor. I can still imagine him as Richard III due to his dark tone of voice, and when it was announced that he would play Malvolio and Prospero I was unsure whether he would be able to do the roles justice, I was wrong. He plays the loving father to Miranda (Emily Taffe) wonderfully and showed moments of grief as he told her how they came to be living on an island. His fury came in waves and he displays Prospero's ability to wield magic well. At the beginning he casually told Miranda to go sleep, without using a gesture, whereupon she slumped to the ground. At the same time he was a humble Prospero and spoke the ending monologue poignantly.

I am beginning to think that Jonathan Slinger and David Farr are a great combination. He worked with Slinger last year in my favourite production of 2011, The Homecoming, and I think Slinger's approach to acting works well with David Farr's style. I am now looking forward to seeing the pair work together again for next year's Hamlet.

Two actors that have stood out during this trilogy are Felix Hayes and Bruce Mackinnon, who played Dromino of Ephesus and Syracuse (The Comedy of Errors), Fabian and Sir Andrew Aguecheek (Twelfth Night), and Trinculo and Stephano (The Tempest). Both were very expressive and produced some hilarious moments, particularly the four legged monster scene, which was met with a round of applause. I would hope to see them in further productions. Amer Helehl was passable playing Caliban with an Arab accent, though not as funny or remarkable as the other two.

Another highlight of the production was the relationship between Prospero and Ariel, played by Sandy Grierson. Whilst Grierson's scottish accent allowed him to play a harsh Solinus in The Comedy of Errors, he was able to alter his accent and play a tender Ariel. His body moved lightly and fluidly to signify the sprites airy characteristics. His suit was exactly the same as Prospero's, as is the other spirits' suits, signifying Prospero's power over them all. This was further emphasised when he took his suit off at the end, as Prospero relinquished his power. However both actors showed an affectionate relationship, and before taking off his suit Ariel also helped Prospero put on his Dukedom suit.

Emily Taffe did well in playing Prospero's young but strong willed child, Miranda, and her relationship with Soloman Israel's gallant Ferdinand was lovely. Having Kirsty Bushell play Ferdinand is the third time this year that the RSC has used a female to play a male character. She was very good as an impertinant lord in a red dress, a contrast to the suits and uniforms that were worn by the court.

The tricks that are performed were very good, for example the Banquiting scene that reminds one of the tricks that theatres could pull off during Shakespeare's time. I read that the storm emulating from Prospero's cell was inaudible to most of the audience. However, when I saw the production the quality was not great but I could hear a lot of the words. Maybe the company is now using microphones in that cell.

I thought this was an excellent production. This has been one of Jonathan Slinger's best performances, and plaudits must be given to a certain members of the ensemble cast. David Farr's sombre style provided some beautiful and poignant moments, which makes this production worth a low Top Price.

Twelfth Night Review

Twelfth Night
Royal Shakespeare Theatre, Stratford-upon-Avon

This is the third professional production I have seen. The previous two being  the Chichester production with Patrick Stewart and Gregory Doran's 2009 production with Richard Wilson. This time it was Jonathan Slinger's turn to play the tragic servant. I also went to a post-show talk, although the sounds produced by the tank of water being pumped out became increasingly distracting (whatever it was I do not want to mop it up).

I rather liked this waterlogged take on the play, after seeing a rather colourful production in 2009. This production presented an Illyria that was once a world of pleasure but has now fallen into disrepair. Using the familiar wooden boards of a ship and the tank of water, the idea was that this world was slowly moving into the sea. From the very beginning, as Viola (Emily Taaffe) entered the world by clambering out of the water as if she has been washed ashore, Orinso's (Jonathan McGuinness) court seemed to have lost the will to live. The Duke and his servants lay around on couches and played tunes on a piano that reminded the Duke of happier times. Olivia (Kirsty Bushell) was upstage lying on a bed, as if in solitary confinement for the loss of her brother.

Here to upset the countess' dispirited household comes Nicholas Day as Sir Toby Belch and Bruce Mackinnon as Sir Andrew Aguecheek. Sir Toby is ever the inappropriate uncle, sporting a Hawaiian shirt and speaking quite jovially, whilst Bruce wears a blazer that clashes with his spiky hair and plays Sir Andrew as the bumbling fool that he is. Felix plays the part of a dull-witted Fabian apt to making short and unintelligent interjections. Kevin McMonagle adds to this odd ball group as an aged Feste who has seen better days but merrily plays his role as a fool. He provides one of the highlights of the production with his songs, as he plays some sombre chords on a portable electronic keyboard, adding to this broken down setting.

If there was a problem with the production it would have to be the romantic leads. Emily Taaffe was quite a lovely Viola but she did not manage to go beyond that. She did not feel like the messenger that would wait like a sheriff's post till she is allowed to see Olivia. Whilst I liked Jonathan McGuinness's washed out (no pun intended) Orinso, though once again he did not provide anything else.

Stephen Hagan was alright as Sebastian, though it was quite noticeable how tall he was in comparison to Emily Taaffe. I do however take the whole illusion of the identical brother and sister for granted, since I assume that it would be greater challenge to pull off in comparison to the identical same-sex twins in The Comedy of Errors. Kirsty Bushell however was very good as she transformed from a grief stricken Olivia to an Olivia brimming with excitement to see Cesario again. She did however look a rather too old to fall in love with the child like Cesario/Viola.

Jonathan Slinger once again proves himself a brilliant Shakespearean actor as Malvolio. His performance was that of the stuck up servant with nose upturned in disgust. He made his status clear at times as he moved about the household on a buggy. Jonathan said that he preferred to approach his roles from a psychological stand point, and always tried to find the opposite of what Malvolio was perceived to be. Indeed his Malvolio displayed a neurotic side to his character even before the letter scene, and when he was given the ring by Olivia to pass to Viola he seemed to stare at his employer in a stupor. When his humiliation came he wore more (or less) than just yellow stockings. It was outrageous but it was clear that Jonathan was enjoying it, and he did say during the talk that he went on a journey with it.

As well as the wooden boards and water tank, the set comprised of a dilapidated hotel. Characters would come up and down an elevator and instead of a box tree the fools would hide behind a reception counter and a number of settees dotted around the stage during the letter scene. Malvolio and Maria were also dressed for the setting, as a smartly suited manager and a serving maid in a black and white uniform.

This production did well in showing a sombre Illyria within a destitute hotel, whilst an abnormal group of fools roamed the place plotting the humiliation of a snooty manager. The performances from the leading actors were however mixed overall, which makes this production worth seeing at a high Bargain.

Much Ado About Nothing Review

Much Ado About Nothing

Royal Shakespeare Theatre, Stratford-upon-Avon

This was the first time I had seen a professional production of Much Ado About Nothing. I have only seen an outdoor theatre production by the all male Festival Players Company. Despite my lack of experience of this play, I was excited about seeing this play put into an Indian setting. To get an idea of the conceptions behind the production I also went to see a talk by the director, Iqbal Khan.

If I would rank this against the authentic African Julius Caesar, and Rupert Gould's stylish The Merchant of "Las Vegas" then I would put this production in between. The production does very well in establishing an authentic Much Ado that is set in India. When setting out to direct this production, Iqbal was hesitant in setting this play in India, because he did not want to show an historic India, or India as is typically perceived. What he wanted was a production that gave a raw, livid, contemporary, and authentic commentary.

Before the production even starts you see a community of citizens working and socialising, as the sounds of an Indian city swirl around them. Even a large piece of awning that hung above the stage was taken down (which I think would have been a relief for those in the top most theatre balcony). During the interval the citizens are then preparing the wedding by bringing on a platform and hanging some drapes above the stage. I also like the fact that whilst this was going on the lighting grows dark to show the passing of the day.

During the production there were moments when cast members would bring objects on and off long before the scene ended, making the scenes alive with activity without being distracting. Iqbal also had the wedding scene set in a public area, in order to make Hero's disgrace a harder blow for her. He himself saw a public wedding when he went to India for research, and thought it was both kitsch, vibrant, vulgar, and generous (something which he thinks Shakespeare is). Indeed during the wedding the cast made the audience feel involved, and when the humiliation came it was painful to watch (in a good way).

Iqbal Khal also preferred productions that resonate, rather than aesthetic productions, and indeed the Indian style does not take over unless when it is necessary. When it is necessary, such as during the party and wedding scenes, the stage became awash with colour, a band at the back of the stage played some fantastic pieces of Indian music, and occasionally the cast would start a vibrant dance sequence. On occasions characters would start singing a song and the colourful lighting would come on when nothing was going on to suggest that this was needed. I did wonder whether this lighting was needed in such a simple scene, unless this was meant to be an Indian dramatic device.

The cast members gave some fine performances as the main characters. Meera Syal was a firm Beatrice who, as Iqbal said, acted as a mother figure in formal clothing next to the spoilt Hero. She spoke her witty lines, when making fun of Benedick, with feistiness. Benedick was seen as a man who was defined by his military career and wit. Yet in front of women he was inexperienced, as if he was a child, and for this Beatrice punishes him. Paul Bhattacharjee certainly puffed up with pride yet loses his nerve after Beatrice insults him during the party. After listening to Claudio and Don Pedro play a trick on him he starts to lighten up, gives big gestures and his voice wavers on a high pitch at times. During the trick scene it was very nice to watch him climb up the set without being noticed. On the other hand Beatrice's trick scene was an odd one, during which Hero stood off stage and conversed with Ursula onstage via mobile phone, during which Beatrice appeared to Ursula to closely listen in on the conversation.

Amara Karan portrayed Hero as an indulgent daughter, making her childlike and playful to watch. Sagar Arya was at first a nervous Claudio but resolutely announced Hero's dishonesty to everyone. The watch came on wearing household items and overreacted to every command made by Dogberry and every sound they heared whilst on guard. If there was one performance I did not like it would be Gary Pillai as Don John. I do not expect Don John to come on twirling a moustache and announcing that he was the villain, but this actor’s performance could have been anybody.

Iqbal said that he likes actors to make different choices to create some interesting ideas, whilst challenging concepts the RSC, and he himself, may have about the production. This approach was quite apparent in this production because the cast managed to provide some interesting moments. For one, the supporting actors would join in such moments. The best example would be the girl that is sent by Benedick to bring his book to the Orchard, who is given an extended role during the trick scene. At times, the cast would break the fourth wall and act directly to the audience. There was even an incident when the aforementioned awning was being taken down, during which one of the cables swung around and brushed against an audience member, to which an actor shouted to the person in charge of the cable to stop hitting the audience.

The overall set looked very good. There is a house at the back with some nicely detailed Indian architecture. A balcony and a set of stairs are connected to the theatre's balconies, allowing for some neat entrances and exits. The stage floor is basically tiled and there is also a bare tree in front of the house, with ropes draping around the branches. The Courtyard has been converted to a street in Dubai, with painted walls and flooring, some objects that reflect India, whilst some bicycles are hung from the ceiling. As well as the colourful lighting, rope lights were strewn around the balconies and were lit up during the wedding scene.

This Indian production was both well done and very entertaining. The actors put together some interesting moments whilst making every effort to establish an authentic Indian Much Ado About Nothing. They occasionally interacted with the audience and performed some vibrant dance sequences and songs. This is worth a low Top Price

The Comedy of Errors (RSC) Review

The Comedy of Errors

Royal Shakespeare Theatre, Stratford-upon-Avon

I have returned to Stratford-upon-Avon for my annual summer break . I will be catching up with the season's second theme, Shipwreck Trilogy, comprising The Comedy of Errors, Twelfth Night, and The Tempest. I will also be seeing the two latest productions, Much Ado About Nothing and for the first time Troilus and Cressida.

Back in March I went to see the National Theatre's live screening of their production of The Comedy of Errors and I thought that it lacked farce on an intimate level and was not brave enough to explore the play's darker tones. What is good about this production is that it manages to mix together the dark and farcical elements of the play. Whilst they occasionally overlapped, the play was still a farce in its own right whilst the Duke's (Sandy Grierson) strict reign was never forgotten between beginning and end. The twins of Syracuse (Jonathan McGuinness and Bruce Mackinnon) arrived as illegal immigrants climbing out of an imported crate. The first scene shows Egeon (Nicholas Day) being tortured by the Duke by being dunked head-first into a tank of water. Between each scene soldiers would march across the stage either playing the Ephesusian National Anthem, holding loudspeakers to broadcast the Duke's laws or hunting down immigrants from Syracuse.

On the otherhand whilst the slapstick moments were on top form, previous productions have been more creative by using the scenery and getting other characters involved. As an example, this production lacked a big chase sequence, which was quite a dissapointment. It would have been interesting to see how such an event can be performed on the thrust stage. The high point would have to be Doctor Pinch's (Jonathan Slinger) and his entourage of black clothed assistants. Otherwise the production does not surpass the National Theatre production's emotional ending.

However, what makes this a better production than the National Theatre's is that it was intimate and versatile. For example, when it came to using something as simple as a door for the twins to shout through to each other, the National Theatre's production was restricted by its grandiose set. In this production the cast only used one moveable door with aplomb, instead of a fixed door with an intercom.

Stephen Hagan, Jonathan McGuinness, Felix Hayes, and Bruce Mackinnon were great as the twin brothers. Hayes and Mackinnon in particular were very expressive and energetic as the comic servants, especially during the globe scene. This is however the first time I noticed that the director did not put enough effort into establishing the allusion that the twins were identical. Whilst I would overlook the different pitches in the servants' voices, Adrianna would have noticed that her husband had suddenly aged and shortened in height.

Sandy Grierson was an impressive Solinus, though his use of the loudspeekers became annoying. Nicholas Day was great as Egeon as he told the character's woeful tales. Emily Taaffe was a sweet and innocent Luciana, whilst Kirsty Bushell was an overpowering and furious Adrianna. Lastly, Jonathan Slinger returned to the play as a cameo in the role of Doctor Pinch, which he performed with grotesque panache.

The stage compromised of wooden boards, and during this trilogy it reminds one of a shipwreck. A tank of water appears from beneath the boards downstage, giving the appearance of the shoreline. In keeping with this waterlogged theme, an industrial dock is the setting for this production. Around the stage there were oil drums, containers, crates, sacks, anchors, netting, and buoys. An abandoned shopping trolly could also be seen within the murky water. A crane moved above the stage and brought on different pieces of scenery

This production is a step up from the National Theatre's production, though lacking in creativity during the physical moments. It is still a very good start to the trilogy and should be seen at a Bargain.

Heartbreak House Review

Heartbreak House

Festival Theatre, Chichester

To start off, this was the first time I saw a George Bernard Shaw play. I have seen My Fair Lady twice and it is a favourite musical of mine. This was also an opportunity to see Derek Jacobi, whose King Lear I regard as one of the best Shakespearean performances I have ever seen.

During the first year of World War I, Ellie Dunn (Fiona Button), her father, Mazzini Dunn (Ronald Pickup), and her fiance, Hector Hushabye (Raymond Coulthard), are invited to stay at Captain Shotover's (Derek Jacobi) house by his daughter, Hesione Hushabye (Emma Fielding), a friend of Ellie's. However things are not what they seem as hearts are broken and engagements start to unravel.

This is as much of the story as I can tell, because it is quite a challenge to understand it. I mentioned before that I am not a fan of Charles Dickens' wordy style, and now I find that Shaw's style in this play is the wordiest of the wordy. At first I understood that the play was following a household of pleasure-seeking members of the upper classes. However the use of grandiose words soon took over, and as deceptions were revealed and characters delved into each others' matters, I began to question what the characters were talking about in the first place. I even had to remind myself on several occasions what heartbreaking, which (apparently) was one of the leading themes of the play, meant.

It does not help that the characters felt a bit one dimensional. Most of them were in a world of their own within this setting of pleasure and there was little character development. I did not even care what happened to them when a zeppelin appeared near the end, a slight reference to the looming tragedy of WWI that Shaw uses to show how oblivious the characters were to the outside world.

The best aspect of this production are the actors, no matter how thinly drawn their characters were. Emma Fielding simpers with self-satisfaction as Hesione patronised certain characters. I was most confused by Ellie Dunn's story arc; she seemed at first to be taken aback by the lighthearted atmosphere of the household, but soon became as self-absorbed as the rest of the characters. Yet Fiona Button did well in playing this young and innocent character. Sara Stewart played Lady Utterwood like a child in her own little world. Raymond Coulthard played a sportsmanlike Hector Hushabye, and gave the only applauded moment in the production when he quickly covers up a savage mock fencing match with some press ups in front of Shotover

Captain Shotover was the highlight of the production, and I am not just saying that because Derek Jacobi is playing the role. Amongst all the conversations that was going on I preferred his perspective, no matter how strange or off-topic his comments were. By giving an innocent yet delusional take on the role, Jacobi gave a great performance.

Apparently the house that the play is set in is meant to allude to a ship without a rudder that contains different members of society. If that is the case then apart from the occasional nautical object and Shotover's commands as though he is still on a ship, there is little to suggest this theme. Otherwise I liked how the production showed that the characters were in their world of fantasy by occasionally using dreamlike music as characters would appear and disappear mysteriously outside the windows.

I may not be the right person to say whether this is a good George Bernard Shaw play or not, but as a beginner to his plays I can definitely say that this is not a good introduction. Derek Jacobi is really the saving grace of this production, but unless you can understand the most complex of conversations this is only worth seeing at a Restricted View.

Antigone Review

Antigone

Olivier Theatre, London

I remember studying Antigone at college and was intrigued to see this production because it had been receiving favourable reviews. I was particularly interested in seeing Doctor Who veteran Christopher Eccleston playing the tragic leader in this production.

The production is not set in its own time period. Rather, it is set into today's world of a modern block of offices. However this did not work because the production is a translation of a Greek tragedy, a dramatic genre that has been overwhelmed by the artistic ideas used to create the modern setting. Instead of the chorus speaking as one during scene transitions, as would be the norm in a Greek Tragedy, lines were given to individual members. Whilst this looked interesting, I still remember the chorus singing their lines wonderfully in the National Theatre's Oedipus, and I rather missed this effect. Most of the characters' first entrances were not dramatic, especially Creon's, who is seen clearly bracing himself to play the role of king before walking in. Also, whilst I was looking forward to the tragedy that ends the play, putting it into a modern setting made it feel under dramatic. Furthermore, not even the modern setting could hide the Greek elements, particularly near the end, and these then looked out of place in a 20th century world.

Yet the cast were excellent in their roles. Christopher Ecclestone was a rather calm, yet firm and hardworking Creon. Yet as his leadership is called into question he lashes out, and laughs at the idea of listening to the people of Thebes. His patience wears thin as members of his family plead with him to forgive Antigone to the point where he becomes violently angry. When the ending came, whilst speaking with sorrow to the point of wailing, he does not break down entirely.

Jodie Whittaker plays a strong willed Antigone, who defies Creon and antagonises the chorus. Luke Newberry was a skinny and young Haemon, yet he was well spoken as he defiantly pleads with his father to repeal the sentence against Antigone. Luke Norris played the part of a nervous soldier who had to bring Creon the news that his laws have been defiled, all the time reassuring Creon that he was not a defiler. Jamie Ballard, as Teiresias, produces a terrifying prophecy and sobs at Creon's defiance, before yelling at him to make amends before it is too late. Zoe Aldrich, as Eurydice, played the part of Creon's fearful wife with calm determination in the face of the tragedy that unfolds in front of her. The chorus did well in giving their perspective on the events, from stunned silence to pure terror as the prophet forebodes the tragedy.

At times the set produced some interesting moments. It mostly consisted of chairs and desks, with papers and old computers stacked on top, around three glass cubicles. The Olivier Theatre's turntable would turn to reveal a corridor with grey cement walls that was only used twice; the most significant being the first scene in which Antigone meets Ismene secretly. This was effective in establishing Creon's hold on Thebes, as the two girls talk with their backs against the wall whilst checking for any nearby sounds. The death of the two brothers was indicated as the chorus watched the fight live from a screen, which reminds one of the image of Obama watching the attack on Osama Bin Laden's last hideout. The prophet's entrance is announced with the lights going out and machines starting up uncontrollably, signifying the gods' displeasure. Sounds and music were used to show the hustle and bustle in the offices, as the chorus went about their business.

The style of the original text was overshadowed by the ideas that were introduced when designing this production, which made the integral drama of this play feel flat. These ideas however were impressive, and the acting is good enough to see at a Bargain.