Given this monstrously difficult and strange text how did Jay Wright and his company put it over?  Superbly, in my opinion!  Jay obviously had a vision of how the play should look and sound and feel, and drove his team through to create it.  Elliot Carmen, whose variations were just enough to add or subtract atmosphere, clinically lighted Hazel Ashworth’s elegant, clean, white space.  Costumes by Laura Rushton and very professional make-up by Victoria Barder and Zoe Lynett completed the excellent sense of style that permeated the whole show.  When I heard that Jay was using film projection I would have bet the deeds of my new house that he’d go overboard and turn the MWT into an Odeon – oh well, wrong again! – He used it sparingly and thus effectively.

 I cannot emphasise enough how difficult this piece was and I think the whole cast deserve the greatest praise for what they did and the RSS should be delighted that we have so many young actors prepared to rise to such a challenge.  It was good to see Debbie Tinsdale setting aside her comic country persona and giving a straight performance and Brian Campbell was a suitably stern Kreon.  Jerome Scott is big, handsome and commands his space, and it will be interesting to see what he can do with a more complex script in the future.  Joolz Connery gave us a sympathetic Glauke despite having the advantage of height, weight and reach over the contender, the diminutive Helen Linstead.  Surprise of the evening was newcomer, Joe Foulsham, whose description of the murders was riveting - I hope we see more of him at the MWT.  A striking and powerful Anneli Page led a chorus consisting of Joanna Butler, Lisa Coster, Helen Ferguson and Lynn James, all of whom worked as a team whilst offering up individual voices.