The Frontline makes a gutsy stab at being a contemporary social drama to match the vigour, daring and wit of Shakespearean precedent.
This is Euripides without tears, a happy ending snatched from catastrophe, and the funniest Greek tragedy you’re likely to come across.
There are some glimmers of directorial genius—Dunster triumphs when tackling the play’s sombre moments—but that, alone, is not enough to save the show.
It’s not every day that you get to hear a Shakespeare play (or at least a play partly by Shakespeare) for the first time.
Even without its climactic sequel this is a roguishly appealing, stand-alone historical romp.