As cogent as the material is, or ought to be, it amounts to 90 minutes or so of pointlessness, with what little pathos there might've been spiralling into unintended parody.
All this hype aside, it is on several levels an excellent musical, filled with fascinating ideas, engaging characters and production values virtually second to none.
It's exuberant, unexpurgated, unafraid, edgy and bold. At the same time, it reflects the highest possible standards of athleticism, craft and choreography.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Contradiction, conundrum, conflict, racism, misogyny and homophobia run through this play like a main circuit cable snaking through a moral minefield of explosive allegation.