That spirit of delight which hovered over Christopher Alden’s stylish/surreal Handel bagatelle when I first saw it in the 2017 revival soars on eagle wings here.
At least two facts stare us unflinchingly in the face here. For all the programme’s harping on how “everyone has their own view about the death penalty,” I don’t think there was any doubt in the audience’s mind about the horror of its Old Testament vengeance. And I also doubt if anyone was ultimately left unmoved or stunned by the hard-hitting performances of a perfect cast.
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