I must start with a confession: for the first time ever for a school production, I arrived at the theatre knowing nothing at all about the play except the cast and crew. I had studied Jacobean tragedy but never touched on this particular one. So whilst I knew the essential ingredients of murder, revenge and violent death would be there and balanced poorly by the reward of virtue, I had no idea how the play would unfold. This therefore was a rare experience for me, approaching the play from the perspective of a complete novice.

From the very beginning of the first scene I was struck by the total immersion approach of the cast to the mood of the production: from beginning to end we were never led down any Brechtian street of being reminded that we were merely an audience watching actors perform. We were silent but participatory witnesses to the spectacle of dishonour and death in Valencia.

The mood of the piece was established immediately by the grotesques: wearing ragged and ill-fitting costumes and leering maniacally or merely grasping Ophelia-like at their frayed raiment’s or some ‘invisible’ friend. This manic otherworldliness was compounded by a judicious choice of music: ranging from ironic and beautifully sung (Maddy) rendition of "My Funny Valentine" to the comically bizarre "Roll up…" song touching aptly on ‘death, decay and disease’ – the physical and mental collapse of the minor characters matching the moral degeneration of the leads. Apt too that Billy Holiday should play such a fitting part in the subliminal but essential element of supporting music – her own collapse and death compounded by drug abuse to match the sly descent of the heroine. I must also mention the make-up and costumes which gave the whole piece its hideous deliciousness: revoltingly alluring, repellently effective.

The cast (not in order of appearance as per programme) quickly captured the audience’s attention – essential in a play as rarely given an outing as this – by clear diction and delivery that assuredly demonstrated an understanding of the lines uttered. Nicola was outstanding as Beatrice; her gradual decline into moral turpitude accentuated by increasingly terrifyingly insane make-up. Such a part requires an extraordinary range of an actor: from flirtatious, na�ve fianc�e to scheming barbarous murderess and sordid lover of the vile De Flores; Nicola gave us just that in good measure, never over losing her grip on a part that would have been challenged to the most experienced of actresses.

Robin’s De Flores was a spellbinding tour-de-force in Machiavellian skulduggery. He sustained the evil grin throughout: it’s increasing menace all too clear to the audience, as his machinations became clear. His Pierrot-like make up, contrasting with ‘hideously disfigured’ demands of the part in the script (programme) was used to excellent effect: beauty only being skin-deep her and the moral degeneration reflected in the Dorian Gray’s portrait-in-the-attic effect on his counterpart. Both leads were clear, expressing a full range of emotion without ever slipping into melodrama.

Annie's Diaphanta was played absolutely straight, form the comic flirting with Jasperino (Dale) to the wide-eyed innocence of the drug-taking scene and its sexual aftermath. We were forever driven to sympathise with the character’s Emilia/Desdemona – like innocence and the contrast with her mistress was fully developed in a jovial and engaging performance.

Chris gave gravity to his role and made up for the problem of not looking the part age-wise by using a restrained and paternalistic not to mention patronising mien in his performance: "I’ll have my will".

Chris’ Alibius showed Chris’ excellent range in diction and delivery, he was fully engaged in his role as a scheming doctor.

Adam's performance as Lollio was the perfect foil, calmly contrasting with Chris’ energy. As Alonzo, Adam was equally suited as the suitor – though to a neophyte such as myself, here the minimal costume distinction added rather than subtracted to the confusion – the two characters' appearance was not sufficiently distinct for an uninformed audience to realise that these were two separate characters. As the ghost of the dead Alonzo Adam was sephulchrally aplomb.

Alister and Michael seemed to be competing for the "Poor Tome" village loony of the year competition, each of them meriting an equal measure of relief-humour from the tragedy-soaked audience. Clearly both performers were making the most of the smaller parts than either would prefer, and successfully showing either could equally well have taken the leading role.

Michael was Alsemero. He gained authority in the role as the character gained in authority through the play, the earlier besotted suitor becoming the anguished cuckold goaded by Dale’s revelations of Jasperino. Richard as the revenge seeking Tomazo was commanding and convincing in his snubbing of the others’ fawning hypocrisy. Nick’s Pedro demonstrated authority in both manner and delivery. Lucy as the shrewish wife was clearly enjoying her role and in her coquettish movement and facial expression kept her two suitors forever on her tenterhooks.

Julia and Holly, sporting ridiculous drawn-on moustaches were suitably officious and sombrely obedient.

The most striking thing about the production was the orchestration of the supporting cast/chorus. From the very beginning of the play to the last ghoulish corpse bowing, from the nightmare-inducing loony-tunes dance to the physically synchronised yet distinctly different ‘mad’ performances there was never any doubt as to the method in the performance. It would be wrong to name specifically any of the Madmen/Gentlewomen for no other reason than that it would miss the point: this was ensemble performance at its best – a manic yet never intrusive manifestation of the moral mire of the named parts.

Credit must also be given to the excellent sound cues, unnoticed prompt, stage management and all the good work of the prop makers, and supporting crew. Suffice it to say that St Ivo has not seen a drama production of this calibre for many, many years; I know I speak for all the school, cast and crew when I say, "Follow that!" to our beloved Amanda Crellin!