"Although the Prologue, with its discrete contemporary political intent, is sensibly omitted, McVicar resists the temptation to exclude those elements of the score which others might deem un-dramatic and irrelevant: thus, the elements of spectacle — the ballet de cours with its extravagant costumes and scenic effects, the formal dances and elaborate divertissements — are intelligently and convincingly incorporated, smoothly dove-tailed with the scenes for the principals."
"That said, the more abstract interpretations of the final three acts are more compelling than the heavily stylised end-of-act frivolities of the first two acts. The Act 2 divertissement to celebrate the arrival of the nubile Creusa — with its sequinned, star-studded plane, diva-esque posturing and nautical buffoonery — is a little too reminiscent of Flying Down to Rio or the stylised hamming of South Pacific. But, the demonic diversions of a snarling Vengeance, resentful Jealousy and aggrieved crowd of demons who poisonously bewitch the golden dress destined for Creusa, are fittingly disconcerting; similarly, the insubstantial phantoms which defeat Creon’s armed guard in Act 4 exemplify the choreographic approach of Lynne Page: namely, to present extremes of emotional excess expressed within controlled formal structures."
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