In basing its version of the legend of Orpheus and Eurydice on the 1949 film by Jean Cocteau, Steeple Theatre Company seizes some exciting design opportunities in its presentation of Orpheus. Harry Moore's translucent screens vividly reflect and intensify elements of staging and character; in the latter case this is just as well since the performances, led by Conor Lovett in the title role, have little of themselves to intensify.

There is no attribution given for the script in which the myth's rapturous singer is presented as an actor (about to play Hamlet) instead of Cocteau's poet; this is meant to allow a questioning of the nature of theatre, of the real and unreal.

But if, as this play states, the privilege of legend is that it is timeless, then the tragedy of legend is that anyone can play around with it. This reworking of a reworking keeps at least a thoroughly Grecian imponderability, although the songlines of soprano Helen Hassett and the sound compositions of Herman Bailey buttress Regina Sexton's direction.

This is a production, rather than a play, of ideas, most of them technical; a fleeting disappointment is that, given the quality of Judie Chalmer's Eurydice (despite having to wear a suburban auntie's cardigan), no one thought to re-tell the tale from her point of view.

Orpheus is at The Granary on the Mardyke until January 22nd. To book phone 021 904275