When "Troilus and Cressida" was played for the first time at the Brattle Theater a little over a year ago, it caused a considerable sensation. Amateur actors did a fine job with a very difficult play. The present production, which opened Thursday night, has been changed in a number of ways--there are new actors in many of the minor parts, and new interpretations in some of the major ones--but the quality has not changed.

"Troilus and Cressida" is not simple dramatic material. Although it contains some of Shakespeare's finest lines, the play is talky and often lacking in action; a good deal of judicious cutting was necessary. (The new production has been cut even further.) A second difficulty is that the story of Troilus and Cressida, grafted onto the traditional Homeric legend, makes the plot disjointed and confused. The ending is inconclusive, and there seem to be no outstanding characters. It is a tribute to Peter Temple's direction and to the talents of the east that the Brattle Theater succeeded in making the play an effective drama.

Jerry Kilty, as Ulysses, gives perhaps the top performance of the play. His interpretation of the shrewd Greek strategist, practical, polite, and somehow sinister is a quite convincing one. Hector, who comes closer to being the hero of the play then Troilus does, is a straight and rather dull part. Robert Fletcher handles it well, if with a bit too much restraint. His seting here shows considerably more reserve than in last year's performance.

One of the oddest, features of the play is the part of Thersites, who, largely detached from the action, observes and comments on the events about him. He combines the functions of the Shakespearian "fool" with the chorus of a Greek drama, and his bitter words seem to be the theme of the play "still wars and lechery--nothing else holds fashion." Albert Marre has avoided the ranting style he used in the previous performance, and speaks with just about the proper degree of bitter cynicism.

Jan Farrand, as Cressida, has changed her interpretation considerably. Instead of playing a sexy two-timer as she did last year, she makes Cressida out to be a well-meaning and affectionate girl who is the victim of circumstances. The change in role has not diminished her charms as an actress. Cressida's uncle, Pandarus, is played by Thayer David, who makes the part, that of a coarse and effeminate old man extremely amusing.

Bryant Halliday plays a competent Troilus, although he does not seem to get across the depth of feeling the part requires in the later seenes. As the meat-headed Ajax, John Peters is magnificent. Will West plays Achilles with a sufficient amount of sulky pride and a distinguished profile.

Robert O'Hearn's sets are adequate, but they seem too heavy and static. The costumes, by Robert Fletcher, are generally brief, but interesting, if you don't mind gilded lumberjack hoots and bathing suits. Miles Morgan's lighting is well handled, particularly in the last seene after Hector's death.

The shortcomings of the Brattle Theater's "Troilus and Cressida" are shortcomings only by comparison with the general high level of the production. Exams permitting, it makes a rewarding evening.