It wasn't good enough for Neil Rudenstine--he cut out at halftime. But this may have been an ominous mistake for the future president of Harvard, because this production of John Webster's The Duchess of Malfi deserved to keep most people planted in their seats.

Director Orion Ross, along with producers Hannah Feldman and Thomas M. Lauderdale, made Duchess memorable both in innovation and production quality. The play they so successfully interpreted describes the plight of a young widowed noblewoman, the Duchess (Tanya Selaratnam), whose forbidden relationship with a lower-class man subjects her to the indignation of her brothers.

The Duchess defies all rules of decorum to seduce the current proprietor of her household, the charming Antonio Bologna (Cullen Gerst). But her protective brothers, the Cardinal of Ancona (David Gammons), and Ferdinand, Duke of Calabria (Sean Gullette), are alert to the Duchess' behavior. They assign Bosola (Suzanne Rose), a soldier of fortune, to spy on the Duchess' activities. In the end, each participant in this affair pays the highest price for their deceitful lifestyle.

The Duchess of Malfi's dramatic content could have easily been drowned out if the actors had muddled the Shakesperean-like dialogue. But every actor, specifically the Duchess, elucidated the complex prose and made it both stimulating and laudable.

Similarly, the main characters presented the strain and tragedy of their experiences with touching conviction. Selvaratnam and Michelle Haner, who played the Duchess' maidservant, were particularly convincing, not only in their presentation but also in dramatic stage presences. Even their expressive hand gestures conveyed the strength of their emotions.

Ross and Gammons' creative touches to the set served to heighten the fine character portrayals. For example, a multi-colored background wall illuminated the performers' outlines during night scenes, making the silhouettes seem particularly imposing. This technique became extremely poignant when the ghost of the murdered Duchess reappeared, a dark (and menacing) entity looming against the red background.

The stage props added hints of modern style and design, giving the settings and actors an appropriately "artsy" look. The unusual crucifix used at the Duchess' excommunication was assembled from a combination of wood poles and mannequin parts. It added creative imagery to what would have otherwise been a rather orthodox scene.

Ross effectively used stage accessories to inject humor into the production. A refrigerator, wrapped in red ribbon, dropped out of the sky like a prize in some hellishly flamboyant game show. Unfortunately for the Duchess, this morbid gift from her brothers contained a man whom she believed was the murdered Antonio.

The surprise of a refrigerator and the carnival-like music which accompanied the event saved the play from beginning its second half at a slow pace. This crucial gimmick kept most members of the audience captivated.

The brothers' vogue outfits and the Duchesses' colorful dresses served a dual purpose. Jane Yeh's costumes added an attractive touch to the actors' appearances and also reflected the emotional status of the characters. Bosola's garments, in particular, epitomized Yeh's skill--each of the outfits fit a certain mood and function: deceiver, spy and murderer.

The special effects accentuated the dramatic content of many scenes. Specifically, the lightning and thunder effects during one of the closing scenes superbly conveyed the sense of impending doom. The storm also represented a turning point in Bosola's attitude toward his behavior--he realizes that even mercenaries like himself can be abused by those in power.

The Duchess of Malfi boasted strong theatrical performances, creative direction and inventive production values. As for Mr. Rudenstine, perhaps he had a more enticing engagement. If not, one should be wary of this man's theatrical taste. He missed one of this semester's better plays.

The Duchess of Malfi wasn't good enough for Neil Rudenstine; he left at halftime.