Helen Edmundson, who adapted thetragedy for Shared Experience Company, states in the programme: "I confess I have played fast and loose with the conventions of Greek theatre and with Euripides' version."

Out go the Chorus and Pylades, in favour of enhanced roles for the Slave and, most notably, Electra, sister of parent-killer Orestes.

The language is altered too although, mercifully, Shared Experience have not decided to get 'down with the kids' and adopt some sort of slang.

Instead of the elegant, but at times cumbersome, original poetry, this production relies on a refined, but accessible, interpretation, which works well: Electra being denounced for "ringing her virginity like a leper's bell" is typical of the caustic dialogue.

The tale - presented without an interval, in about 90 minutes - charts the bleak aftermath of the slaying by Orestes (Alex Robertson) and Electra (Mairead McKinley) of their mother, Klytemnestra, to avenge the death of their father, Agamemnon, at Klytemnestra's hands.

Orestes has plunged into guilt-ridden hysteria, and only his sister is capable of calming him. They hope their uncle Menelaos (Tim Chipping) may spare them from execution.

The play opens with a dishevelled Electra; Orestes sprawls in a bed that symbolises birth, sex and death - ingredients which all feature.

Yet, on Tuesday's opening night, it felt a little flat until the climax, which showed - literally - some sparkle. The quiet, sorrowful prelude to the knife-wielding destruction was powerfully observed.

Orestes is at the Playhouse until Saturday.