CORIOLANUS

The Tobacco Factory, Bristol

The libraries at Millbank Tower and the Texas Governor's Mansion must contain well-thumbed copies of Coriolanus. With its study of the workings of democratic power - from the need to dissemble and conceal one's true beliefs in order to ingratiate oneself with the populus through to those who use their position as 'the voice of the people' to enhance their own standing - it is one of Shakespeare's most timeless pieces, and a vade mecum for anyone wanting to win power and influence people. From the early Soviets to Robespierrean Paris, there are parallels aplenty for any student of history.

In spite of its universality, Coriolanus is rarely performed, mainly because of the vast and epic cast listed in the dramitis personae. It is therefore a particularly unusual choice for a company which specialises in chamber Shakespeare. Yet director Andrew Hilton's staging is fully up to the standard which has brought universal praise for Shakespeare at the Tobacco Factory's previous productions. Hilton has selected an English neo-classical setting for the production. There are naturally certain social and historical parallels in choosing this particular period, but more importantly, there is the benefit of wigs, which make it much easier for the actors to treble-up in the parts. A new wig, a new character, and suddenly there is no need for a cast of thousands. Clever use of lighting and sound ensure that even the battle scenes do not feel underpopulated.

Despite the adherence to classical staging and an avoidance of gimmicks which make Hilton's productions such pure-cut pleasures of textual delight, there is a feeling of modernity in many of the performances. Here Coriolanus is no grizzled warrior, but a young man thrust to prominence by his fighting prowess. In Gyuri Sarossy's hands, he has about him the air of a public school prefect who cannot disguise his contempt for the oiks and townies. Meanwhile his mother Volumnia (Carol Brannan) would have been perfectly at home in the Edwardian era with her passionate chorus of Dulce et Decorum Est, whilst Jonathan Nibbs and David Collins present the Tribunes of the People with such an air of sleazy, faux-humble self-aggrandisement that one could almost imagine oneself in the House of Commons. All of these actors give excellent performances, as do Mark Buffery (Cominus) and Paul Nicholson (a funny and moving Menenius), but the dramatic strength of this production comes primarily from the entire company working together, making it an outstanding ensemble piece. Even if this were not one of Shakespeare's best - yet sadly neglected - plays, or a production by a director who has the ability to bring elucidation of every phrase of Shakespeare's text to the stage, it would be worth seeing just to witness a cast working so well together. Being all three, all one can say is that Shakespeare at the Tobacco Factory have delivered yet another outstanding production, and anyone who misses it is a fool and a scullion.

TOBY O'CONNOR MORSE

To 21 April. Box office (0117) 902 0344