The Trial
by Martin Denton • December 21, 2004

In just four short months—Phoenix was initiated in
August—they have mounted a full-fledged revival of a
difficult and complicated play; no easy proposition even
for the most experienced hands.
They have, in very large measure, succeeded
impressively: know-how goes a long way.

The physical production—Robert Klingelhoefer's stark,
moveable set composed of dark doorframes and
uncomfortable-looking prison cots; Margaret A.
McKowen's varied and often fanciful costumes; Tony
Mulanix's moody, angular lighting; and Ellen Mandel's
arresting and sometimes unnerving score—is top-notch.
Adamson's staging is clear and focused and frequently
riveting.