Review: Daniel Sullivan Directs a Crackling Good TROILUS AND CRESSIDA

Helen of Troy had a face that launched a thousand ships and at least as many mediocre dramas, but while Shakespeare's seldom-performed Troilus and Cressida can be a bit of a muddy slog on paper, director Daniel Sullivan and an ace ensemble of actors make what works about the play really crackle. While the story can get a little heavy-handed, the evening boasts a fun assortment of performances as it barrels toward a horrific finish.

Though David Zinn's scenic and costume designs are contemporary, it's seven years into the war between the Greeks and the Trojans and both sides are at the point where they just want to finish the damn thing and go home.

The Trojan prince Troilus (a shy and callow Andrew Burnap) is in love with Cressida (Ismenia Mendes), the daughter of the priest Calchas (Miguel Perez), who has defected to the other side and left his child in the care of her rather annoying uncle Pandarus (a crafty and funny performance by John Glover).

Pandarus orchestrates the coupling of the hesitant children, but shortly after declaring their love, Cressida gets sent to the Greeks in exchange for a prisoner. Mendes gives a standout performance, giving Cressida a contemporary edge that contrasts with the romanticizing of war that comes out in the poetics and bravado of the men surrounding her. She's very funny playing the awkwardness of her character's admittance of love for Troilus and playfully sexy when taking control of the relationship.

But she's most effective in a chilling scene where a group of Greek soldiers take their turns at kissing her. Rather than being passed around, she accepts the protection of Diomedes (Zach Appelman) in exchange for her exclusiveness.

Meanwhile, back at the war, Troilus' brother, Hector (a wise and chivalrous Bill Heck) has sent a message to the Greek King Agamemnon (John Douglas Thompson in old-school commander mode) that he's willing to end the whole mess with a one-on-one battle. Agamemnon wants Achilles to do the honor, but, played by Louis Cancelmi as a cocky beatnik-type, he's decided to chuck it all and spend more alone time with Patroclus (Tom Pecinka), who we can assume to be his lover.

The dolt-headed Ajax (nicely comical Alex Breaux) takes on the challenge, urged on by Ulysses (Corey Stoll as a calculating corporate type), with unexpected results.

Before the play and during intermission, Delacorte Theater ushers warn Audience members that there will be gunshots at the end of the second act. It's a bit of an understatement, as Sullivan stages an intricate and bloody battle scene with automatic weapons frequently fired in the direction of Audience members.

The casual ease with which some soldiers kill emphasizes the emotional detachment necessary to succeed in warfare, and the tragedy isn't necessarily in watching men die, but in watching what has become of the living.