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Is it writer Simon Stephens Carmen Disruptionn any more than it is director Michael Longhurst's or that of Lizzie Clachan, whose design echoes backwards and forwards through time to the great 19th-century European theatres that represented the height of a particular kind of culture and reminds us that we are but shadows, only briefly upon the stage?
It is director Tigmanshu Dhulia's inner world, which captured me in a very deep way.
But it is director Stephen Soderbergh who deserves most of the credit for this moody show.
If it is director Joseph Discher's concept to gradually unfold the dark side, not only of the jester but of what is perceived as Shakespeare's merry prank, it works fitfully.
He yearns to be a classical pianist, and it is an ambition to which Tom brings the fanatical anger, fear and control-freakery that he has amassed during his day job in the criminal jungle, and however absurd and bizarre it is, director and star make Tom's ambition utterly plausible.
But it is director Todd Haynes, oozing the confidence that defined 2002's Far From Heaven, who is the real magician here, combining the subversive clout of his 1991 Jean Genet-inspired Poison with the flawlessly empathetic character study of 1995's Safe and the swooning period detail of 1998's Velvet Goldmine.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com