This paper proposes a new interpretation of stigmergy, where cooperation between production actors is achieved thanks to attributes (informational pheromones) attached to products.
In this production, actors dressed as furniture, squirrels and such prance about the stage while their costumed vocal counterparts sing from the sides.
In an elusive production, actors usually as fine as Nancy Opel (Fay) and Merwin Goldsmith (McLeavy, haplessly preparing for his wife's funeral) appear to be adrift.
Though the uniformly high level of quality in the production (actors, director, writers) marks it more as a quality suspense film than a horror film, it does contain several scenes of canonical horror: dark rooms, winding passages, things going bump in the night.
During production, actors will spend more time with each other than with their families.
In Bogart's production, actors emerge from the chorus to portray the tragedy's main figures, returning to the fold when their scene is complete.
Note: Due to the frequency Whedon casts the same actors in various projects, the above list only includes those that have played three or more different roles in a Whedon production (actors that have only played the same role in multiple Whedon productions are not included).
While it was clearly a great day for British productions, actors and creatives, there were some notable snubs, particularly for American productions.
