As if aware that this piece would struggle even in the silly season of panto, Rylance seems to have given up trying to project properly. The result is that his explanatory prologue, intended to fill us in on the back-story of renounced fortunes, kidnapped daughters and bartered prostitutes, is largely unintelligible. All we can do is study the strange dancers, back again, and the musicians who appear to be dressed in shower curtains and bath hats and count the minutes until the interval.