*** Sex -- even incest rates a mention -- violence, sudden death, famine, and tribal warfare all packed into the same theatrical production.

But before anybody starts thinking Bermuda's really let itself go, this is the Bible we're talking here.

The story is that of Ruth, a Moabite -- an enemy of the Jewish people -- who, through a series of misfortunes, ended up being the start of the line which produced King David.

And from him, or so we're told, his descendants went down through the years to Jesus Christ.

Ruth's tale is one of the shorter stories in the Bible -- but it certainly packs a lot into a handful of chapters.

And the small cast in Linda Paynter's interpretation, produced by Pat Podgson, did their best to capture it all.

But -- despite fine individual performances -- the overall effect was patchy to say the least.

There were too many scenes with too many breaks and a combination of musical drama with a Gospel choral concert didn't really work that well.

An Old Testament tale interspersed with songs praising Jesus, who didn't put in an appearance until a millennium later, makes for a slightly confusing mix.

And the combination of the undeniably resonant language of the Old Testament, no matter what you might think of the messages, mixed up with modern vernacular wasn't an entire success, either.

But Nishanthi Bailey (Ruth) -- just 14 -- managed her front and centre role with remarkable aplomb, backed up splendidly by Denniqua Burrows as her Jewish mother-in-law, Naomi.

Their scene after the death of Ruth's husband, Naomi's son, were genuinely affecting.

And Danjou Anderson also stood out as uncle-by-marriage Boaz, who turned in a touching performance as a kindly, older man, who first defends Moabite Ruth and then marries her.

The show was certainly colourful and the producer -- probably wisely -- chose to keep the dance element elegantly simple.

But the formula of the Biblical tale interspersed with songs -- some from other stage productions -- and mixing the Old Testament with the New made for a bit of "a mess of pottage''.

And for those in the audience -- probably not many, admittedly -- who were not entirely familiar with the story, using the same actors in different roles, sometimes in the same costumes, produced a slightly confusing effect.

But the singers -- Spiritual Peace -- and the dancers, Bright Temple Liturgical Dancers, certainly worked hard and the audience certainly seemed to lap it up.

Raymond Hainey THEATRE THR REVIEW REV