There's apposition, opposition, syllables that make position. Metrical irregularities arouse my deep suspicion. There's allegory, simile, hyperbole, asyndeton, Antithesis, apostrophe, anastrophe, hyperbaton, Tmesis, oxymoron, henendiates, polyptaton, analogy, litotes, pleonasm, polysyndeton. No one can deny this is clever, nor that it is written for only part of the audience. Robic's productions grab the audience at the outset with the claims for cultural literacy.
Clouds begins with an off-stage chorus in splendid harmony.
Lysistrata opens with an awkward ballet in the overture, where the sexual humour of the play is established clearly, under the guise of high culture. Lighting cues are few, costumes are an unimpressive blend, from Greek robes for Socrates and the sophists to overalls for Strepsiades. It would not have taken much to work these up, but Robic's concern is not with these aspects of production, or even with the acting. He is focused solely on the music, and many of the principles of translation employed are indeed very clever. They will no doubt be produced with the same principles in mind.