Brecht can present a challenge to the most hardened of theatre-goers. Overflowing with detailed symbolism and harsh, staccato dialogue, the German playwright’s aspiration to make the audience aware that they are watching a play can make his work pretty tough going if badly executed.

It was a relief, therefore, that Caroline Alff's production of The Caucasian Chalk Circle was crisp and engaging, carried by a strong cast.

Centring on the themes of morality, justice and the question of nature vs. nurture, the play depicts the fable of a peasant girl, Grusha, who rescues a baby and becomes a better mother to the child than its natural parents.

There were many comic moments throughout this cathartic piece. Most notable was the lamentable inability of Lavrenti, Grusha’s brother, to stand up to his wife: “She has a good heart, but only after supper”, and the arrival of the fickle Adzdak in the second half, played spectacularly by Greg Lass. There were also some tender scenes, with the compassionate relationship between Grusha (Sophie Pemberton) and Simon Chachava, her husband-to-be returning from war (Martin MacLennan), having particular electricity.

A band of travelling musicians are central to this work, providing a voice for the characters’ thoughts. This production eschewed Brecht’s original score; instead it utilised a band consisting of guitar, flute, violin and cello, accompanying the narrative singer with an original accompaniment. Although the musical motifs became a little repetitive towards the end of the evening, the overall protestor-camp feel of the band highlighted the tragic class disparities onstage effectively. This had a pertinent resonance within the context of recent global events.

The stage was dominated by an impressive Aztec-arch structure, which served as both a gateway and gallows. There was also no shortage of clever symbolism. From the innovative use of coloured hats to denote class status and chalk scribblings on the scenery, to the flaunting of the king’s decapitated head, offal-like, in a bag: the audience was never detached from stark reminders of Brecht’s Marxism.

This was a bold, persuasive rendition, which managed both to entertain and to leave the audience mulling over the human disposition to behave selfishly.