Greg Taber and Lisa Mercier-Taber, in their director notes for "This Flattering Glass," an original adaptation of Shakespeare's "Richard II," say that the real story in this play is love. I think that's a stretch. Sure, it's possible in any work that delves into the human condition to find a connection to love -- whether it's "passionate, deep, tender, forbidden, unrequited, self-indulgent, shallow, desperate, abusive, destructive," as the directors put it -- but even in this heavily truncated version of the play, in which the number of characters has been reduced to a third and most historical references stripped from the text, love isn't what I think of. The complete and utter incompetence, obliviousness and sad detachment of a ruler for his people still seems paramount.

Still, I give this Theatre Ventoux production lots of points for ambition, verve and a strong viewpoint. There is a timelessness to Shakespeare's tale that resonates no matter if it's 1377 or 2007, and in his heavy editing of the text, Greg Taber finds an intriguing core of meaning. Today, in our society, our politicans are more likely to launch attack ads against each other than employ assassins, but the conflict (and venom) is in many ways the same.

The time and setting of the production is a sort of modern-day, Armani-tinged, Mafia-style power struggle. The men wear vibrant ties and modern suits, and the women look sleek and chic in well-cut dresses. A hint of decadence wafts through the production: hard liquor, cards, lascivious nudges and winks between principal characters. Richard (Matt Otstot, who has nice moments of smug narcissism), is more interested in flirting and pawing with his devoted cousin, Edward (nicely played by a measured Stephen Torres) than royal decorum. When another cousin, Henry (RJ Blak) becomes involved in a dispute with Mowbray (Rene Lastreto II), he takes the opportunity to banish them both.

But Richard, it seems, is not a very good politician. Even an absolute ruler must rely on some form of legitimacy, and Richard endangers his through callousness. Gaunt (a well-cast Ronald Blackwell), the ailing father of Henry, is the ultimate recipient of Richard's cruelty in a murder scene that is staged in this production with the requisite chilliness.

There are some elements of the story that get lost in this adaptation -- any subtleties in the relationship between the king and queen, for example. And the idea of the divine right of kings is also underplayed, which seems a shame, considering the political state of the world today.

What I like best about this production is its intensity. From the set -- stark but swathed with rousing purples, reds and blues, with the throne a leather Mission-style chair -- to the brooding medieval music supplemented by Ladysmith Black Mambazo and Joni Mitchell, you're never far from life-and-death. The acting, overall, is not as strong as it could be in an amateur production, and sometimes the pace of the show falters, particularly in several of Richard's monologues. (There are some fine supporting performances, including Arthur Koster and Greg Taber as thuggish father and son.) But overall, there's a ferociousness of spirt that carries "This Flattering Glass" a long way. I might not totally love it -- passionately, desperately, abusively or otherwise -- but I love the idea of it. I look forward to more productions from Theatre Ventoux.

A condensed version of this review will run Friday in 7, The Bee's entertainment magazine.