The script’s greatest strength is that it captures the thought processes of the young people who observed each other’s responses to the Occupy Movement, but its biggest problem is that it doesn’t flesh those perspectives out into characters who are complex enough to engage with emotionally.

When Federico García Lorca was writing Blood Wedding in 1933, he was also developing his dramatic concept of “duende.” Inspired by the flamenco dancing of Andalusia and the Romantic concept of the ineffable, duende is a tone which is erotic, deathly, and, of course, dream-like. So it makes sense that director and scenic designer Daniel Ostling would be fascinated by it, and want to locate a little duende in the United States. It’s also disappointing how plodding and unfeeling his Blood Wedding is, in a rare misstep for Lookingglass.

Overall, Jessica Thebus’s production highlights the reasons why Richard III is such an enduring drama, and that reason is mainly Richard himself. Shakespeare wrote some of his best dialogue for him, and it rolls off Thornton’s tongue with as much freshness and power as if new. Sure, building up other characters around him would have made his actions more consequential, and not too many people would have minded some more cuts.

Mai Dang Lao uses its subjects for dark comedy for seventy minutes, and then attempts to shift into an overwrought, picturesque validation of their suffering at the very end. It’s a jarring conclusion, but not one which completely spoils the insights, enjoyment, and drama which came before.