Meyerhold acknowledges "the facts" of the brilliant director's life--how he studied under Stanislavski in the early years of the MAT; rejected realism and opened his own anti-realistic theatre; how the young director became the toast of the 1920-30 theatrical world, only to be killed by Stalin's forces for refusing to compromise his artistic vision. This play also explores Meyerhold's life through the means and aesthetics he made famous. Comic exaggeration, "machines for acting," biomechanical movements, and cubist designs dramatize the inner struggles of a man determined to create a theatre which destroyed existing conventions.
Meyerhold can be performed with a cast of 8 playing multiple roles. Because so much of the director's life and aesthetics consisted of the visual image, the use of projections would be strongly recommended.
While it is suggested that the director become basically familiar with Meyerhold's aesthetics (and biomechanics in particular), recreating the feeling and flavor of biomechanics and stylized movement, and the remarkable period of 1900-1930 Russia seems more important that any exact reproduction.