IN the build-up to see A Clockwork Orange, I re-read the 1962 original novel.

I've seen the 1971 film and, like the audience for this new production of the Anthony Burgess 1986 play, I was intrigued with how this version was going to be adapted.

I consulted the glossary of words which I knew would come in useful in understating the sinister English-Russian, cockney rhyming slang called 'Nadsat' - no relation to Satnav.

The Everyman love a challenge and consistently surprise theatre-goers with a courageous 'why not try this approach' always followed by a passionate 'can do' attitude when it comes to performances.

This Clockwork Orange is a brutal ballet.

However, it is oddly restrained considering the controversial subject matter.

There are times when it is very 'horror show' (Nadsat for good) yet it seems to pull in the reins from such disturbing scenes that made the Stanley Kubrick film such a problem for the censors.

But this is not the film - which had a totally different ending.

In his pre-show reflections Everyman and Playhouse associate director Nick Bagnall said it would feature 'The juxtaposition between the glory of Beethoven’s composition, the inanity of Burgess’s lyrics and the shocking violence ... a mix of cabaret, music hall and a visceral theatrical experience.'

And he delivers with varying degrees of success aided by music arranger John Fortune and Peter Mitchell and the design of Molly Lacey Davies and Jocelyn Meall.

The white cage set design with electric pylon like columns is stunning and members of the eight-strong company cast come and go through trap doors and make use of the theatre's trademark in-the-round facilities.

We first see lead 'Droog' Alex conducting powerful music from his beloved Beethoven as his all-in-white, cod-piece wearing thugs get real kicks with their violence-for-fun mantra after a few spiked milkshakes.

Such moronic skullduggery leads to prison and a revolutionary treatment to make Alex a changed man.

The first half opening with such a dramatic exciting intro resembles a brutal ballet.

The second half tends to drift in pace after Alex's shock therapy.

Along the way there is a minister of the inferior, policemen with snouts, a disillusioned priest and a superfluous 'Jimmy Savile' prison inmate who would be best left on the cutting room floor without detracting from the storytelling.

The Burgess-penned songs with a vaudevillian feel are a hit-and-miss affair.

I must a bang a drum and other percussion instruments from musician Peter Mitchell way up high over the stage wall.

He presents some uplifting atmospheric sounds throughout.

A talented one-man orchestra. As they say in Nadsat 'Bolshy' (big, great).

Those seeing this version of A Clockwork Orange for the first time - and there were many in the press night audience - will find it extremely thought-provoking rather than a sensational shock to the senses.

Stark, sharp and stylish - three stars

It is on until July 12.

Tickets from the box office on 0151 709 4776.