Marie Antoinette's pulsing first act is better than its more straight-faced and political second — which finds the royals sentimentalized as they are brought low. There is, however, the hallucinatory return of David Greenspan's quizzically instructive sheep, sans the adorably woolly body the actor slyly manipulated before intermission. And there is an eerie coda in which the queen dies into the lasting light of her celebrity. It's an effective denouement to a work that navigates a tricky path between seriousness and send-up.
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