You have to admire the efforts of director Alison Henderson to make physical the internal turmoil of the ill-fated characters in Jean Racine's "Phèdra," the latest production from New World Repertory Theater. And you have to applaud the efforts of her cast, who spent several months learning how to do that very thing.

For NWRT's well-intentioned production of the 17th century tragedy (in a translation by Robert David MacDonald), Henderson drew upon techniques created by Rudolf Laban, a pioneering, early 20th century dance and movement theorist responsible for developing a notation system for physical expression.

Unfortunately, not all the actors express their characters' interior lives as eloquently as one would hope. Some, like Sarah Pinkham, who plays the doomed Queen Phèdra, seem to have adapted easily to Laban's techniques. Thrusting out her arms as if to grasp the young man she longs for and dunking herself in a fountain as a way of obtaining absolution while at the same time sexualizing the act, Pinkham does a convincing job of revealing her character's tortured soul.

Then there's the painfully expressive pas de deux between Pinkham's lovesick Phèdra and the horror-struck object of her affection Hippolytus (Brian Barber), another effective physicalization of a psychological state.

On Pinkham, Henderson's stylized movement feels organic and graceful, even when it becomes agitated to reflect her character's disintegrating mental state. The same can't be said of every cast member, some of whom appear uncomfortable, self-conscious. As a result, their performances come across as twitchy and wooden. And yet Henderson and company deserve credit for taking risks with this cautionary tale about the misfortune that results from unchecked appetites and the dangers of excess.

Venus (an attractively malicious Laura Merchut) orchestrates the tragedy out of her hatred for Phèdra's family and her anger at Hippolytus' refusal to worship her. But it's Phèdra - wife of Athens' King Theseus (Jared Graham) and stepmother to his strapping son Hippolytus (Barber) - who suffers it.

After Venus causes Phèdra to fall hopelessly in love with Hippolytus, the queen removes temptation by causing a rift between father and son. However, her husband's absence, accompanied by her stepson's return, reignite those inappropriate feelings which nearly drive her to suicide. She relents after the well-meaning Oenone (Maggie Clennon Reberg, rock solid as a servant whose good intentions go awry), urges her to consider the political and personal ramifications of leaving her children motherless, without claim to the crown and at the mercy of their half brother Hippolytus. When word arrives of Theseus' death, Phèdra decides to confess her feelings to Hippolytus, whose swift rejection sets in motion the play's tragic conclusion.

At a little under two hours with intermission, the production moves briskly, too briskly at times. Slowing the pace might help clarify some plot points which may escape those unfamiliar with Racine's play.

"Phèdra"

Rating: Two stars

Location: New World Repertory Theater, 923 Curtiss St., Downers Grove (630) 663-1489, newworldrep.org

Times: 7:30 p.m. Fridays and Saturdays; 3 p.m. Sundays through Dec. 5. NWRT remounts the production Jan. 21-Feb. 14 at the Theatre Building, 1225 W. Belmont Ave., Chicago

Running time: One hour, 45 minutes with intermission

Tickets: $15, $20

Parking: Street parking available

Rating: For older teens and adults