At times humourous, yet at others frighteningly horrible, A Clockwork Orange tells the story of a teenager named Alex. His youthful energy, often expressed through violence, is set to be controlled completely by the government, leaving him without the freedom of choice to commit either immoral or moral acts. The political and moral implications of this story were raised in Ginty’s version, but in a new and refreshing way, using urban music to bring a new relevancy to the material for contemporary audiences. As Ginty views urban hip-hop culture to be "at war" with established authority, this choice of musical genre was both reflective of the theme of the story, and also entertaining and significant for modern audiences.

Set in the inner-city, original hip-hop and rap performances by such characters as Alex, (played by Bishop), and his group of "droogs" or gang-mates, (played by Kalen Hayman, Rochester and Byron Abalos), underscored main plot events, with notable rap-narration between scenes by Professor D. This refreshing format helped create a piece of musical theatre easily accessible to even the most unresponsive and cynical consumer of current media, forming a link with the audience through popular music.

Between scenes, dancers The Drunken Monkz (Lady Noyz, Debo, Prince, Handlez, Gunz and J-Smooth) executed impressively skilled break-dance performances, displaying talent that did not once fail to garner applause from the audience, despite performing numerous times during each set change. Traditional choreography was also preserved, but in a surprising manner. One intention of Robert Ginty was to lend a stylization to violence within the play echoing that of the original novel. This stylization was accomplished exquisitely with scenes of gang fights, (directed by Daniel Levinson), becoming beautifully crafted dances featuring quick and graceful movements accompanied by throbbing musical beats. All aspects of music and dance in Ginty’s A Clockwork Orange kept up a stimulating pace throughout the play.

Although the whole cast performed remarkably well, a performance to be noted was that of Bishop’s portrayal of the young protagonist Alex. Both dramatic and comedic performances were believably mastered by Bishop in this role. There was, however, a certain amount of overacting on the part of Andrij Kudla as Mr. Deltoid, Alex’s probation officer.

Set design included graffiti, (by Duro3), and grid work appropriate to the urban setting of the play, while lighting was superbly used to convey emotion and intensity of scenes, alternately switching from soft, harshly bright, and even painfully pulsing frequencies of the two, depending on the dramatic situations at hand.

For those who had already experienced previous versions of A Clockwork Orange, the pure entertainment value of this play assured that a thrilling time was to be had. For those who had never before encountered the story, in addition to entertainment, important moral and political issues were made clear and understandable due to Ginty’s use of modern urban culture and music aiding essential storytelling. With youthful aggression as a recurrent issue for each new generation, A Clockwork Orange continues to deliver relevant material, currently in a new and exciting format.