Theatre Paradok's adaptation of Friedrich Dürrenmatt's 1956 play The Visit tackles complex issues of human morality and the gradually corruptive effect of money on a once morally strong society.

The play centres on the inhabitants of the town of Güllen, a once prosperous community that has recently suffered economic depression. The townsfolk eagerly await the arrival of Claire Zachanassian, a now wealthy former resident. The mayor of the town hopes that Zachanassian will provide financial help for Güllen, but she ultimately discloses a dark secret involving one of the town's most popular men, Alfred Ill. It transpires that she left the town after becoming pregnant by Ill, who bribed men to lie in court about the possibility of his paternity of her child. Zachanassian promises the town one hundred million pounds if they agree to kill Alfred, bringing her the justice she feels she deserves. The people of Güllen refuse at first, but soon begin to lead affluent lifestyles that force them to re-think her proposal, and the play culminates in the murder of Alfred Ill in exchange for Zachanassian's money.

Effectively balancing the two opposing genres of comedy and tragedy, this is a notable production directed with confidence by Nina De La Parra. Lighting is used to subtle effect, illustrating the fine line dividing the comic and tragic elements of the play's characters, particularly the dominating priest (Hamish Kallin) in the cathedral scene.

Whilst Theatre Paradok's production displays very strong points, the use of stage space sometimes feels confined; the most successful scenes occur when the entire stage is utilised, creating a deeper, darker space resonant of the play's foremost themes. At times the experimental use of the theatre space is confusing, but overall successfully breaks down boundaries between cast and audience.

Dürrenmatt's play, together with Nina De La Parra's adaptation of the setting, forces the audience to become actively involved with the questions of moral strength at the heart of The Visit. The question of the "life-affirming" quality of money meets a very negative conclusion in a strong production from Theatre Paradok.