The tragedy that follows in the wake of avarice and social ambitions provides a sombre theme for Lillian Hellman's play, The Little Foxes.

In a refreshing change of emphasis, the BMDS, under director Warren Carbal has concentrated on authenticity in the staging of this American classic. The result is a play where the graciousness of the turn of the century setting heightens the sense of duplicity as its main characters slide irrevocably from feigned gentility to open villainy.

Lillian Hellman apparently drew on characters she had known in her New Orleans childhood for this dramatic exposure of power struggles within the successful -- and exploitive -- Hubbard family.

Leading the cast as the ruthless Regina was Evelyn MacGregor, who had obviously developed this pivotal role with great intelligence, as she progressed from saccharine sweetness to barely concealed malevolence. Most of the time, she coped with the necessary Southern accent -- only as the aura of tension increased could we discern a not inappropriate Lady Macbethean lilt in her voice. There were some lovely moments in this portrayal, most memorably, her statuesque indifference as she ignored her husband's plea for assistance.

Jocelyn Troake gave an outstandingly beautiful performance as the down-trodden Birdie. Every inflection of her voice, and hesitant gesture of her body brought vividly alive the pathetic frailty of this last representative of the aristocracy, cast adrift in the mercenary society that replaced it.

Ingrid Welch, who as Regina's teenage daughter was the only other sympathetic member of this unpleasant family, brought an impressive fluency to her role.

Here is a promising young actress who is already acquiring technical presence, both in her oral delivery and sense of movement.

As the patriarch of the family and long-suffering husband of Regina, Steven Hankey brought the appropriate air of cynical dignity -- in spite of looking about the same age as his daughter.

In the roles of the conniving brothers, Stephen Dudden (unusually, on the stage instead of behind it) captured the impenetrable coldness of the character, while Jim Stroeder provided an interesting contrast as the more affably sly operator.

There was plenty of bounce in John De Oliveira's role of the ne'er do well son. Perhaps it was his open and eager good looks that made him appear more stupid than evil in his attempts at self advancement.

Rounding out the roles were Gene Stuckey as Mr. Marshall and Dudley Thomas as the servant Cal. Gloria Daniels, rolling her eyes constantly heavenward, made the most of the cameo role of the faithful housekeeper, Addie.

The costumes, imported for the occasion, were elegant in an understated kind of way, and together with the gracious set, designed and meticulously dressed by Steve Conger and Richard Fell, made this a visually striking production.

Warren Cabral has realised his ambition of presenting a "faithful rendition'' with his always absorbing and and often riveting production of this major play by one of the undisputed giants of the American theatre.

PATRICIA CALNAN.