A review of this production appeared in Didaskalia

The production of Rhesus introduced a new director to MASC. While he was a graduate student in the Department of Classics at the Memorial University of Newfoundland, George Kovacs chose Rhesus for an indoor, masked production. The play has seldom if ever been performed since antiquity, in part because its authenticity has long been questioned. Kovacs, committed to the script and believing Euripides to be the author, presented the play in a small, black box theatre (c. 80 seats) to coincide with the annual meeting of the Atlantic Classical Association, the theme of which was "Questioning the Classical Canon."

	This is one of the promotional images, used on the poster. The play begins at night (Hector is sleeping) and largely overlaps with the events described in Homer, Iliad book 10.
	After discovering that the enemy Greeks have lit watchfires, the Trojan general Hector sends Dolon as a spy. In this picture, he has returned to the stage during a choral song, disguised as a wolf. He crouches behind one of the Trojan sentries in the chorus.
	A rustic messenger describes the arrival of the allied Thracian leader Rhesus to Hector and the chorus of Trojan sentries.
	When Rhesus enters, he is seen more as a strutting peacock than a soldier.
	Hector and Rhesus disagree about the battle plan. As can be seen, the masks reflected racial identity, with Trojans in white, Thracians red, and Greeks in a ddep blues (see next picture). "Sides" were thus easily perceived by the audience. Both of these masks were made on the same mold: painting alone distinguished Hector, Rhesus, Odysseus, and Dolon. (Similarly, the same mold‹of a younger face‹was used for Aeneas, Diomedes, Alexandros, and the Charioteer; a young female face was used for Athena and the Muse; each of the chorus masks was also identical, though the illusion of difference was preserved, as each actor had a different hairline and body type.)
	The goddess Athena appears to the Greek heroes Odysseus (played by the Hector actor) and Diomedes (played by the Dolon actor). She announces her intention to deceive the Trojan prince by pretending to be Aphrodite. Her costume allowed an on-stage transformation, though her allegiance with the Greeks remains visible in the colour of her mask.
	Transformed, Athena appears to Alexandros, who is played by the Odysseus actor. This required a quick-change backstage, and a move from one wing to the other, but it was accomplished seamlessly each performance. In antiquity when this play was performed with three actors, this is the most challenging move. It is certainly not impossible, however, and created a striking effect for the modern audience.
	The appearance of Rhesus' charioteer, having survived an ambush from the Greeks, permits a dying messenger speech. Previously, the charioteer had an unspeaking part and had been played by an extra, but again following ancient convention was here substituted by the Rhesus actor, who then narrates his character's own death through the mouth of another. (Previously, this actor had also played Aeneas).
	The appearance of the Muse, Rhesus' mother, to mourn for her son (whose mask she holds), marks the end of the play. This was the same actor who had played the messenger and Athena.

The production showed the use of masks in a small indoor theatre could be accomplished, as well as demonstrating that the play had substantial entertainment value. While four actors were used for the non-choral parts (with a chorus of four as well), the major obstacle against a cast of three actors (the doubling of Odysseus and Alexandros) was accomplished seamlessly, suggesting there are no reasons to deny an original production with three actors.