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In this work of dark, savage brilliance, Bomberg depicts a joyless East End Jewish theatre audience. They are separated, both from each other and the viewer, by the imposing balcony rail, which traps them in their seats and splits the picture dramatically in two. The sense of unease is increased by the steep, almost vertical, angle of line. Like his former tutor Walter Sickert, Bomberg makes his audience, not the drama they are watching, the subject of his painting. Before the outbreak of the First World War, Bomberg’s work had reflected the vitality of the Jewish East End, where he grew up, using the hard-edged imagery associated with the Vorticist movement. Afterwards, his unhappy wartime experience and financial difficulties contributed to his disenchantment.