Among the plays he directed at Birmingham University were Hamlet (First Quarto), done in Noh style, and his own translation of Racine's Phèdre, set in a Samurai milieu.
Her repertory included Medea, Sappho, Lady Macbeth, Mary Stuart, Preciosa, Phèdre, Adrienne Lecouvreur, Jane Eyre and Messalina, in which character she was immortalized by the painter Hans Makart.
Considered among the better presentations staged at the theater were: Princess Brambilla (1920), Phèdre and Giroflé-Girofla (1922), Desire Under the Elms (1926), Day and Night (1926), The Negro (1929), The Beggars' Opera (1930) and Vishnevsky's An Optimistic Tragedy (1933).
Melisande and Phèdre make a deal: if Phèdre will promise to find Imriel, Melisande will give her the location of the lost tribe of Dan, whose elders know the Name of the One God, allowing Phèdre to free Hyacinthe of his terrible burden.
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Phèdre is upset about this, since she knows the Name of God and wants to help Hyacinthe immediately.
Later, a visitor from La Serenissima comes bearing Phèdre's sangoire cloak, which she had lost when Melisande sold her to the Skaldi.
Raphael Murain nó Gentian is the adept who aided Phèdre nó Delaunay in understanding the meaning of her dreams, which understanding prompted Phèdre to seek Melisande Shahrizai in La Serenissima, in Kushiel's Chosen.