Pizarro has this changed to strangling (since Atahualpa's body is required intact for the rebirth to work) if Atahualpa agrees to be baptised. He does so, and is strangled. Pizarro waits until dawn with the body, but it does not re-awake, leading him to hold the body and weep while Old Martin narrates the end of the story. Production notes The expedition is predominantly in the name of gold, religion and belief; all Incas being heathens who must be brought before God. The play critically studies these two themes throughout the discovery of Atahualpa – the Inca Sun God – and massacre of the Incas themselves. Music is a key element to this play, more so than any other by Peter Shaffer. He wanted strange and disturbing sounds produced on primitive instruments such as saws, reed pipes, drums (tablas and bongos) and cymbals to create the aural world of 16th Century Peru. Shaffer was so impressed with Marc Wilkinson's score for The Royal Hunt of the Sun, which he has described as "perhaps the best score for a play to be written since Grieg embellished Peer Gynt", that he now considers it integral to the play. The staging is relatively simple: an upper and lower part to the stage making up the ground plan. The main attribute is the image of the sun, which presents a creative challenge for all who undertake this mammoth production. There have been numerous suns over the years, but when the play was first staged it was a large metal contraption, with huge 'petals' that opened up and outwards. Visuals are of the essence with this play, especially the lavish Inca costumes. Although the play is performed on an open platform stage with little scenery, the film version opened it up considerably. Notes References External links Guardian review 1964 plays Plays by Peter Shaffer Plays based on actual events Plays set in the 16th century Plays set in Peru Plays adapted into films Plays adapted into operas Cultural depictions of Francisco Pizarro