Once you graduate from high school, the last thing you want to do is go back. The play The Life of Galileo is based on a great concept and, thanks to the Cleveland Play House, has a stellar presentation. However, the content makes you feel like you’re back in tenth grade science class and bored out of your mind.

Written by Bertolt Brecht, The Life of Galileo is currently running at the newly renovated Allen Theater until October 9. It is directed by Michael Donald Edwards with costumes and set design by Clint Ramos and lighting by Paul West.

The play stars Paul Whitworth as the titular character Galileo Galilei and details his life story as he struggles to pursue science in the face of an oppressive Catholic Church. Galileo is an alcoholic, disorganized genius on the run from authority because his ideas and observations radically undermine what is known about the universe. A group of misfits aide him in his quest for the truth. Does Galileo allow himself to submit to a higher power or does he spread valuable knowledge that is dangerous to the Church?

With a plot like that, you’d expect it to be next summer’s movie box office hit starring Matt Damon. It’s a great idea and, in theory, a captivating story. Unfortunately, the concept is much better than the real thing.

This is a beautifully staged play, bare save for a few key set pieces and built with the infusion of pure innovation. Digital projections make up the scenery and frequently serve to visually explain some of the more complex and confusing aspects of Galileo’s scientific discoveries. Often, Galileo remains in the spotlight while the rest of the stage goes dark as near-invisible stagehands rush out and deconstruct the set to bring in the new pieces. This creates the illusion that the world is literally revolving around this man and his ideas.

Although the play is set in the early-1600s, the costume design has the actors in modern clothing. Creating a contemporary feel to the story really helps bridge the gap between the audience and the characters, and establishes the relevance of what was happening in Galileo’s time with what is happening now.

The acting is also superb, spearheaded by the spectacular Whitworth (who sounds a bit like Sir Michael Caine) but supported by a uniformly brilliant ensemble of local and imported performers.

The only aspect of this production that falls flat is the script itself. The dialogue is frequently repetitive, such as when Galileo’s daughter is constantly saying he should stop doing science and when Galileo himself is talking about truth. The scientific information that fills this production is dry and abundant. The performers hold your attention, but you find your mind wandering throughout the play and wondering if the end is near.

If you have an interest in the heliocentric representation of the universe, are conflicted over the age-old arguments of faith verses knowledge or have a genuine appreciation for theatrical performance and presentation done well, this is the play and this Cleveland Play House production is for you. If you’ve stopped playing with bunsen burners and Bill Nye the Science Guy, you might want to sit this one out.