The key concept is virtual reality. The seats are curtained off and we find ourselves in an audience / performance space dominated by a large central surveillance tower and video screen. It is a world of exposed metal, forbidding and functional. The idea of having the audience mill about this space during the action aims to mimic the simulated participation of virtual reality. The design by Angela Davies, with Chris Brockhouse (light) and John Owen (sound), is powerful and ingenious, but if the trick does not quite come off it is partly because its set-up can obscure some of the action. The other great novelty is the video screen which captures us all and parts of the action, both combined with computer graphics.
Computers propose us as numbers, and the three central characters are Three, Nine and Eight. Nine is a hairdresser whose m attendant ideas, this is the moment at which the author's synthesis is justified. The show has its obscurities and affectations, but with his directors, Brigid Larmour and Richard Gregory, Kevin Fegan has dared much and deserves admiration.
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