An intimate group in a century old theatre is presented with a communiqué, which must be read, before we can begin. It’s a promising start as we ponder why there are so few in the audience, why we’ve been seated so far from the stage, and what role the smoke and mirrors will play in this adventure.

The first scenes appear stilted, with pauses that seem too long, humour that feels too forced and dialogue that does not ignite our curiosity. Ellen Steele as the talking bird provides a splendid buffer against what appears to be an ordinary setting about to stagnate. Just when we feel like we might wilt, the game, as they say in the classics, changes.

^{Jude Henshall as Angelique. Photo © Cynthia Gemus}

The set-up suggests intrigue, but what is delivered next is something altogether different. We are not gently beckoned out of our comfort zones; we are rudely thrown out. Our adventure begins, as Angelique serves up a tour itinerary, the likes of which, pedestrian theatre can only dream.

We pull into the station after the fourth wall; teichoscopia. Just as we acclimatise, we are again whisked away,...