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This is a clever but disturbing play that will be hard to talk about without spoiling it, but I’ll try. If you’re planning to go, you may wish to stop here.

Playwright Jennifer Haley has created a future world where the internet is ‘the nether’ and virtual reality is highly sophisticated. People share their time between ‘in-world’ and the nether, which does a lot of good things like education, but a lot of more dubious things too which are almost impossible to control. Sims creates one of the most sophisticated virtual experiences which others can buy in to, which he rationalises as better virtual than real. Doyle appears to be one of his best customers. Morris, a detective, pursues both. The play switches between interviews where Morris confronts Sims and Doyle (separately) and the virtual world of Sims’ creation.

It packs a hell of a punch in 80 minutes and really makes you think about where we might be heading. It’s all the more unsettling because of its plausibility; I found it somewhat prophetic. The virtual world, a seemingly vast space, is brilliantly created by Es Devlin with video design by Luke Halls and the performances are all superb. Stanley Townsend is absolutely chilling as Sims and Amanda Hale as Morris, initially ice cool determination, makes a surprising and deeply effecting transition. Isabella Pappas, who plays a young girl called Iris, was simply extraordinary; though after the play we were debating the consequences of such young casting (though the play wouldn’t work without it) as well as the issues in the play.

The Royal Court has been a bit hit or miss of late, but this co-production with Headlong, directed by their new AD Jeremy Herrin, is exactly what they do best and should do more of. Essential.

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