Enlightenment's set brought out a bit of minimalism envy in me. It is stark white with clear chairs and table, the only colour provided by brightly covered books on the book shelf.

It reminded me of a cross between that sketch in Absolutely Fabulous when Edina and Patsy go to a uber-trendy minimalist house party and Edina doesn't know where to put the wine she has bought and the sort of house an architect would have designed in the 1980's.

Aside from focusing attention on the actors in the play, which is about a mother and step father coming to terms with the disappearance of their son Adam while travelling, it serves to emphasise the comfy, middle-class life they live in.

As opposed to? Well, as opposed to Indonesia where their cotton-wool wrapped son may or may not have been blown up by terrorists and as opposed to the as yet unknown life of the young man who turns up with amnesia and their son's stuff.

The first half builds an emotional bond with the mother Lia played with a degree of heart-tugging expertise by Julie Graham working the script to the max. She is a woman in limbo of not knowing, unable to grieve and move on, turning to spiritualists for answers.

Each scene is punctuated by a shot of darkness and a camera like flash and  shadowy images projected on the perfectly white back wall. It adds a photo story feel to the production.