Alistair McDowall's The Glow at the Royal Court is a play I've had to ponder - a lot - and I still don't have any firm conclusions.
It is why my immediate thoughts on leaving the theatre were the staging and, in particular, the lighting design - which was stunning. It was something tangible to mentally grasp, but I'll come back to that.
The first half of the play is set in Victorian England. The mood is gothic: dark corners, shadows, ghostly figures and candles.
Mrs Lyall (Rakie Ayola), a spiritualist, bribes a porter at an asylum to let her have a woman (Ria Zmitrowicz) with no memory to use as a conduit for spirits. She sets the woman up in her son Mason's room (Fisayo Akinade), much to his disgust.
She is kind to her, albeit with selfish intent. She wants to be the first to reanimate a human and the woman's lack of memories or identity make her the perfect vessel.
But the woman is far more than Mrs Lyall could ever conceive. Her returning memories are strange and ancient, like the soldier (Tadhg Murphy) who chases her in them.