Like Barry X Ball’s work, the device here combined technology (the shifting, talking masks) with craft (theatre). This was spelled out by the subtitle of the play, Technological Phantasmagoria, which tried to bend the rules of theatre, removing the presence of actors to reveal subterranean forces. In that case, however, after the initial shock of the faces looming high above − which seem to peer down without looking at us, or to be seeing into some dark elsewhere – the focus became the head, and how it spins in circles around the inconsolable, hopeless pain of existence.