The stage is set. You enter a dark theater. Your eyes adjust enough to see a person lying on the ground, curled beneath an umbrella. The sound of pattering rain washes over you as you grope for a seat...

This one hour performance comprises solely of two male dancers, who in no time weave such an intimate yet mysterious tale that you feel like a voyeur for being there at all.

Once you get over the feeling that you're intruding on a series of private moments in two very different, yet parallel lives, the unnerving feeling of a dystopian universe settles over you like a fine dust.

Both characters are evidently struggling. The businessman's spidery hand movements scratch at an itch that can't be scratched. Homelessguy's quivering fingers stretch for an escape just beyond his reach. Sounds, lights and projections flit over the dancer's bodies as they contemplate their seemingly futile existence. An overcrowded city, high rise buildings and busy crossings are over-layed with Cantonese train schedule announcements which cause a cacophony of the senses.

Businessguy lurches forward. Robotic motions echoing the mechanic nature of the nine to five. Wake up. Brush your teeth. Catch the train. Go to work. Go home. Go to bed. Repeat.

This very abstract, fragmented performance leaves you with more questions than answers. Is this the same person, but in a parallel universe? A businessman in one life, a struggling homeless person in another? Is this about karma or about isolation in a big city? Or perhaps the ripple effect of our choices in life?

Is this an exploration of madness? Of man versus the machine? The questions are endless, and a sense of disquiet and contemplation lingers well after the performance concludes.

Following our viewing, the director Max Lee approached the audience and explained what the play was about. But why spoil the surprise of this magical, albeit unsettling performance? In the words of Hunter S Thompson, "Buy the ticket, take the ride." Just make sure you get off when the lady tells you to...