In the crumbling recesses of the Treasury Tunnel beneath Adelaide, Nikola and his traveling Lux Concordia have materialised on a mission to remind us of our future.

After a year spent reading up on spirituality-infused sciences, David Geddes ambitiously attempts to cram what he has learned into less than an hour – a colossal information dump of improbable theories relayed via even more improbable accents.

Leaping between the dismissively dispassionate Nikola and the evolved emotional consciousness of Ola (loosely channeling a Tesla of the future), Geddes appears at first to be toying with both worldviews, only for it to become apparent that he is employing the former persona to merely present objections for the latter to overcome.

The Michael Chekhov Acting Studio-trained actor lurches through the dense matter with compelling energy, ably assisted by a dreamy higher consciousness whose prompted interventions serve as the perfect cover for a fluffed line.

Geddes’ buzzing transitions through time and space and a beautifully-acted but hastily-realized climax can’t obscure the impression that this performance is more sermon than theatre – the standard post-show request to spread the word about the production even substituted with an appeal to Google the theories covered.

Geddes entertainingly paints the case for his sacred geometry, but perhaps future forms of what is a brand-new production will develop the emotional intelligence to entrust audiences with drawing the lines for themselves.