Their world in Ben Harrison's wide-open production is designer Ali Maclaurin's brutalist breezeblock rotunda on which blueprints for assorted tomorrows are projected, artless and without centre.
Their guide is a working-class woman from Fife called Eve, who, arguably like all of us, began life with a false sense of optimism for a future that never quite became the brave new world it was supposed to. As Smith discovers when he embraces new social freedoms with the zeal of a convert, in a corupted free market economy, even sex is flogged off on the cheap, cold and loveless as it goes.
