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Yet this regulated structure can also be deregulated: while the ordering of the sections may not change, Churchill instructs, scenes can be played in any order within a section (a further challenge to my copious note-taking as the Court variously deviated from the ordering of scenes as set out in the published text). (An aside: a huge thanks to the Royal Court for continuing to offer heavily discounted scripts in lieu of over-priced, lavish but generally uninformative programmes – West End theatres please take note!) Her formal compression of ‘a number’ of scenes into a compositional whole is achieved by mapping out seven sections, each with seven sequences (with the seventh section encompassing an additional, final scene). If in performance these snap-shot scenes felt like a dizzying, information-fuelled, emotional roller coaster (moods repeatedly dipping and lifting), Churchill’s script reminds that this is achieved only by the precision she brings to her writing and dramatic structure. While it was never a question of altering the cube, swift character and prop changes (each time minimally deployed to signify a particular locale – a sauna, living room, garden, gym, night club, office to name just a few) were handled by blackouts: think of a computer screen repeatedly flashing from empty (blank) to visual overload. A set that had the appearance of an all-white Rubik’s cube (designer Miriam Buether), remained constant throughout the scenic vignettes in which repeatedly changing characters, for the most part in duos, puzzled over the emotional fabric of what they know, how they know, the danger of knowing, the loss of knowing or false ways of knowing. There was both a clinical feel and sense of mathematical precision to the production’s visual aesthetic. Described on the back cover of the published script as a ‘fast-moving kaleidoscope’ in which ‘more than a hundred characters try to make sense of what they know’, it is hard to (re)capture the production details. Trying to retain as much information as possible about the Royal Court premiere was a challenge. I have neither so speedily nor so thoroughly annotated a script of Caryl Churchill’s than has proven to be the case with Love and Information (The Royal Court Theatre, 6 th September to 13 th October 2012).