There are many different forms of Enlightenment and in the hands of award-winning British playwright Shelagh Stephenson it becomes a cool, sophisticated piece of theatre that manages to be several different things at once.
On one level the show is an entertaining missing-person drama that keeps the audience guessing with audaciously plotted twists stretching the boundaries of the genre.
There is the moving human tragedy of a family devastated by the loss of a 20-year-old son and some very sharp commentary on the emptiness lurking behind the cultured refinement of professional couples who have everything.
Overlaying all of this is some heady conceptualism that draws connections between the indeterminacy of quantum physics and the loss of certainty in the free-wheeling world of post-modernist relativism.
Each element is handled with aplomb but in keeping so many balls in the air it can be hard to form an emotional connection to the drama.
Andrew Foster's stylish direction draws together a superb design team with Dan Williams' set creating a wonderful sense of fluidity as elegant steel and neon structures slide into ever-changing configurations that conjure up a seductive shadow-world filled with pulsing percussion and fluctuating light forms.
Performances are all at the highest level of professionalism. Rachel Nash provides a moving portrait of a mother who conceals her grief behind compulsive self-analysis.
This is nicely off-set by Stephen Lovatt's blunt cynicism and Catherine Wilkin's amusingly prosaic appeal to an afterlife that includes golf "without the pain or ego".
Anna Jullienne brings an engaging innocence to the pushy TV reporter and Jordan Mooney has the best-written part which builds to a chilling vision of a schizophrenic existence where reality is submerged in an orgy of self-creation.
What: Enlightenment
Where: Maidment Theatre, to June 20