Next came Latvia and Estonia. Estonia had a series of completely dark rooms in which night-vision videos of wary-looking soldiers played. It seemed to be something to do with disorientation techniques and torture. Latvia had a beautiful piece called Dark Bulb, a white room with a digital clock speeding through the day in just 12 minutes, while theatre lights played the appropriate light through a window. This rapid day was the one an astronaut speeding away from Earth at just below the speed of light would see, apparently. Cyprus had a scribbly-childish celebration of "Alice in Wonderland" spread across several rooms of a lovely palazzo with speckled, damaged marble floors. Hong Kong was best; a tea room designed for contemplation and conversation in which everything was made out of cheap plastic picnic bags, blue, red and white-striped. We sat there for a while watching gondolas on the Grand Canal. Then there was Indonesia, a bit New Agey, and a thing called Personal Living Space near the theatre where I played my show a couple of hours later. Blobby black scorpions under baroque Venetian lamps and very Chinese carved beams.
Later, the show went well; I cavorted like a super-snobbish pierrot across a vast, empty theatre stage, singing my mannered short fiction. Most of the songs I chose had Italian or ancient Roman settings. It's amazing how many of those I seem to have written.