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Conducted by Anthony Parnther (isn’t that the perfect name to lead this specific venture?), this European premiere features Massamba Diop on the talking drum, an instrument essential to the score. Diop, who performed the original tracks for director Ryan Coogler, is a force of nature. After a beautiful introduction by Parnther (who surprisingly does a cracking impression of James Earl Jones as Mufasa!), Diop gave a taster for what was to come: a vibrant tattoo that goes hand in hand with masterful storytelling, filling the Hall effortlessly.

Few words grab the attention like murder. And few genres outside immersive theatre can pull you physically into a specific time and place. So why aren’t there more immersive murder productions like this one?

All in all, the evening is like a group session with no guarantees of being called out or receiving answers. Believers will believe, sceptics won’t. Without going into Michael’s “gift”, the two hours are, unfortunately, rather dull. He jumps straight in between tongue-in-cheek jokes and an entertainer’s spirit. A tense silence falls onto the audience and he starts pacing around, trying to “pick up” some “energy”. He is respectful, and kind, almost apologetic for his intrusions into people’s personal lives as he glances into nothingness, pulling information out of thin air.

Maureen Lipman's one woman show traces a Holocaust survivor's journey to find home