This hour of dance/performance art, while not filled with the rays of light and hope inferred by its title, inspired with its vigour, intensity, elegance and intelligence.

A dark brown voice boomed out from the shadows. “Everything is going to be just fine,” it said chillingly. Dancers in white, disparate costumes carried out carefully-coordinated moves like spreadable butter with a handful of tacks thrown in. Goose-stepping gave way to tribal dancing, which, in turn, was rendered zombie-like in the dappled quarter-light.

Whatever their significance, the ensemble pieces were flawlessly fluid – each minute of movement having been rehearsed down to the angle of the crook in each little finger.

However, any potential meaning would probably be found in the cardboard cut-outs, which were made to gambol and pursue each other around the stage. Large sheep were chased by a yet bigger wolf, traditional tribesmen by a hunter and, even more menacingly, a businessman on his mobile.

So was it about colonialism, capitalism, both or neither? Or was Shechter merely trying to obfuscate, in order to send everyone home with their heads spinning? Whatever, one thing was certain – it was impossible not to enjoy this experience, and even harder to say why you had.