The set is simply lovely: screens within screens. And when light is projected through these screens: shapes within shapes, ethereal glow within ethereal glow. It all adds up to something like the screen of your computer. It's flat, but with a false depth. With this set, the real depth (in terms of space, the arrangement of the screens) is an illusion. There is only surface.

There are a few objects in this set, designed by Ben Zamora and Etta Lilienthal (Lilienthal worked as the set designer for my film Police Beat): Up front, a bar and stools, silver and white, with legs like the Space Needle. On the other side of the stage, a candy machine and a wall of shelves supporting trophies. Beyond the main screen, a claw vending machine that contains sparkling teddy bears.

These objects are connected to the story, about a woman who is a part-time internet porn actor (Erika Mayfield), a mailman (Paul Budriatis), a small-time candy entrepreneur (Pol Rosenthal), and a bartender (Richard Lefebvre—I wonder if he is related to the late Marxist-urbanist Henri Lefebvre?). The performances are good, particularly the one by the man who shares a surname with the famous Marxist, but the story (about a mailman, an entrepreneur who is running a scam, a young and beautiful woman searching for fame/eternity on the internet, a snarky bartender) is composed of nothing more than a series of comic nodes. But if the story were rich, if it had a real direction and solution, it would be too deep for this set, which is all about surfaces.