Let this be a lesson to all companies using the Substation Theatre in future: the space works best with the horrifically uncomfortable seating block retracted, with the characterful walls and floor left bare, and with the audience on (at least) three sides. Other shows have proved this point before, but none as convincingly as Pretty Things, where Fared Jainal's less-is-more set and Andy Lim's sensitive lighting provided the perfect showcase for an immersive piece of physical theatre.
Acting-wise, Ian Tan was a revelation - grounded, vulnerable and fluid - and one of his monologues (performed under a table, in briefs and with total commitment) was electric.
Yazid De Jalil was also strong, especially in stillness when he suffused himself with curiosity, desire or disapproval, his emotions reaching right to the ends of his fingertips.
Bright Ong has not yet learned this suffusion trick, and often seemed (despite his size) smaller than the world of the play. But he still performed with discipline and confidence.
In smaller roles, Chan Sze-Wei and Jean Toh added quirky, poised support, though the latter might work on varying her vocal delivery.
But the real star of the production was Patricia Toh, whose direction was a 4D physics puzzle made of milk and moonlight, and whose text was like a wallpaper collage of forgotten poems - it stayed in the background but made everything else look beautiful.
Sure, the production is not quite as coherent thematically as it is aesthetically: a couple of segments feel extraneous, and some of the text could do with more pointing and foregrounding. Nonetheless, the theme of growing up is apparent; and if it is not as clearly defined as it might be, then it at least pulses with a hormonal confusion that fits its subject matter.
Also, at an hour long, the piece does not outstay its welcome, and at $15 it provides some of the best-value theatre around