When you walk into the theatre to watch Rule of Three, you’re given a pair of earplugs. This is because the piece, developed by Belgian choreographer Jan Martens in collaboration with US drummer and producer NAH, gets quite loud. I mean ears-ringing-from-standing-next-to-the-speaker loud. It’s also bright. I mean epileptic-seizure-inducing-strobes-coming-through-your-eyelids bright. The aim is, in part, to reproduce the atmosphere and experience of a club. There is the sensory overload, the heady excitement, the adrenalin and euphoria. And there is the low that follows (or even accompanies) the high: a profound sense of alienation, a kind of existential emptiness or false escapism, a feeling of loneliness despite being in a crowd. Martens also seeks to replicate the “noise” of everyday life — the fragmentary but endless stream of a Facebook feed, the disconnection that comes from living in a hyper-connected world, the constant distraction we are offered and our consequent restlessne...

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