The advance publicity was awful, promising something really pretentious. However, the show was really very good! Beautiful images, strong performances, and witty repartee collaborated to create a rich theatrical experience.

On a transverse stage with a shimmering, golden trough running centrally, Sharon Kennet, who both wrote and directed Seed threw concepts of Surrealist Art, Goddesses and Love into the avant-garde pot along with a nineties The Singing Detective style thriller.

Babygirl, the personification of a goddess in a (very adult) child and surrealist artist indulged along with the Blind Painter and Man 2 in conversations on Art, Life, Sex, Love, psychoanalysis and philosophy, The Goddess, the Diva and Lady Go-Diva. The Blind Painter dreams of the Diva (the Creator) and the Femme Fatal (the Seducer, the danger to existence) but is unable to see the face of the androgynous Femme Fatal whom he worships – the dream as reality or the reality as dream? Which is more real?

The woman sings a song written by Babygirl. The evil techno-evangelist wants to buy it. He's being set up. The Woman is the patient of the Psychiatrist, bitter wife of the Techno-evangelist. Owned, oppressed, lacking self-belief and control, but watched over by the ambiguous but genial figure of the androgynous male Voyeur, the Woman struggles to find herself.

Poetic, lyrical and slow, Seed was somewhat overwritten, the connection of the story and ideas did not quite work, the ideas being stronger and more intriguing than the pedestrian narrative. But some excellent dialogue, especially between the Blind Painter and Man 2 on masturbation, Freud and Jung, and the beautiful final images of the Femme Fatal and the Painter naked cuddling each other in a lake of water, made this a rare theatrical gem.