It’s a bold move for the Royal Court ’s new artistic director David Byrne to programme this show as the first on the main stage under his tenure: an adaptation of Maggie Nelson’s 2009 memoir-cum-philosophical-tract-cum-poetic treatise Bluets , which plants us in the mind of a heartbroken woman who falls in love with the colour blue. It’s dense and demanding, esoteric and plotless, full of references to Goethe and Catherine Millet and Derek Jarman and Heraclitus. Then again, with Emma D’Arcy and Ben Whishaw in the cast and Katie Mitchell at the helm, it suddenly becomes a much more appealing proposition.

Mitchell uses the Live Cinema approach she’s been developing for the past 20 years or so: actors stand in front of screens with moving backgrounds on them, and cameras film the actor plus background to make a kind of merged live film on an even bigger screen above. So here we’ve got Whishaw, D’Arcy and Kayla Meikle standing in a line, each with a screen behind, each with a desk in front. Margaret Perry, adapting the book, has split the lines into shards shared between the three.

When one speaks, another grabs a prop or changes clothes and sets themselves up in front of their small screen, and the big screen makes it look like they’re driving or at the Sainsbury’s checkout. They’re lightning fast as they strip off jackets, lie on pillows, swig whiskey. We can choose whether to watch the shards or the composite.

It’s so technically spectacular, this blend.