Oh dear oh dear, this is what happens when chefs open nightclubs, stonemasons become dentists, or lawyers try their hand at poetry: someone with a single dimension of talent tries to punch above their weight and chases their own haymaker around until they throw themselves over.

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Five nutty immigration police go off the rails in this daft and amusingly self-aware farce. With occasional improvisation, casually and cheerfully executed, our five characters set off on a bizarre journey of layered fantasy.

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Eleven bemused and chronically attention-deficient theatre-goers stagger into comprehension as the play they are watching unfolds.

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Elegantly set in City Chambers the lesson starts, encouragingly, with a glass of bubbly and salty aperitifs, although you will have to forgive the cheesy music.

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Conceived in mediocrity and gestated in langour, no great expenditure of talent graces any part of this utterly un-provocative judicial commentary.

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It’s hard to know what to make of this show. It’s an oddity. It looks like a play in much the same way as a large box on wheels looks like a car – it’s the nearest apparent thing

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Dazzled, naïve, trusting Orgon worships “Tartuffe”, an apparently pious and perfectly virtuous man who speaks with divine authority but is in fact ruthless and deeply corrupt.

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John Heminges, anxious that the Bard’s work should endure, is delighted to discover “ghosts of the future” (his 2008 audience) and that they know the name of Shakespeare.

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The unyielding, unflappable self-surety of Salvador Dalí is –preserved? recreated? – resurrected for the small stage in this smack profile.

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An assemblage of U.S. military personnel have their interviews recreated on stage by a bunch of actors and actresses.

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