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‘Minority Report’ Review: Hi-Tech, Lo-Drama in Flat West End Sci-Fi

The West End adaptation of this sci-fi thriller is strongly designed but tension-free.

In this gender-switched stage version not of Steven Spielberg’s movie but Philip K. Dick ’s original short story, the crucial workings of the chilling, over-arching scenario are delivered by anti-heroine Julia Anderton (spiky Jodie McNee) in an opening lecture-demonstration. At the same time, director Max Webster uses it to kick off his expertly controlled blending of video (Tal Rosner), lighting (Jessica Hung Han Yun) and sound (Nicola T. Chang) across Jon Bausor’s set — the star of the show — with immensely effective projections racing across screens and the towering, receding, multi-purpose mesh rectangles on either side of the stage. And, most oddly, the crucial reveal of the horror at the center of the story — the upsetting “pre-cogs,” individuals trapped and forced to assess the population’s brain patterns — is weakly designed and goes for nothing.

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