In Jean Cocteau’s play La Voix Humaine (the human voice), a lone actress talks on the phone to a lover she has just broken up with. She keeps getting interrupted by a bad connection – the piece was written in 1930, but anybody who has ever experienced a lost signal will empathize. For about an hour, the unnamed woman goes through a rollercoaster of emotions as she addresses the man who left her, and herself. It is uncommonly, uncomfortably voyeuristic, even for theatre. Ivo van Hove drives the point home by placing his performer, Halina Reijn, in a small boxlike room and behind a big glass window, through which the audience scrutinizes her. It feels as if she is imprisoned in her own apartment, and at times she roams her limited space like a caged animal.