As the title suggests, Justen Bennett’s first UK premiere as a playwright promises to take the audience on a journey of limitless possibilities. Described as a gender neutral play, the two characters are written so that they can be played by either sex in this case by two male performers, Ryan Wichert and Max Wilson. The performance takes us through the various phases of their relationship from their first meeting, to their final separation. We dip in and out of the memorable moments of their time together via an at times inventive piece of physical theatre.

The story is based around the concept of ‘a one’ as opposed to ‘the one’, focusing on the inevitable transiency of human relationships and our desire to nurture and protect them from external influences and our own insecurities. A ringing mobile phone, from which they attempt to run away, is used to interrupt the couple throughout their journey forcing them to address the outside world and their problems with each other, and reminding us constantly of the fragility of their partnership.

The story is told using only the contents of the two suitcases that belong to the characters, from which they produce the props that help to create the fantasy worlds that they travel through. And they do create some interesting visual effects along the way, including the use of torches to give the illusion of an approaching train and, in one of the more successful comic scenes, to create a giant octopus using only a series of instant drawings and the sound effects produced by an audience member blowing bubbles into a glass of water. It is during these more imaginative scenes that the production works best, and it’s clear the piece would benefit from developing these elements further to create a more consistently magical world in which the characters can play.

The actors demonstrate great skill as physical performers with some carefully choreographed fights lending a distinctly playful feel to the work. However coupled with the childishness of their interactions with each other, this can at times become trite very quickly. The inclusion of a game of ‘laser tag’ and a joke involving a soft toy took this theme a little too far.

We learn little about the characters themselves but perhaps this is intentional – we must see them as their own entity so that we can experience their world as a couple rather than as the two individuals. This does however have a significant effect on how much we can empathise with them as their relationship starts to disintegrate.

The script is warm and engaging in places and started strongly, setting the child-like tone and raising a knowing laugh from the audience at the couple’s bickering and exasperation with each others’ irritating habits and pretentions. However, the adventures that are promised are never fully delivered and the production suffers from trying to leap between fantasy and reality leaving several of the scenes feeling rather flat.

There is a concerted effort to use audience participation which again enhances the innocent charm of the show, but as the performance progresses it starts to become an excuse to wander into the audience for no real reason – an unnecessary distraction. It seems, despite the range of skills involved across the creative team, that the plot simply doesn’t provide a strong frame within which the memories of a human relationship can be meaningfully explored. If the show holds a certain sense of innocence and wonder, it fails dramaturgically in the clunkiness of its dialogue.