This chapter examines stage presence as key to thinking about performance and ethics. In his romanticization of place, Yi-fu Tuan figures it not only as essential to being but also as an unconditionally positive phenomenon; place accrues values, and he insists that these values are never unwanted. Glass walls fronted all the offices and shops, affording them a view of the atrium and four elevators, each also faced with glass. In "The Work of Art", Walter Benjamin addressed the dawning political implications of mass audiences for art in early twentieth-century Europe. In her survey of the genre, Josephine Machon offers a table qualifying the characteristics of "'Traditional Theatre' v. Immersive Theatre". Co-director and choreographer Maxine Doyle acknowledges that the production plays very purposefully with the thrill of breaking the taboos. A phenomenological approach, however, suggests that distance might instead hold what can never be known.