A soundscape of a woman’s voice layered over itself plays while a woman sits in a red light. That was the promising start to the Room of Infinite Possibilities; unfortunately, the rest of the piece was not nearly as interesting, and frankly a bit schizophrenic.Done by the Cypriot ensemble Theatro Trancendental, the two performers were trapped in very limited roles: one performs monologues in histrionic cycles while the other provides varying degrees of musical accompaniment with a wide variety of percussion instruments (after reading their programme notes, this evidently had some purpose).There were some effective crossings of tasks, like the musician handing the actor a berimbau, but the text was so jumbled it was often challenging to follow the purposes of such crossings.If the text were clearer (What was “The Room” for instance? Was it in the character’s head? Was it the theatre, as it seems to be implied during an odd metatheatrical section near the end?) the show would have been far more successful. As it stands, if it were not for some rather moving sections using Tibetan Singing bowls we would have been trapped in a hotel conference room, but thanks to that music, we had at least a few possibilities.