Redolent with menacing atmosphere, intelligently sound-scaped and impressively well-cast, Riot is set in the not-so-distant future of our nightmares, where the air has soured, the water dried up, and life is lived within the confines of a wall. An Indigenous woman's sister has gone missing at the gates of the wall and Iskwe embarks on a treacherous journey to bring her home.

Koncan ably sets the scene. The steps leading to the performance space are strewn with Wanted posters seeking Iskwe's sister, flowers and candles are placed like shrines to remember her absence and an ominous set of medical professionals, garbed for quarantine, guard the entrance as the audience finds their seats.

But the play does not fulfill the promise of the pre-show. The Alice in Wonderland, down the rabbit hole, drink the medicine references are tired. The straight-jacketed young girl convinced she is losing her mind in a world gone mad is too overdone to be effective.

Riot is well-intentioned but lacks a fresh approach.