You may not want to think about this, but at some time in your life you or someone you love will spend a significant amount of time in hospital. IOU's Cure takes the fear and fantasy around illness in general and hospitalisation in particular and places them at the heart of a funny, moving and sometimes beautiful performance piece. Cure contains many of the features that IOU fans will be familiar with: live music, visual tableaux and extraordinary mechanical constructions being just some of the elements of this ambitious work. Placed in the cavernous Campfield Market, the company of twenty-five performers and makers exploit the space to maximum potential, creating a series of environments exploring different aspects of the key theme. Thus, we had a demented Dr Frankenstein version of an MRI scanning unit – nuts and bolts flying as the patient fries inside. A series of interconnected rooms exploring the lottery that is the NHS featured a roulette game, a rifle range and a row of talking catheter bags. A beautiful and haunting film explored a journey – simultaneously the journey of life itself and a specific journey by ambulance following a heart attack. The telescoping and expanding of time explored could apply just as well to other crisis moments in life: the mindwarp of the last stages of labour, or a shell-shocked walk following news of a death. The final scene brings together all the elements of the production to create a suitably epic conclusion, as angels of death/sisters of mercy balance life and death on the scales and the patient wavers between actual physical presence and a fade into the realm of light. It was not a faultless production – there was an overlong and predictable opening scene and an unnecessary excursion outside to see The Leech (a giant rubber construction that pre-dates this production). But Cure was a remarkable achievement, holding a mirror up to our society's dis-ease with the notion of earthly mortality and allowing us to laugh at our folly and marvel at our resilience.