It could be harder than one thinks to persuade a play-going public to give themselves to play. In risking failure, abandoning self-consciousness and elevating fun to a level of utmost importance, Persuasion Phase One definitely persuades. As scantily clothed attendants – flourished with a touch of fairground fantasy – usher in the audience, the hands of the public are resolutely brandished with a 'Yes' stamp. We are in. We are going wherever they are. This is a good decision. The theatre becomes a space of play, of fun and of fantasy. Whisking us around a variety of activities, our hosts hop between roles of facilitator and performer. The fire doors sweep open and one of the performers is sitting on the street, listening to an Elvis love ballad. Passers-by look on with bemused stores. Moments later, we are in the street – dressed in white space suits and bearing sparklers to create a statue: St. Peter's Lament. Revelling in such irreverence is great fun. Those with whom we would normally spend a couple of hours sitting shoulder to shoulder in the dark are exposed to us in bright relief. When the games end and the theatre begins seems to be an inappropriate deliberation. Theatre is returned to play. Interactive experience should not have to compromise artistry, however, and the performance sections do slightly lack substance. Persuasion Phase One may have had other goals than to ensure a highly amusing night out using new means of actor-audience relation, but this is definitely where its strengths lie. Far from demeaning the piece, it has created an extremely strong foundation. Bring on Phase Two.