The audience, having not been cast neutral, allows the discourse of the scene to move beyond philosophical quandary. Because of this crucial role of the audience to engage with the drama the same sort of blurring of performance that occurs in traditional flashmobs in which the audience may not be exactly sure the significance of what is going on and will thus react among the performers or, as particularly the case with musical dance flash mobs, be encouraged to simply take part in the performance. This then poses the greatest technical challenge to the performance: how do we engage the audience on a stage equal to the producers and performers? This proves to be a particularly difficult challenge in an urban underground station in which the public performs according to social standard to mind one’s own business and remain relatively anonymous. My solution to this would be for the performer to directly address individuals of the audience, acknowledging their presence and extending the invitation to participate in the discourse. Perhaps holding up queues or obstructing the functioning of the underground lines could even provoke this. Neutrality would again not be compromised here, as the cloak would be tailored such that the performers had very little visibility thus disabling them to discern any markers of identity of the audience. If the audience were to decide to directly engage with the performers, all of the identity the performers disguise would be juxtaposed against audience. How certain individuals “act” in this shared space would be an integral part of the performance. Perhaps a man may support, or a feminist protest, what would otherwise be a feminist.