There are other issues as well. The saying to never work with children or animals should perhaps be widened to include live technology. There are always technical risks and no disasters occurred thankfully. However, some sound-lagging and an odd transparency of the actors in front of the green screen takes you out of the action a fair bit. This is also, perhaps, a testament to the unashamed ambition from Jess & Morgs who want not just to marry film and dance, but intertwine them. What we have here goes way beyond the confines of Jamie Lloyd or Katie Mitchell in its use of projection, live and real dance, and an almost split-screen effect in their use of simultaneous action. 

It takes a lot of guts to commit like that, but what really lets the show down is simply that it pales in comparison to previous works like “Hotel” for Birmingham Royal Ballet and “Coppélia” for Scottish Ballet—the latter of which was like lightning in a bottle. Some scenes feel superfluous or as if they've been stretched to fill out the runtime of the work. This is especially true for one sequence riffing on classical ballet. Overlong and consequently a little unengaging, “Deepfake” doesn’t come in as hot as its predecessors. With a little more time and space in creation and a little less actual run-time—and perhaps reliance on green screens—the work may pack quite the punch.