Will Eno's Title and Deed seems to operate in a vacuum. Christine Jones's set hangs geometric shapes in mid-air, looking like shrapnel frozen in time, and Ben Stanton's lighting is plain and straightforward: no tricks up these sleeves, it announces. The same can be said for Andrea Lauer's unassuming costume: Conor Lovett's character, after all, can be from anywhere except here, and is meant to be as nondescript as possible. Personally, this sort of work makes me uncomfortable -- fidgety -- and structurally, the show has even less of a narrative than Eno's Thom Pain. Being a critic here is more like being a dream analyst . . . but then again, sometimes dead air is just dead air.