Our relationship – and overdependence – on technology has been a fruitful springboard for artists for many years, and provides the subject for Tony Mills' dance piece Watch iT!. Mills' one-man show explores an individual's relationship with his television, however the electronic device could easily be substituted for a computer or gaming device.

In a clever blending of dance, physical theatre, and multimedia projections, Watch iT! reflects on the potential of television to distort reality, create reclusive viewers, and breed addiction. Part fantasy, part recognizable reality, this gaze-orientated production is a humorous and engaging work cleverly brought to life by a skilled performer.

Watch iT! consists of a number of physicalized reflections on Mills' character's relationship with television. These reflections are disparate, and transitions between these scenes can be somewhat jarring, however the disconnected scenes overall amount to a thoughtful meditation upon the subject.

Mills' performance opens with him seated on a lounge chair, channel surfing, in front of an old-fashioned television. His caricature-like responses – which are highlighted by Mills' and Renny Robertson's lighting – to the variety of news headlines and dramatic clips heard by the audience gives the show a light-hearted and humorous start. Mills' carefully controlled snapshots of a television viewer melt into one another, and in some ways anticipate the sliding from scene to scene that makes up the performance. The opening, however, then gives way to a number of darker articulations of the character's relationship with television.

The majority of the scenes that follow reflect upon the more negative aspects of television viewing. For example, when Mills becomes trapped within a television and engages in a dance-off with a projection of himself, the impossibility of an individual achieving what technology is able to accomplish is made clear. A cleverly cut conservative piece of footage becomes an example of the very thing it is protesting against, showing the way technology can subvert messages and be manipulated. Furthermore, in a final scene multimedia projections create the illusion that Mills is trapped in television test card, running through a never-ending tunnel unable to find his way out. This latter scene features high intensity running, and the dance-off an at times joyful, but always complex and technical series of moves, showing the utter dependence and all-absorbing tendencies that an addiction to technology can create.

Throughout these there were minor moments which I found slightly distracting; for example, although a "find the right ke"' scene using a cupboard full of controllers is an appealing and humorous idea, I couldn't fathom why the character didn't just give up on the controller and use the buttons on the television set.

Nevertheless, the blending of humour and a darker subtext make Watch iT! constantly intriguing and a highly recommended work. This is largely due to Mills' committed performance and skill as a dancer, which constantly undercuts the appeal of technology. When engaging in the dance-off, despite the projection's ability to fly across screen and replicate itself innumerable times, the immediacy of live performance proves constantly more engaging. Mills' visible sweat and exertion throughout the production contrasts directly with the image of a couch potato which opens the show, and the energy that reverberates from his performance is in itself an advertisement for disengaging from the television.

Although I have mirrored Mills' character's despair at his television breaking when my email has been down or my laptop water-damaged, the vibrancy of this performance reminds the audience not to become over-dependent on technology, and reflects why theatre remains relevant and appealing in today's digital age. Rather than watch repeats, I'd prefer to rewind and review Watch iT!

Watch iT!, at Almeida TheatreEmma Cole reviews Watch iT! at the Almeida Festival.4