IT was a small modest theater building in Bloomington, Indiana, in 2000. With a sibling, I watched a production of No Exit (Huis Clos) by French existentialist, Jean-Paul Sartre. The stage was small and set with a nearly empty space, quite dark throughout the performance: almost representing, at least psychologically, the situation of hell that it aimed to portray. 

In the story, four characters, who have already been condemned to hell, con