As the lights come on, the audience is plunged into a man’s mind: his life is passing before him like a film, or perhaps it’s a film of others’ lives, some past and some still to come. So begins Triptych, an adaptation of three pieces created with Nederlands Dans Theater. In this labyrinth of missing doors, lost rooms, and hidden floors — what De Morgen called “scenes you’d rather expect from the brain of David Lynch” — time, memory, and premonition revolve around the illusions, utopias, and lost loves of characters who act out their own fiction, continually drifting away and searching for one another.

For 25 years, the Belgian dance-theater company Peeping Tom’s hallmark has been a hyperrealist aesthetic anchored to a concrete and familiar set. The space feels familiar, but quickly the directors create an unstable universe that defies the logic of time and space. You become the witness, or perhaps the voyeur, of what usually remains hidden and unsaid, taken into subconscious worlds to discover nightmares, fears, and desires.