Milo Rau, the Swiss playwright and director who began staging this pungent project back in 2011, and who has toured it worldwide, has made a specialty of examining atrocity onstage. (He has two more projects coming to New York this season, one of which is about the Gisèle Pelicot trial.) In the States, he’s less well known, as is the story of RTLM, which culminated with two of the d.j.s being convicted of war crimes. (The third went on the lam.) Still, everything in that glass box felt instantly recognizable, an analog cousin of the slick disinformation that streams from our phones—a neon slurry of deepfakes and memes scored with the hits, like that sickening viral video from the White House of detained immigrants in shackles, accompanied by “Na Na Hey Hey Kiss Him Goodbye.” Deep in my headphones, I flashed back to a day I’d spent watching Alex Jones as he howled like a horned-out id, the Tasmanian devil as a newscaster. He was impossible to ignore, the goal of all theatre.