When you go to a trendy London performance "space" to watch an opera about rape and murder you should probably expect a few shocks. Or, if this ain’t your first Don Giovanni, you should expect not to be surprised by whatever provocations the director may have in store – which is much the same. What you probably don’t expect is for the overture to be played electronically and/or sound like it’s been remixed by Thom Yorke. But in Robin Norton-Hale’s "new version", that’s what you get – and plenty more besides. And you know what? It really works. It does. Mostly.