Inside-Out.

Saturday Night
by Vanishing Point Theatre Co.

Sometimes I think they hold the doors of the theatre till the very last minute, just to build suspense. It feels like that a lot at the Tramway (the real reason is so that when actors are on stage when the audience enter, they don't get too tired or bored. Either that or things went very wrong, very last-minute.) Saturday Night, Vanishing Point's quasi-sequel to the much applauded Interiors subjected me to that tense pace around the foyer on Wednesday night. Walking into Tramway 1, you can't help but be excited, intrigued and curious as to what is going to happen on Kai Fischer's stunning two-story set.

For those of us who saw Interiors, we have a rough idea. The early-20th Century notion of Naturalism and Voyeurism taken to literal extremes, the audience acting as gawkers to a private event in someone's home. No words, just actions - but then again they say more than words ever could. This powerful company transfixes the audience's gaze for an hour and a half of pure voyeurism. This time, it's much darker, surreal even. When you can successfully couple naturalistic voyeurism and moments of complete surreality, you can appreciate the skill and craft of this entire company even more.

Sometimes that surrealism goes too far - one feels perhaps that there is no need. But this all just adds to the haunting semi-reality created by Matthew Lenton's style. It looks real, and one almost feels oneself being dragged into the world of the silent characters, but then every now and again, a costumed gorilla (don't ask) comes along to snap you back to the world of the Tramway, with almost Brechtian effect.

It's not to everyone's taste, but it's a unique theatrical experience, and for those of you who hate to be interacted with on a night at the theatre, the fourth wall really does exist on this most unique Saturday Night.