It’s funny how the most evocative stage images can generate from the simplest of methods. The two performance pieces that comprise Seeing and Dreaming rely on very basic elements: a handheld light, silhouettes, a moving score and slide projections splashed against walls and bed sheets. Objects evoke whole histories and are used to materialize lost loved ones, while a small, withering puppet marks out the fragility of a body diminished by age.

In part one performer Vanessa Earl channels her grandmother through embodied memories of ritual, where the pouring of tea and the choosing of a biscuit can be weighty decisions at the end of one’s life. In part two, we’re introduced to Michael, an old man in a care facility who dreams deeply of horses and a life that went by far too quickly.

Both Earl and fellow deviser Sarah Fuller offer an exquisitely crafted diptych that, at its best, comes across as light and effortless. It only loses its way slightly in the first piece when the effort to offer direct explanation to the audience is made. Otherwise, Earl and Fuller let images and sound speak for themselves, allowing us to marvel at the delicate nature of it all.

Jesse Weaver