Only Bones is part project, part show. Founded back in 2015 (Only Bones 1.0) and now on its ninth iteration, each version features a different solo performer who creates their own live show, always working within the same restrictive guidelines of one light, one square metre of performance space and one performer. v1.9 features martial artist and circus performer Matt Pasquet, and you can certainly see the influence of these styles in his slashing choreography and physical strength. He is dynamic, detailed and utterly focused in his physicality; we barely see his eyes during the whole performance as he plays with shadow and light and responds to the throbbing soundtrack. The space restrictions make Only Bones what it is, uniting each version and encouraging performer and audience to still themselves and focus inward. There’s no doubt the response to these limits spur creativity; in a world where we can have everything, what does the artist do with almost nothing? For example, Pasquet’s dynamism is particularly striking, the more so since he never actually travels through space at all. But the restrictions also have a profound impact on venue choice. Unfortunately for v1.9, the long, low stage and seating set-up at The Roundabout means views are restricted for much of the audience, particularly at the beginning. That’s a real pity, because there’s no doubt this boundary-pushing piece is highly successful for those who do manage to see it.