Music is an integral part of this performance, however it is not essential. There are super long periods when Daniel Nodder relies only on the basics outlined in his list of rules. Stripping theatre to its barest minimum is a huge challenge, demanding excellence and precision, commanding control yet joyful abandon. 'Only Bones' achieves all of these and more.

Losing your reliance on costume, props or text is totally liberating, as well as completely counter-intuitive. We are so used to the introduction of technology, or anything to give the actor some context to play with. The rigor of making theatre without 'things' makes for fascinating, innovative work. It is also delightfully funny and thoroughly entertaining clowning.

Daniel might be described as a stand up comedian who doesn't talk. His body language is finely developed and sophisticated, and of course universally understood.

With just a single light, Daniel makes full use of this through intricate shadow play. He creates a range of characters and animals that come to life, whether as finger or hand puppets, or employing every body part. He even gives separate body bits their own personality. They engage in relationships with other bits, and even sing a duet. This dance of duality occurs again and again, as our body's mirror pairs tussle and try to find a way to live together. We can all relate to how our body's bits sometimes misbehave.

Within the confines of the one light and designated space Daniel creates a whole world. He starts from next to nothing and somehow makes light itself become tangible. We see the energy of light itself, not just what it lights up. Llight becomes a metaphor for mankind's struggle to reach the stars. Or to realize dreams and desires, to grow empires and civilizations that thrive. But over and over again these enterprises fall short, hobbled by their hubris, or their complexity causing confusion and chaos.

Along the way the supporting cast that Daniel conjures up includes everything from dinosaurs and baby alien monsters to pop music icons. Despite his intense focus on body work, Daniel develops and maintains an open inter-connection with the audience. Not as 'participation,' more the direct response of dialogue.

Beyond pure mime, Daniel has invented a uniquely original form of theatre language. As he discovers the amazing flexibility and incredible expressiveness of his own body, we can share in this celebration of what lies beyond the possible. Perhaps 'sculpture in motion' is another way to describe this, but really, you have to see it yourself to believe it.