In a sense, what Matthew Lenton is producing is no longer living theatre. In overcoming differences of language, he has developed a theatre of soundless voyeurism that robs actors of the chance to connect directly with audiences; what emerges instead is a visual and aural poem – stunningly designed here by Kai Fischer and Mark Melville – that dwells relentlessly on a single note of alienation and despair, defying every rule of drama… Its story is of a naive man who fails to resist the reductive lies about male sexuality implicit in the porn he uses, and of a confused girl who believes that this commercialised vileness represents freedom. If resistance to such lies has to begin somewhere, Lenton’s brave and relentless show may just be one of those starting-places; bleak, terrible, and necessary.
**** The Scotsman
A brave and deeply serious theatrical meditation on the uglier aspects of the sex industry today.
**** The Herald
This new theatrical work from Vanishing Point makes a tremendous impression… A meditation on pornography, exploitation and sexual aggression and shame dressed in the skin of a dream-like allusion to Alice in Wonderland, it could only have been taken seriously were it at times deeply uncomfortable to watch… Matthew Lenton builds the tension with a masterful, slow moving grace… the urge was to discuss every fine detail afterwards.
**** The Independent
This is hardcore. Not in terms of what is seen but in what Lenton forces his audience to imagine. A superb set by Kai Fischer and throbbing, ominous music and sound from Mark Melville only enhance the experience. A darkly disturbing production, expertly realised.
Vanishing Point Theatre Company have stamped their own unique approach onthe tale of Alice in Wonderland and created a strong and bold dramatic interpretation. The conclusion is left somewhat ambiguous, but this results in a formidable and powerful performance.
**** The Skinny
With only a few days of the Edinburgh Festivals left, this new theatrical work by Scottish company Vanishing Point and its artistic director Matthew Lenton seems to be shaping up as one of the most divisive presented during the entire month of August. Apparently alienating traditionalists for its unflinching treatment of a difficult subject matter and a devised narrative which treads over into the outright experimental, those of a stronger constitution seem to be praising it for exactly those reasons.
**** The Arts Journal
Visually, the work is appropriately hallucinatory, brilliantly evoking the feeling of gradual entrapment, claustrophobic panic, the savagery lurking beneath the everyday.
*** Financial Times
Matthew Lenton’s production excels in its impressionistic visions of people caught in a pornographic arms race as they seek ever greater levels of degradation.
*** The Guardian