Review: DANGEROUS LENSES, VAULT Festival

A man and his daughter move into Ann's block of flats, except that he says there's no little girl with him.

The woman, addicted to watching people's lives through her window, grows an obsession with the mystery. A vision that's too-quickly deteriorating and a penchant for seclusion lead her to go a step too far.

Written by Brooke Robinson, Dangerous Lenses explores loneliness and mania in an undefined genre that edges into being a supernatural thriller. Grace Chilton performs the heart-racing monologue, giving a frantic and anxious portrayal of a companionless woman.

The writer paints the other residents with colour and, from Miss Credit Card to Miss Agoraphobic, she places her audience right in Ann's shoes, playing on the fascination she feels for them.

While her situation overpowers her, the character initially fights back her thoughts knowing fully well she might be overreacting. But, as her isolation grows larger, doubt insinuates her mind and leads her on a downhill road of suspicion and worry.

Chilton is spectacular. Dressed as a classic spinster, she takes hold of the material and thrusts her truth upon the public. Director Melissa Dunne cleverly moves the action in time through her actress' movements, picturing a clear timeline with no actual scene changes.

Present on stage, besides Chilton, are three large blinds hanging from the flies. While this is a thrilling visual addition, they almost seem superficial with a text and performance this rich.

By turning the spotlight toward a potentially haunting issue, she actually focuses the attention on the perils of social confinement and its repercussions on life. The piece feels urgent and, as presented here, it's certain to drive the knife deeper into the crowd.

Dangerous Lenses ends 27 January at VAULT Festival.

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