Punchdrunk entered the world of theatre through a side door in the basement. The company navigated a strange path around abandoned warehouses on the edge of town, via the odd wrong turn and sundry culs de sac, and fetched up two years ago at an old Royal Mail sorting office next to Paddington station. It was here that they performed The Drowned Man: A Hollywood Fable.

We are sitting in the lobby of the National Theatre in the early afternoon waiting for the photocall for Dara to begin. Six or seven photographers, one woman, all dressed in jeans and dark jackets with large camera bags, some on wheels. There is not much conversation. As a relative newcomer I don't normally speak, but on this occasion I venture a remark.

“I have seen this play.”

After a pause one of the company says, “You're keen.”

I explain that I went to a preview. Another silence then, “In one sentence, what's it about?”

“It's about Sharia law.”

These photographs shows Ockham's Razor in performance. While there is a fierce kinetic energy to their work, photography captures something of its still beauty. The images come from four shows they have devised and performed on their own - Memento Mori (2004) Every Action... (2005), Arc (2007) and The Mill (2010) - and Hang On (2008), created in collaboration with Theatre-Rites.