If I had to pick one word to describe the Loose Canon company's work up to now, it would be clarity - of word, movement and directorial intent. It is certainly not the word for their 30-minute illustration of work-in-progress, now at the Project.

What we see is a montage of scenes inspired by forms and shapes in paintings by Caravaggio. There are no words; the essence of the work is physical movement, performed by two men and two women who inhabit the stage simultaneously, but are individually isolated in their actions. It is a kind of mime, of mute straining after effects.

The scenes, whatever their inspiration, are not easy to interpret. A man stands, groping the air above him. A woman moves her body erotically and makes menacing gestures with a large knife. Another moves across the stage with measured steps, carrying a skull. The second man lies on the floor, arching his back in strained contortions.

These are limited descriptions of the kind of brief scenes on display. The four actors, directed by Jason Byrne, are Mark D'Aughton, Lesley Conroy, Carl Quinn and Deirdre Roycroft. There is an intensity about them, a sense of total involvement on the part of the actors, whose professional skills are bound to be sharpened by the disciplines involved. But that is, as it were, a backstage consideration, the product of a worthwhile workshop.

Loose Canon has been wise to seek public reaction to their work at this stage. They clearly merit the support of dedicated theatregoers to provide them with an adequate body of response. Their pioneering, available at a knockdown ticket price, is a theatrical stimulus in itself.