To a Westerner, Japanese classical theatre feels something like Philip Glass music- a little strange, a little unearthly, playing with the space between what is said and what is not, motion and stillness, words and silence. Sadler's volume of classic Japanese Noh, Kyogen and Kabuki plays reads differently than it is performed, thanks to the highly physical staging conventions of these forms, but the overall effect is immersive and seductive.