Hula hoop, hoop, hooray!
On opposite sides of the stage, two linked narratives play out alongside one another. In one, a young Yemeni man and his friends and allies conspire to commit a terrorist attack; in the other, a stuffy, bewigged British court tries him for the crime he has committed. So far, so morally clean-cut, but as we learn more about his situation the interactive finale where the audience decides upon his guilt becomes less of a foregone conclusion.
Sadly, a low-key and apparently non-professional level of delivery drains the drama from that scene in particular. DAVID POLLOCK
0 Flip Fabrique occupy themselves with a remarkably skilful hula hoop routine. perilously and, in the case of one performer, prop up with his incredibly strong legs while the others stand on it.
When their flight home is cancelled, the Fabriquers have to find a way to occupy themselves, and their boredom is our gain. Acrobatic tricks, fast-paced juggling with fluorescent tennis balls, an aerial display that’s filmed by the performer as he flies, and a remarkably skilful hula hoop routine all help them pass the time.
The diablo act in particular is one of the best I’ve seen – and grows stronger as the show progresses. Already managing to send three diablos into the air, spin round and catch them, performer Jérémie Arsenault from foreign rule. But nothing is done literally in this imaginative, ethereal production that takes us on a journey that breaks down time and space: from Holderin’s work, to contemporary Greece and the difficulties this great country, drenched in history, has faced.
With a fragmented but fluid perspective, and simple but conceptual approach, this stylish production breaks down borders, drawing parallels between Ottoman Turkish rule in the past and the country’s difficult relationship tells us that if this was their last ever show together, he would attempt four. So when Jade Dussault announces she’s leaving the troupe to have a baby, he’s forced to come good on his claim – which he does, wonderfully.
Finally, as with previous Fabrique shows, Transit closes with a dynamic trampoline display that whips the crowd into a frenzy of excitement.
In the increasingly busy world of circus, this Quebecbased company is home to some of the best, with theatricality adding to the show but never taking the spotlight off the real story: their talent and skill as circus artistes. KELLY APTER with the EU since the financial crisis. With insights into Greek history, culture and politics, it’s a piece that has poetry running through its soul and imaginatively uses props and audiovisuals to create its multi-layered, mysterious landscape.
Flags fill buckets, a nation fills the stage, and a boat sets sail. Slowly and smoothly the story comes together until, in the same way he arrived, our narrator disappears back into the dark. SALLY STOTT