Looking on in awed silence

With all that in place – and stay with them as the slow beginning unfolds – the acrobatics has room to breathe like never before. Recirquel is a resident company at Müpa, Hungary’s leading cultural institute, a far cry from the big top, and with My Land they have embraced their theatrical surroundings.

When twin brothers, Andrii and Mykola Pysiura deliver their muscle-busting acrobatic set, balancing themselves on top of each other in every possible way, you feel an urge to respond with wild applause. But it’s performed with such intensity, it’s clear we should remain silent until the end and meet this show with the whoops and hollers it deserves.

Likewise when Yevheniia Obolonina, the lone female in this seven-strong troupe, climbs on to her contortionist partner Roman Khafizov, your eyes may water at his arched back and vulnerable stomach, but they remain glued to the stage.

Each act maintains the electric atmosphere and adds to the drama in unexpected ways. Who knew a “juggleoff ” (think a breakdance battle but with juggling balls) could be so dramatic yet beautiful at the same time?

And as for the closing duet, between a man and a ladder, prepare yourself for a torrent of strength, bravery and precision.

KELLY APTER

Until 26 August. Today 8:10pm.

3 The company’s show is rounded off with a duet between a man and a ladder going to be straightforward. But Shame Pig is Lou Sanders’ most honest and revealing to date. An early afternoon time slot and the candid nature of the confessions – explicit degradations she’s previously mentioned more superficially – make this feel like a cleansing, watershed hour. A flushing. Or spiritual healing, to put it in terms of the crystal pseudo-science she adheres to, even while acknowledging its ridiculousness. There’s something there anyway, a sexual experience at the hands of her new age osteopath just one of the more memorable anecdotes Sanders discloses in a bid to free herself from shame.

Only recently sober and eager to share, there’s plenty to unpack, from an adolescent biting spree to some painfully funny issues with her father. And with her puckish eccentricity and stop-start, jerky, stream of consciousness delivery, veering between swaggering bravado and appealing vulnerability, Sanders’ style is well suited to it.

Given the addiction and self-destructive behaviour acknowledged, this is a remarkably light-hearted and undeniably fun offering. Still, thoughtful material on slut shaming and the power relations of sex are introduced, while darker experiences are addressed, even if victimhood is rejected.

JAY RICHARDSON

Until 26 August. Today 12:30pm.

One of two shows brought to this year’s Fringe by the legendary Gandini Juggling, Gibbon has a dual personality. During the slow opening, and at various points throughout the show, it attempts to create a rehearsal atmosphere.

Performers Chris Patfield and Jose Triguero chat with each other about the moves they’ve just made, what they liked or disliked, what they’ll keep or discard. They change clothes, take a brief break, illicit applause for no reason.

All of which, aside from garnering a few laughs, distracts from the incredible skill both Patfield and Triguero have worked hard to acquire.

Because each time the theatrical lights flick on, the hypnotic soundtrack kicks in, and the balls start flying, Gibbon soars along with them.

These two men are not just proficient jugglers, they also know how to create just the right movement to perfectly illuminate their skill.

Balls are passed between them via countless body parts, and when they juggle simultaneously it’s a thing of beauty.

It’s these moments that make Gibbon well worth a visit, to watch the dynamic and clever interplay Patfield and Triguero have with balls, not words.

KELLY APTER

Until 25 August. Today 1:30pm. Sweet Grassmarket (Venue 18) JJ

This tale of a contemporary British Muslim family whose concern about racial prejudice is exacerbated by the tragic and suspicious death of a family member is wellobserved in its humanity.

Small details like a daughter’s fear of speaking Arabic on the bus or wearing a hijab in public are well-realised.

The inexperience of the young company behind it is hard to mask, however, and the production is as uneven in some ways as it is capable in others, although the performances are generally competent throughout.

DAVID POLLOCK

Until 12 August. Today 5:15pm.