Acrobat

Review in Issue 14-4 | Winter 2002

The ensemble, some androgynous, some bearded, kick-start with a traditional Blackpool style, beachside-esque, acrobatics display. The junk vinyl soundtrack, cross death metal, hits hard, as you bear witness to the bizarre, nappy-clad (and baggy) performers as they propel each other on seesaw teeterboards in a 1940s style gymnasium.

The venue (London’s Roundhouse) provides the perfect setting for the show, which brings with it an alternative spin on Monty Python’s Flying Circus, although of course by far physically superior! With unique delivery you are bombarded with continuous and intense ‘mini pieces’ strung together, hinting at pastiche of circus old and new.

It is suggested that Acrobat may not wish to be contextualised or ‘fitted into the picture of the world arts scene’. However, it is their embracing of the unconventional and the anti-commercial that draws the attention and creates interdisciplinarity, crossing boundaries of circus (both traditional and contemporary) street theatre, performance art, physical theatre and mime. So in essence, they do ‘fit into’ the larger, richer picture – as a truly individual, inspiring and appealing company.

You have to witness first-hand the bizarre, yet hilarious breakfast on a low-slung rope or the handkerchief pulled from the nether regions, to appreciate the performers’ professional high-energy fusion of skills with slapstick and watch them push the boundaries of their craft. So, it’s no surprise to read that they have just been awarded the first 2002 Advertiser Southwark Adelaide Fringe weekly award for excellence.

Artforms
Presenting Artists
Presenting Festival
Date Seen
  1. Oct 2002

This article in the magazine

Issue 14-4
p. 27