Igor Urzelai and Moreno Solinas ooze sweetness. From the first moment Urzelai and Solinas walk onto their white stage, their innocent grace showers the theatre. What follows could be called contemporary dance, performance art, experimental theatre, investigations on endurance, a lot of jumping, or who knows what else, but whatever you call it, it’s lovely.

They walk on stage and sing in perfect harmony, gazing sweetly at the audience for several minutes. Then they start jumping in perfect synchronicity. They continue jumping for the majority of the next hour. This act of jumping somehow manages to become beautiful, political, social, comedic, loving, defiant, poetic, and entrancing. These tones emerge out of a willfulness to continue.

In the program, the artists note that they set out to change the world with a performance, then felt like idiots, and eventually committed to stick together, persevere, and do their best. That Urzelai and Solinas sing and jump and jump some more (and more) doesn’t particularly seem to resonate with any of their goals, but the spirit with which they commit to their pursuit makes Idiot-Syncrasy a distinctly political work.

Over the hour of jumping I laughed, I quickly loved them both, I drank whiskey together with the entire audience, I drifted into a repetitive jumping-induced trance, I saw blurred images of two men in constant movement in a very hot room (it is fair to note that the Main Hall at Summerhall, not unlike several fringe spaces, is in desperate need of increased air circulation), and then eventually they stopped.