Melbourne Reviews

Higher, Faster, Stronger – the technical standards of contemporary circus are pretty off the charts these days. It’s more than just entertainment or razzle-dazzle, the actual skills required are not for the faint-hearted. 

Brisbane-based Circa has always been ahead of the game in this regard. They are the crème-de-la-crème of Australia’s offerings in terms of acrobatic prowess. Yet their shows are understated, unadorned and focused on the magnificence of human bodies without a lot of flashy distractions. It’s all about the unadulterated physicality and the amazing things bodies can do together and sometimes on their own. No gags or bells and whistles here. 

And Humans 2.0, like most of Circa’s previous shows, is not all smiles either – there’s a gamut of emotions and scenarios unfolding in 70 jam-packed minutes. Scenarios that suggest teamwork and comradery switch on a dime to intentions more individualistic, even sinister. But that’s what humans are like – contradictory, empathetic, jealous. Humans and all their tendencies – good and bad – is the general gist, but that can be interpreted in both macro and micro ways. 

These themes come pouring out without saying a word. Just by navigating ridiculously complex entanglements, tumbling, and trust exercises between 11 democratically costumed and positioned performers, a lot can be interpreted. Or just enjoyed for the sheer difficulty of it all. 

Humans 2.0 opens like a contemporary dance, with the whole ensemble, in earthy hues and simple tops and shorts, lying in symmetrical lines within a round, white-floored stage. They revolve around their forearms in side-plank holds, bodies long and taut. The sequence wouldn’t be out of place in an athletic dance company. 

But when Humans 2.0 branches out into full force, in all its crazy, democratic combinations of human torsos and limbs, throws, catches and ridiculously complex group acrobatics, we aren’t in dance-land anymore. Formations involve three-person stack-ups, with others hanging off the sides, bodies flipping high into the air and being caught by the ensemble (no mats, nets, ropes). And it’s not just the burly guys basing the precarious situations. All sizes, shapes, genders seem to do all the roles at different times. A couple of aerial solos break up the group dynamics. 

With Humans 2.0, director Yaron Lifschitz and his company are doing what Circa does best – pushing the art forms of acrobatics and theatre. Expanding on their original show Humans, it sticks to a similar ethos yet feels fresh. 

Bodies, people, acrobatics ... in the hands of this group of artists, the possibilities are infinite and with this level of skill, it’s a theme that will never go out of fashion.