Hard-edged, throbbing, explosive acrobatics that reference birth, death and primordial physics collide with intimate verbal confessions and insights into what it feels like to be on stage in real time Complete with sweaty armpits. By exposing the inner workings of the world-class acrobat we unveil the magic that is Gravity and Other Myths most precious commodity; the genuine human connection between each other and our audience. At its conceptual center, it is a story of how things come together. People, planets and plans. Audience, performer, sound and light. The thoughts that shape us and in turn define how we make sense of our inner and outer worlds.
Vibes from Our Tribe
Only having my gut and instincts to help untangle his world, I always wished I had someone to answer my questions. Guide me to solutions. A community to reassure me I was on the right track. We Get You. ADHD or not. Mainstream or Learning Differences.
Winner of the "Helpmann Award 2019 for Best Visual or Physical Theatre Production"
With the rapidly escalating health-crisis and with the safety of our audiences, staff and artists at heart, we have taken the decision that it is impossible for us to deliver the Festival this May. If you have booked a ticket for the Festival, you do not need to do anything. You are entitled to a refund and we will be in touch soon. Please bear with us during this difficult time. Read more here.
Bodies flex and contort, roll and fall, swing between legs and rise high above the stage. Playful rivalries — a feature of earlier works from the company — are explored through competitive handstands and song. Ensemble unity is palpable and the circus skills on display are superb, while regular vocal interludes — in which the acrobats reflect on the show to date, update us on their familiarity with certain routines, their recovery from injury or the sweaty state of their balls — provide insight and humour, as well as a greater sense of intimacy and connection between onlookers and performers. Gender stereotypes are shattered, with strong women carrying and tossing men instead of women being thrown and manipulated like objects, while the male members of the company reveal their vulnerability by sharing their fears, doubts and pains directly with the audience. Boundaries between stage and audience are blurred — the production begins with a torch lit procession up from the auditorium and later sees a return to the aisles with acrobats playing singing bowls. Richard Watts travelled to Adelaide as a guest of Adelaide Festival. Already an ArtsHub subscriber? Log in.