With acrobatics at this level, they make it all look so easy, it’s possible for an audience to become complacent.

The stage is plain, a circuit of circles around the edge that will, eventually, prove to be tables, used in routines late in the show. The troupe is eight-strong, half women, half men, as well as a ninth, musician-performer Sonja Schebeck who, from a tablet, and with her own violin, voice, and loops, oversees the soundtrack to the night’s proceedings. Originally created by Sydney composer Ekrem Eli Phoenix, this runs the gamut from electronic clicks, whirs and mournful hums, to borderline techno thumping.  … link to full length article at The Arts Desk.