Casus Circus – Driftwood Reviews Edinburgh Fringe Festival 4th August – 28th August 2016 Kerry Teakle – TV Bomb -­‐ 7th August 2016 http://www.tvbomb.co.uk/review/driftwood/ As we drift along the current of life, we are shaped by the humans we encounter. In this circus show from the highly skilled Australian company, Casus Circus, three men and two girls perform jaw-­‐dropping acrobatic stunts showing us the inter-­‐connectedness of human contact and how this shapes our lives. Beautiful and graceful, their strength defies what is anatomically, and for most people, humanly possible – and that includes the girls, as they balance their male companions. Driftwood is a circus show that does not let you forget that to feel is to be human and in a moment of danger, a grasping hold is survival. The company create unique, shapes interacting with each other, showing the power of touch and hold. They each play their part in linking to each other showing the need for trust. A great musical score accompanies their moves, injecting humour and beauty into this hour of circus, and graceful, physical movement. With aerial ropes, hoops, and a contraption resembling a clothes stand (which is in fact a balancing implement used on the head of one of the males for the other to climb up and perform death defying stunts), this show will have you gasping for breath as they complete their moves. Casus Circus is an exciting, aesthetically strong circus company, who have won international accolades for their previous piece, Knee Deep, which played in Edinburgh a few years ago. This show will leave you marvelling at the human form, its extreme power and beauty and how our lives are shaped by our connections with others. Casus Circus – Driftwood Reviews Edinburgh 2016
Lucy Ribchester – The List – 8th August 2016
https://edinburghfestival.list.co.uk/article/83053-­‐driftwood/ “Australian circus Casus makes a welcome return with an outstanding follow up to Knee Deep” Whenever a new company storms the Fringe with a hit show, its follow up is always a bit of a litmus test. In Casus' case – after a three-­‐year gap following Knee Deep – the five-­‐strong circus troupe has come back better than ever. Driftwood feels less thematic than Knee Deep – is the driftwood of the title physical flotsam and jetsam or shifting relationships? – but the choreography is more intricate and imaginative, and the group has increased in confidence without losing any of the curiosity and dreamlike experimentation which sets their tone differently to the sleek, ironic one of fellow Aussies Circa. Still they continue to test the aesthetic, gravitational and muscular limits of the body and the results are mesmerising. There is such kindness, cooperation, flexibility and creativity in the group, whether they are forming a churning half wheel on stage for performers to leap over, a teasing duet between husbands Jesse Scott and Lachlan McAulay or in the case of Kali Retallack and Abbey Church making beautiful four-­‐legged stars on doubles trapeze. Props are used sparsely and never tricksily. Scott swings, pendulum-­‐like, on his head, on a trapeze, like he is marking out the decreasing time of a moment that can never last. Retallack contorts into extraordinary poses on a hoop, and perhaps one of the most fascinating segments sees Natano Fa'anana and Retallack team up in a Samoan dance, his nuanced graceful movements echoed by her muscular contemporary form. The finale is outrageously impressive, while remaining soaked in muted, ethereal beauty. This is circus that makes your lungs seize, that makes you want to jump to your feet: circus that makes you glad you are there in the moment watching it and not anywhere else. Bravo Casus. Casus Circus – Driftwood Reviews Edinburgh 2016
Chiara Margiotta – Edinburgh Festivals Magazine – 14th August 2016 http://www.edfestmag.com/driftwood-­‐2/ ***** (5 star review) Casus Circus give us mere mortals the opportunity to realise the true capabilities of our bodies in their latest feat, Driftwood. In the audience, it feels like the whole spectrum of human emotion is compressed into that one hour. We smile, gasp, and clutch each other as the ensemble leaps, experience real terror as we worry that surely this time someone will fall, surely this can’t be done, and, finally, feel the prick of almost-­‐tears at the awe-­‐inspiring abilities of others with bodies just like ours. The incredible energy and chemistry between the family-­‐like five performers completes the atmosphere, and the sheer range of tricks they master is astounding, treating us to displays of skill and strength using trapezes, aerial hoops and each other. One of the most magnificent shows of the Festival, Driftwood is a chance to witness the true physical peak of the human body. Casus Circus – Driftwood Reviews Edinburgh 2016
Stuart Boyland – The Upcoming – 10th August 2016 http://www.theupcoming.co.uk/2016/08/10/ed-­‐fringe-­‐2016-­‐driftwood-­‐at-­‐assembly-­‐george-­‐
square-­‐gardens-­‐theatre-­‐review/ Ed Fringe 2016: Driftwood at Assembly George Square Gardens **** (4 Star Review) Hailing from Australia, Casus Circus bring their new show, Driftwood, to the Edinburgh stage in a graceful flurry of tightly honed demonstrations of skill, taking in tumbling, dance, physical theatre and traditional high-­‐wire circus disciplines. Routines are linked through transitional scenes in which the troupe interact with a single red lampshade hung from above, and these, along with chicly co-­‐ordinated costume, lend a distinctive autumnal motif, if not a concrete narrative, to proceedings. There is plenty of variety within the one-­‐hour running time, which comprises both spots that showcase individual’s specialities and those that reveal their strength in numbers. Often, a performer is elevated by their colleagues to subtly lend a supporting or guiding hand to another, and demonstration of the things that can be achieved by the power of the collective is an overarching theme. Staged in the round, Driftwood fills the space within Assembly’s Spiegel tent incredibly well. A section performed on an aerial ring sees one company member rotating at dizzying speed just a few feet above the heads of those in the front row, and platforms of varying designs of purely human construction are frequently built to literal death defying scales as high as the ceiling will allow. While the tools and methods on show have been on display in circuses throughout history, Driftwood is constantly shot through with unique and imaginative moments that lend an utterly contemporary feel. For many, this will be their first encounter with head-­‐
stand trapeze or the shoulder-­‐to-­‐shoulder vertical human tower, and such gasp-­‐worthy moments are what make this performance a tremendous fit for the Fringe, and one to catch if you’re at all able. Casus Circus – Driftwood Reviews Edinburgh 2016
Sincerely Amy – 23rd August 2016 – By Amy Stutz http://sincerelyamy.com/2016/08/23/driftwood-­‐casus-­‐circus-­‐edinburgh-­‐fringe/ We become who we are because of the people we encounter, and the connections we make with other humans. Following the success of their previous Edinburgh Fringe performance Knee Deep, Australian dance and circus company Casus Circus perform the stunning Driftwood, which explores the theme of human connection. Performed in an extraordinary 1920’s style tent that is littered with radiant colour, mirrors surround the stage, creating a sparkle of light that reflects onto the performance. As the lighting dims, a cast of three men and two women appear on stage, creating unique and enthralling shapes that echo the idea of connectivity. They use their strength to trust each other, performing dangerous lifts and jaw-­‐dropping acrobatics. Their ability to move so impressively, makes the room fall still. Despite the art deco surroundings, the piece is set to a contemporary score that projects the root of human emotion through poetic lyrics. The dancers connect with one another in different ways, but when they come together as a group, it is almost as if they become one. It’s an intimate performance that leaves you questioning how much we need to have contact with other people in order to fulfil ourselves. Their movement is dynamic as the performers link together, showing the necessity of trust both in the performance, and in life. Amongst the captivating moments, intertwined within the piece are playful duets that lighten the enthralling and tense elements of the show. Interjecting humour, a particular highlight involving a male performer undressing and dressing up a coat stand, which he then proceeds to balance on his head as another performer balances on top of him. Throughout the piece, the constant shift of mood is created effectively with the use of lighting and movement. They compliment one another exquisitely, transitioning smoothly and keeping the performance alive with colour. It’s a highly ambient piece that is visually beautiful and truly moving. The audience were up on their feet at the end, in awe of the cast’s strength and ability. Casus Circus – Driftwood Reviews Edinburgh 2016
The Scotsman – 25th August 2016 – By Kelly Apter http://www.scotsman.com/lifestyle/culture/edinburgh-­‐festivals/dance-­‐physical-­‐theatre-­‐
circus-­‐review-­‐driftwood-­‐1-­‐4212337 After wowing us with Knee Deep in recent years, Australian circus company Casus has now taken up permanent residence in the hearts of Fringe-­‐goers, and rightly so. Star rating: **** Venue: Assembly George Square Gardens (Venue 3) In an almost flooded market, Casus has floated like cream to the top, alongside fellow Australians Circa (it should come as no surprise to learn that two former Circa members co-­‐
founded Casus). Driftwood finds the company in largely similar territory to Knee Deep – stripped back circus skills that are both breathtakingly beautiful and eye-­‐wateringly difficult. Acrobatics form the backbone of what they do, although it’s a wonder some of them have a spine at all after the pressure they put it under. In one particularly challenging routine, Jesse Scott balances a bespoke metal contraption on his head – some form of ladder/coat hook hybrid – which looks hard enough as it is. Until Lachlan McAulay gently climbs to the top of it and does a one hand balance – then it just looks agonising (and awesome, obviously). Finding new ways to link bodies, lift each other and balance in fiendishly tricky positions is all in a day’s work for Casus, as is dismounting from it with a flourish of graceful beauty. It’s never just a case of dropping back down and walking away, when a synchronised group forward roll looks far more pleasing. But amongst the muscle and power, is delicacy, too. When Kali Retallack climbs into an aerial hoop in her velvet dress, the busy outside world just melts away. All that is left is Retallack, curling her body around the frame, spinning through the air and holding us in her sway. All good circus is about teamwork, but the close bond between these five performers is especially strong. During a brief moment early on, they are like one body, snaked around each other to form a human table. It sets the scene for what’s to come – an exercise in human connection on every level. Casus Circus – Driftwood Reviews Edinburgh 2016
The Stage – 26th August 2016 – By Natasha Tripney https://www.thestage.co.uk/reviews/2016/driftwood-­‐review-­‐at-­‐assembly-­‐george-­‐square-­‐
theatre-­‐
edinburgh/?utm_content=bufferfa829&utm_medium=social&utm_source=twitter.com&ut
m_campaign=buffer Driftwood review at Assembly George Square Theatre, Edinburgh – ‘dazzling’ **** Four Stars In the discussions about gender that have sprung up around this year’s fringe, circus has been rather overlooked. But, though (mostly) wordless, this work is very much part of the discussion. Female bodies, male bodies. Strength and fragility. The different shapes people take. The best circus is eloquent about all these things. Driftwood is a case in point. The work of Australia’s Casus, the company behind fringe hit Knee Deep, this is a slick and sophisticated show. There are technically dazzling sequences, but there are also moments of calm and quiet. Sometimes the piece feels more akin to dance. The company members pile themselves on top of each other, forming totems and pyramids, clinging to each other. A small red lamp, like a little alien eye, occasionally descends from the ceiling and each performer takes the turn to play with it, flirt with it. Small gestures, the turn of a wrist, the raising of a hand, matter as much as the large ones, and company co-­‐founder Natano Fa’anana’s movements include elements of traditional Samoan dance. There are a couple of dizzying moments of aerial work here, and some stunning balances, including a head-­‐balance while swinging above the stage that’s incredibly impressive. While it's true there have been rougher, rawer pieces that have left a more lasting impression at this year's fringe – Driftwood is almost too polished in places, and could use a touch more humour – this is a highly accomplished, graceful and delicate circus gem. Casus Circus – Driftwood Reviews Edinburgh 2016
The Circus Diaries – 25th August 2016 – By Katherine Kavanagh http://www.thecircusdiaries.com/2016/08/25/driftwood-­‐by-­‐casus/ Like pieces of beautiful flotsam, we are washed through Casus‘ latest production, Driftwood, where human encounters, collisions, and partings are subject to the implacable tide of time and circumstance. The five wordless performers (Kali Retallack, Abbey Church, and company co-­‐founders Natano Fa’anana, Lauchlan McAuley and Jesse Scott) float and tumble over each other and their circus heritage, creating a dust-­‐filled acrobatic current that flows through circus past, present – and, perhaps, future. The square stage at the centre of the Spiegeltent is bare, with a dark red lampshade that descends into the space and retreats. Any intended symbolism is oblique, but it is a pleasing image that harmonises with the maroon and pale silver costumes of the company. In a Fringe season characterised by gender commentary, Driftwood presents a world where men can wear corsets or kilts (more accurately, the Polynesian lava-­‐lava), and women can bear the weight of an entire company in a solo-­‐based human pyramid. The show is a series of fleeting acts and personal snapshots that melt into and out of each another. At one point, Fa’anana creates a date for himself out of his own clothes, removed with a sexy twitch of the hips and hung upon a metal contraption. Later, this turns out to be a reinforced head perch that Scott grips from below while McAuley scales the pole to perform a handstand in the wrist-­‐guarded balance grips at the top. Suddenly, this too is gone, and the two women are walking up each other’s bodies from the floor. Casus Circus – Driftwood Reviews Edinburgh 2016
Hula hoop and aerial numbers are also characterised by the interchanging of bodies, unusually assisting each other into and out of contact with the equipment; when the performers touch, they are always tender even through the sometime playfulness. Retallack drifts on an aerial hoop, stretching and searching motifs swept away in the tidal pull. In a duet with Church, the floor becomes an extension of a hanging trapeze with choreography that treats each surface with the same weight and transience. As the pair flow away from the trapeze, Scott rolls into it, moving directly from the ground into a handstand on the bar, ankles wrapped around the ropes. Turns are taken on the trapeze – the pair of women, Scott, the pair of women – until it’s the turn of a Washington trapeze to float in and support Scott’s headstand as he is swung between the twin columns of his cast mates, standing now in two-­‐high towers. A soundtrack that begins with a suggestion of fairground organ and seashore sounds, courtesy of Aphex Twin, goes on to include spectral singing and husky-­‐
voiced compositions from artists ranging from Katie Noonan to In Gowan Ring, tied together by the talents of sound designer Javier Langham. Driftwood creates a gorgeous space for Casus to utilise their acrobatic talents, through its music choices, minimalist vintage-­‐inspired aesthetic, and the slight haze that pervades everything. A false ending that precedes McAuley’s rope act jars a little, as the three-­‐high that came before makes me swear out loud and drop my coffee at its brilliance (imagine rolling backwards into standing position from lying flat on the floor. Now imagine if three people holding each others feet do the same. Yes. That), but Driftwood has so many gems in the sweeping flow of movement that its ebbs are minor indeed. It also makes me think of the search for a circus identity amid the jetsam of history and outside influences that is poignant and timely in itself. Casus Circus – Driftwood Reviews Edinburgh 2016