Review by Eric Page
Cardiff-based No Fit State’s show Sabotage is a thrilling, reflective, and visually stunning celebration of contemporary circus that manages to honour tradition and break new ground in its execution. From lights up, it is clear that the company takes immense care and creativity into every aspect of the production, aiming to make it an unforgettable experience for audiences of all ages.
They have attention to detail, costumes carefully crafted that complements and enhances the performance. The range of performers is as diverse as the colours they wear, representing a broad spectrum of backgrounds, gender presentations, talents, and physicalities. This diversity is not just a visual delight but testament to the inclusive ethos of No Fit State, where every performer brings something unique and essential to the show.
The live band sets the tone for the evening. Their music feels like a masterful remix of Dead Can Dance and Mercan Dede, but with a distinctive twist of Mexican trumpets that inject a vibrant, earthy energy into the performance. The band’s soundscape is integral to the show, creating a rich atmosphere that ranges from haunting to exhilarating, and everything in between. They don’t just accompany the action; they elevate it, making the music as much a part of the spectacle as the acrobatics and aerial feats.
And what feats! No Fit State excels at taking traditional circus arts—trapeze, tightrope, juggling, and more—and reimagining them in ways that are fresh, exciting, and full of “wow” factor. The performers are clearly masters of their crafts, but they also bring a playfulness and creativity to their acts that make each moment feel like a revelation. Whether it’s a daring aerialist defying gravity or a juggler turning the ordinary into the extraordinary, every act is a reminder of why circus remains such a powerful and beloved form of entertainment and how a gritty urban gang of intersectional performers are really inject their own unique vibes into their circus art forms.
One of the striking aspects of Sabotage is its use of staging and space. The production plays with the traditional boundaries of theatre, deconstructing the ‘workings’, allowing the audience to be drawn into the performance, not just as spectators, but as participants in the experience. This clever use of space and interaction adds a layer of intimacy to the show, making it feel like a shared adventure rather than a distant spectacle. You can see this crew are having fun; their playful interactions on show.
While the overarching narrative of Sabotage is intriguing, it is a bit intermittent, but hey that’s a critic’s eye; sometimes they’re spot on with their politics, other times it feels as if the story starts strong, pulling the audience into its world, but then takes a back seat to the sheer physicality and artistry of the performances. In a show where the visual and auditory elements are so compelling, the narrative can afford to stepback.
The show is a family-friendly event. No Fit State’s commitment to accessibility is commendable, with the inclusion of a “changing places” public bathroom on site.
The finale of the first act is jaw-dropping, a masterclass in theatre and circus skills that leaves the audience breathless. The cast is a revelation, each member a multi-talented force of nature, seamlessly transitioning between roles as musicians, acrobats, aerialists, performers, singers, riggers and crew. This collective genius meshes together to create a show that feels like a living, breathing community of artists, each supporting the other in a way that is both heartwarming and mesmerising.
The palpable sense of community that permeates Sabotage brings a warmth and delight that makes the show not just a performance, but an experience to be cherished. It’s a testament to the brilliance of No Fit State that they can create a show that feels so alive, so vibrant, and so utterly unforgettable.
Until 1 September at The Level, Brighton
For more info or to book tickets see their website here:
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