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:
The supporting cast shines just as brightly, with Pugsley the talking pug and the demon Courtney providing both comic relief and surprising depth. The evolution of Courtney’s character, offers a poignant exploration of redemption and the power of love to transcend boundaries – both dimensional and personal.
The plot is a wild ride that manages to tie up loose ends from previous volumes while introducing new twists and turns that keep readers on the edge of their seats. The stakes are higher than ever, but Steele never loses sight of the character development that has made the series so beloved. Each challenge our heroes face serves to deepen our understanding of their motivations and strengthen their bonds with one another. I loved the wonderful deftness of the final denouement and how it rippled back through the series trying everything up.
DeadEndia Volume 3: Divine Order is more than just a fantastic graphic novel – it’s a cultural touchstone that pushes the boundaries of queer representation in media. Steele has created a work that will undoubtedly inspire a new generation of LGBTQ+ artists and storytellers to share their own unique voices with the world.
Flett’s prose is lyrical and evocative, capturing the essence of the carnival and its inhabitants with a poet’s touch. Linking in ancient wrongs and the idea of generational guilt, of communities having to atone for the crimes of forbearers and how spirits cry out for justice and vengeance. The book’s pacing is controlled, building tension and suspense as the story unfolds, leading to a crepuscular brutal climax that is as inevitable as it is surprising. The resolution ties together the various narrative threads in satisfying and thought-provoking ways.
The play opens with the enigmatic Richard Hannay, portrayed with a masterful blend of gravitas and wit. The faux tension is palpable, drawing the audience into a web of intrigue reminiscent of the original Hitchcockian atmosphere. The seamless integration of comedy sets this production apart. The cast’s comedic timing is impeccable, each line delivered with precision, each gesture calculated to elicit laughter without ever undermining the suspense. Supported by the ingenious use of staging. The four actors, in a dazzling display of versatility, play more than 100 characters in total and manipulate the space with such creativity that the fourth wall seems to dissolve before our eyes. This playful engagement with theatrical conventions transforms the stage into a dynamic landscape, drawing the audience into the heart of the action. The staging is a warm parody, a knowing nod to the artifice of theatre that both celebrates and subverts traditional norms.
This production revels in its own theatricality, evident in the delightful array of accents and costumes. The cast navigates a cornucopia of regional dialects with a finesse that brings to mind the comedic charm of “Allo Allo.” Each accent is a delight, adding layers of humor and character that enrich the narrative. The costumes capturing the essence of each character with a flair that supports the play’s quality while allowing the actors to indulge in moments of delightful absurdity. These elements work in concert to create an atmosphere of playful sophistication, where the audience is invited to share in the joke.
Patrick Barlow’s adaptation of “The 39 Steps” effortlessly combines the elements of suspense and comedy with aplomb. The script is a testament to his skill, maintaining the core tensions of Hitchcock’s original while injecting a buoyant sense of fun. The pacing is brisk, the transitions seamless, and the dialogue sharp, creating a tapestry of intrigue and humor that is compelling.
This production of “The 39 Steps” is a triumph of theatrical ingenuity. It captures the essence of Hitchcock’s suspenseful thriller while infusing it with a comedic charm that is both refreshing and irresistible. The cast’s performances are spectacular, the staging is innovative, and the use of lighting and sound is atmospheric and evocative.
McLeod masterfully navigates the contrast between her love for her job and the emotional baggage she carries. How she first comes Out but then has to go back in, exposing the double standards of celebrating and supporting male cabin crews’ sexuality and gayness is contrasted with the experiences of hostility and prejudice from being an out lesbian in the same staff teams. The novel’s flight path takes us through the exhilarating highs of her globe-trotting career, where every layover is a new adventure, and the crushing lows of hiding her identity. Her internal turbulence is poignantly depicted, making her struggle all the more heart-wrenching and her courage to embrace her true self utterly inspiring. Oh and the drinking, so very much drinking.
‘Lifting Off’ is more than just a book; it’s a celebration of self-discovery and the courage it takes to live authentically and the ability of the honest love from another person to change our minds about ourselves. . McLeod’s book is a beacon of hope for anyone who has ever felt grounded by societal expectations. It’s a reminder that, no matter how turbulent the journey, we all deserve to soar freely.
Next up was the enchanting Cocoa, whose act brought a wild, feline energy to the evening. Draped in leopard-print, she exuded a primal allure. Both Baby Daisy and Cocoa enthralled the audience with their sensual dances and artful disrobing, maintaining an air of tantalizing tease throughout.
Adding a dash of local flavor, the fourth act introduced us to a Brighton native on roller skates. Her act was a joyous whirl of sensual dancing and hula hoop artistry, leaving the audience breathless with her dynamic display.
The grand finale was none other than Baby Daisy, closing the night with a spectacular flourish. Her final dance, culminating in a lavish champagne pour inside a giant glass, was a fittingly decadent end to an evening of sheer burlesque brilliance.
However, the real highlight for the adults lies in a different kind of metamorphosis. Nestled on giant beanbags, we can lay back and simply gaze up at the elegant projections that dance across the ceiling. B.L.I.S.S. It’s a rare chance to relax and let go, allowing the serene beauty of the visual spectacle to wash over us. In this tranquil cocoon, the stress of the outside world melts away, making it a perfect interlude in a busy festival schedule.
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