Edinburgh Fringe dance & physical theatre reviews: Ten Thousand Hours | ARI: The Spirit of Korea | B.L.I.P.S.

Ten Thousand Hours | Simon McClure

Ten Thousand Hours ★★★★★

Assembly Hall (Venue 35) until 24 August

Referring to the amount of time it takes to truly hone any skill, Ten Thousand Hours is the latest offering from Australian company Gravity & Other Myths.

In the increasingly busy world of contemporary circus, this exceptional troupe shines bright. Not just because of their remarkable skill, dexterity and (let’s be honest) bravery, but because of the friendly and approachable nature of their performers.

Each impressive trick they perform, be it a three-person tower, a twist high in the air, or a plunging fall to the ground, is delivered with humility and grace. We whoop and cheer because they deserve it, not because they’ve beckoned it.

A digital screen on the back wall charts the performers’ achievements as each routine unfolds, but numbers aren’t the only measure of success here. We can see it in their eyes and smiles when something goes well (which is practically everything), and there’s a genuine sense of glee when they execute a move for the first time.

These moments of improvisation come via audience suggestions, then during an amusing section where a child draws a gymnastic stance and the troupe attempts to replicate it. 

This much-needed levity is welcome in a show that often has you clutching your face (or your neighbour) in horror at what might befall the artistes. Which is totally unnecessary, of course, because they’ve got this. Every time someone balances one foot on a head, flips high in the air and lands perfectly on a pair of shoulders, or narrowly misses a colleague mid-air, we might have a sharp intake of breath, but they know it will all go according to plan.

Because, as the title suggests, they’ve put in the hours, built up strength, extended their flexibility and now they’re ready to blow our minds.

Kelly Apter

ARI: The Spirit of Korea ★★★★

Assembly Hall (Venue 35) until 25 August

Steeped in history, this lively and exuberant musical from South Korea was inspired by Arirang, a folk song that has been sung in various guises for over 600 years. With thousands of versions in existence, the narrative is open to interpretation, giving the Jeongseon Arirang Culture Foundation licence to create their own take on the story.

Here we find a young couple, newly wed and expecting their first child. Once baby Ari arrives, however, the men in their small village are called to Seoul to work on the construction of a new palace. With all three events being a cause for celebration, the performers pull out all the stops, dancing in beautiful traditional costumes, singing rousing choruses of the central tune, and pounding drums cleverly made to look like tree trunks. 

When things take a turn for the worse in Seoul, however, the family is separated and an act of bravery is required to bring the father back. All of this is delivered in Korean, but with English surtitles clearly visible in locations around the theatre, keeping us on track throughout.

The translation feels ever so slightly clunky at times, and some characters stray into the realm of outdated stereotypes, but this is a centuries-old tale and tradition is the watchword here. That said, moments of humour are to be found in references to modern day, including a brief techno version of Arirang and a local competition named ‘Jeongseon’s Got Talent’ (providing a nice segue into a short montage of circus skills). 

Although told with broad brushstrokes, the storytelling is clear, well-paced and sweet. What really carries ARI, however, is the commitment of its 18-strong cast who in a bid to hold the longest note, bang the loudest drum and show us a good time, give their absolute all.

Kelly Apter

B.L.I.P.S. ★★★

Summerhall (Venue 26) until 26 August

In case you’ve never encountered the term, BLIPS is an acronym for ‘brief, limited, intermittent, psychotic symptoms’ - and that’s not all you’ll learn at this touching and informative show.

Australian performer Margot Mansfield arrives on stage with lived experience of both life in the circus and mental illness. Combining the two, she invites us into her world, recalling the difficult journey so far and looking to the future with hope.

A material backdrop serves as a make-shift dictionary, giving us definitions of key words relating to Mansfield’s condition: paranoid, delusions of grandeur etc. As well as an interesting paragraph about the link between lack of sleep and Thomas Edison’s invention of the lightbulb. Sleep in general plays a key role here, with Mansfield regularly tucking herself into bed only to find her mind has other ideas. 

As she traverses the various ways psychotic symptoms impact her life, Mansfield looks to the circus skills she knows so well to help tell her story. Hand balances, acrobatic flips and hula hoops all play their part, as well as some fun audience interaction to illustrate her messiah complex.

A little rough around the edges in places, this is still an insightful hour of truth, vulnerability but ultimately strength.

Kelly Apter