Edinburgh Festival Fringe dance review: Traces, reviewed by The Scotsman’s Kelly Apter.
Created in 2006, Traces has toured the world and played to almost a million people – so clearly there is a lot here to like. But today’s circus landscape looks very different from ten years ago, and much of what you see in Traces can be viewed elsewhere. So now, it is the show’s spirit that has become its USP.
Instead of simply impressing us with their athleticism, the seven performers allow us to get to know them – describing themselves, insecurities and all, into a microphone. It’s a nice touch, but the “matey” feel starts to distract from the action after a while. Sequences involving skateboards and basketballs are too reminiscent of friends in a park, with limited skill on display.
Push all that aside, however, and there are some wondrous moments. Anne-Marie Godin (the lone female – why?) is a true aerial delight, as well as executing some fun acrobatics in an armchair. The impressive pole work is risky and exciting, with jumps and holds of real strength and dexterity.
But it is the denouement – an incredible routine in which they all dive through increasingly smaller hoops at high speed – which has everyone watching open-mouthed in disbelief.
Assembly Hall (Venue 35) until 31 August
Published in The Scotsman on 24 August 2015
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