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TABÚ I WILL BE BAD Contemporary circus flying in the face of fear ●●●●●

Watching contemporary circus outfit Nofit State is like stepping into the pages of a living, breathing pop-up book. Before the show starts, we are ushered into the big top by a babbling 12-strong international cast of characters who look straight out of 1930s Berlin.

There are no seats with Nofit State. Instead we are corralled round new

show Tabú (subtitled ‘I Will Be Bad’) promenade-style. A giant hamster wheel rolls dramatically through the crowd; static and flying trapeze artists so literally overhead we crane necks eagerly; a tightwire walker so close we almost touch the soles of her feet. Before one act ends, another emerges from the vivid melee; the crowd splitting and regrouping around the next thrilling act. It all adds to the frisson; the bated-breath feeling that Nofit State’s edgy,

dramatic circus creates. With Tabú (part three of a trilogy) the theme is ‘fear’ director Firenza Guidi exploring the way this base emotion motivates us. It’s a narrative in the loosest sense accompanied by a great live band and rather cringe-worthy voiced-over poetry.

But the theme is illustrated to theatrical perfection with acts such as

Natalia Fandino, who teeters, trembling on static trapeze as if crippled with emotion, and Petri Ekqvist and Kadja Karjalainen, whose breathtaking duet transforms the trust of the trapeze into a deeply erotic pas de deux. As performers swoop overhead, the fear is all ours. Expertly, they let us imagine it is we who are balancing on the tight-wire; willingly we take the plunge. (Ellie Carr) Nofit State Circus, 08442 456 666, until 30 Aug (not 24), times vary, £16–£18 (£12–£14).

performers, their fronds making a cheerful, shimmery percussive jangle as they dance. (Allan Radcliffe) New Town Theatre, 220 0143, until 23 Aug (not 18), 1.40pm, £10–£12 (£8–£10). DANCE DOCTOR DANCE Joining in with the lord of the dance ●●●●●

As the lights go up on PowerPoint equipment and a bespectacled, middle-aged man announcing himself as a reader in psychology at the University of Hertfordshire, you fear you’re in for a lecture rather than an hour of Fringe fun. But twinkle-toed Dr Peter Lovatt is

on a mission to impart the psychology and science of dance, and, luckily for his audience, he wants us to join in with a practical demonstration. Using examples from his many years of research, Lovatt explains phenomena such as why it feels so fabulous to dance as well as the impact of dance on thought processes and the link between movement and emotions. While some of his conclusions are a

little trite and obvious, particularly if you’ve ever studied fairly basic biology, Lovatt’s enthusiasm for his subject is so catching that when he invites the crowd to stomp, clap, twirl and mash potato along to some up-tempo 70s disco numbers, we’re more than happy to get to our feet. (Allan Radcliffe) Bedlam Theatre, 225 9893, until 28 Aug, 6.50pm, £9 (£7).

BE-DOM Joyous fun with Portuguese drums ●●●●●

RHYTHM OF THE DRUMS: SONG OF THE CICADA Show but no tell ●●●●● The title is a little misleading: drumming is but a small part of this showcase of traditional music and dance from the minority Dong and

Miao peoples of southwest China. The series of virtuoso displays, from the furious Wood Drum Dance to love songs accompanied by guitars, violins or unusual woodwind instruments made out of bamboo, are infectiously enjoyable. But frustratingly, as there’s no narrative to the show, or even an introduction, all the songs and dances are performed entirely without context or background.

Highlights include a rendition of ‘Auld

Lang Syne’ played exquisitely on a leaf, and a cheeky mating ritual in which the singing is passed back and forth between the men and women. But the real stars of the show are the glorious costumes, particularly the elaborate silver headdresses, belts and necklaces worn by the female

As the huge white screen they’ve been playing behind in silhouette collapses to reveal what appears to be a junkyard full of cavorting, hunky (and fairly well-scrubbed) crusties, the tone is set for an hour of shambolic play. Switching fairly regularly between broad physical clowning and bursts of foot-pounding, room-shaking rhythm, the Be-Dom boys make music out of anything available to them: plastic oil

Festival Dance

drums, paint tins, whistles, jars, and, thanks to some clever hidden microphones, their own fingers, thighs and faces.

There’s no real order to proceedings: you’re just basically hanging out and jamming with a group of freakishly talented (and did we mention terribly attractive?) friends. The rhythms they create out of nowhere are infectious, and they’re clearly having a great time, too. While their comic timing isn’t always as good as their rhythm a skit set in a café is nothing more than an excuse for false moustaches and an impromptu drum kit created out of saucepans and there are a few too many time-sapping costume changes, this is still an utterly joyous way to pass time. (Kirstin Innes) Udderbelly’s Pasture, 08445 458 252, until 30 Aug, 2pm, £12–£14 (£10.50–£12.50).

WHERE DID IT ALL GO RIGHT? Passion and fun in the nightclub ●●●●●

Presented by Dance Base in the backroom bar of an underground gay hotspot, this light and lively send-up of the mating rituals of clubbing must be one of the most accessible pieces of dance theatre on the Fringe. Devised by Ireland’s ponydance theatre company, it’s a clever and highly kinetic comedy of manners led by the endearingly funny and wonderfully buxom Paula O’Reilly. Sharing the spotlight, along with several pop-tastic dance routines, are company artistic director Leonie McDonagh, Ryan O’Neill and Duane Watters. A word of warning for anyone braving the front row: this game quartet has no qualms about audience participation, especially of a tactile nature.

The pockets of naughtiness are, however, all delivered in a spirit of harmless mock-sexy fun. Given its depiction of the raging vanities and disconcerting awkwardness of being on the pull and/or strutting your stuff on the dance floor, ponydance’s perky performance might well serve as an ideal start to a night on the town. And like everything in the Dance Base programme, tickets are a steal at £5. (Donald Hutera) Dance Base @ GHQ, 225 5525, until 22 Aug, 9pm, £5.

Telephone Booking Fringe 0131 226 0000 International Festival 0131 473 2000 Book Festival 0845 373 5888 Art Festival 07500 461 332 19–26 Aug 2010 THE LIST 49