Kin

I'll confess it. I'm a circus virgin. I know nothing about acrobatics except that I can't do anything like it. However, I think I speak for the average Fringe punter by saying that you'd be missing out if you didn't make the trip to Underbelly’s Circus Hub during your festival stay, and that Kin is a brilliant show to please the uninitiated.

Kin is an incredible experience. The perfect introduction to circus performance.

The Barely Methodical Troupe combine impressive hand-to-hand acrobatics and Cyr wheel set pieces with a dynamic storyline. Five male performers stand wearing laurel wreaths, frozen on white boxes at the back of the tent. Through a series of sketches and songs, we learn that they are competing for the approval of an ethereal judge. This stern, magnetic woman presides over the stage with omniscient authority, and she demands that each male performer complete a series of challenges. These challenges flow through interviews, intimate questions, comic interludes, and, of course, solo and group acrobatics. Ranging dramatically in tone from tense to sensual, majestic to playful, Kin is ever captivating.

The troupe’s fusion of genres is it's distinctive feature, and part of the reason why it is so enjoyable even for someone who is not an acrobatics expert. However, especially at the beginning, their deliberately alienating stillness and silences are more confusing than intriguing. In their opening sketches it is almost as if the troupe are trying to prove to the audience that they are not ‘just’ circus performers - but really we are simple little louts baying for tricks. The performers seem aware of this, even playfully calling out to the audience for applause to encourage more dramatic flips and jumps. Once we have been thrown a few pieces and have settled into the structure, however, the audience come to appreciate the emotional range which these strange interludes give to the piece. The opportunity to get to know these performers as characters certainly lends a weight of significance to their choices of style. Seeing one character develop from cheeky and overtly sexy at the beginning, to gentle and amazed adds genuine poignancy to his relationship with the judge. After all this, we don't want there to be only one winner. The conclusion of the story feels slightly disappointing for this reason - we want some kind of surprise, or group success. This doesn't stop the audience from giving a standing ovation, however, and we leave justly amazed.

The large space doesn't help: when they speak without the microphone we cannot hear their words, and their frequent and long silences drag rather than build tension. Kin are not at all helped by their venue either: the tent’s fabric-thin walls do nothing to block out the obnoxiously loud dance music coming from the bar next door. I've never been more annoyed to hear the strains of Earth, Wind and Fire’s September than halfway through Kin’s otherwise stunning dance about brotherly love.

Let down only by flaws in the venue, Kin is an incredible experience. The perfect introduction to circus performance; definitely do find time to go. 

Reviews by Lily Lindon

Assembly George Square Theatre

David O'Doherty: Big Time

★★★★
Roundabout @ Summerhall

Scorch

★★★★
Underbelly, George Square

Fleabag

★★★★
Pleasance Courtyard

Kiri Pritchard-McLean: Appropriate Adult

★★★★
Underbelly Med Quad

Joan

★★★

Since you’re here…

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You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
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Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £600,000 to support theatre workers affected by the pandemic.
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Performances

Location

The Blurb

The boys from the 2015 smash Bromance are back in this red-hot, five-star circus show… and they've brought friends! The game is on – tricking, tumbling, flying and catching are challenges and opportunities for individual bids for recognition and winning. The UK's hottest circus company, Barely Methodical Troupe, are at the forefront of a new kind of physical performance, creating highly entertaining shows that mix the showstopping acrobatics of circus with the emotional punch of theatre. 'Hilarious' (Guardian). 'Breathtaking' (Evening Standard).

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