Let me start by saying that I understand there’s an overwhelming number of shows at this year’s Fringe. However, I truly believe that LIMBO is one of those hidden gems whose description doesn’t do it justice. It’s a fusion of circus and violin, featuring some of the most challenging and artistic tricks you might ever see.
LIMBO captures the essence of feeling trapped or stuck
Two dancers step onto the stage dressed in white and shades of nude. They sit back to back, supporting each other’s weight. Suddenly, the female dancer pulls out a violin and begins to play. As they start dancing together, it is truly an impressive sight; she never misses a beat, even as she is pushed around by her partner, performs floor work and is lifted. At one point, she even stands on his shoulders while he rides around on a monocycle. This piece is a partnered dance showcasing a female violinist who skilfully dances and plays the violin simultaneously, while her partner complements her performance.
LIMBO is a violin sonata composed by Chloé Charody, performed by Sonja Schebeck and her acrobatic partner Josh Frazer. The sonata tells a profound story set against the backdrop of the Melbourne Park Hotel in Australia, 2021, a time when refugees faced detention and incarceration. While it reflects a specific historical context, the piece resonates with the broader emotions of physical and emotional restraint—be it from the pandemic or personal struggles. LIMBO captures the essence of feeling trapped or stuck, visualising the sensation of being in limbo, in any shape or form.
The piece is divided into seven parts, each reflecting a different emotional stage of imprisonment: (1) ‘Limbo’ Violin Caprice, (2) Lament for a Life Lost in Limbo, (3) Dance of the Clowns, (4) Song for the Moon, (5) Lunacy, (6) Soliloquy, and (7) The Lost World. Each section deals with a different stage of isolation in an emotional journey from anger to hysteria to resignation.
Schebeck’s violin playing is accompanied by a piano recording by Chanda Vaderhart. The sonata truly shines with the piano’s ethereal sound complementing the violin’s emotional voice. It’s absolutely brilliant. As I sat in the theatre, I wondered if the piece might benefit from a live piano rather than a recording. While the performance was incredibly grounded, the recorded piano felt somewhat distant, like a looming presence. This, however, does not detract from the spellbinding performance of the artists themselves. LIMBO is a must-see at this year’s Fringe.
