Casus – Driftwood Reviews Edinburgh Fringe 03 – 28 August 2017

Broadway Baby – Frodo Allan – 10th August 2017 http://broadwaybaby.com/shows/driftwood/720007 A single red lamp shade hangs above the stage in Assembly’s Spiegeltent Palais Du Variete. The cast of three men and one woman enters and, as they writhe their bodies together and stretch out for the light, the lamp slowly rises out of reach. What follows is an hour of beautifully realised contemporary circus performance and dance from Casus Circus who return to the Fringe with their award-winning show, Driftwood. Driftwood is sensual in its simplicity; the four artistes engage in a playful performance with each routine blending smoothly into the next. The core of the show is the tumbling and where we see the limits of human ability stretched and contorted into incredible shapes and forms. The cast playfully move around the small stage and intimately clamber over and under each other as effortlessly as you and I might walk. It’s definitely circus but there’s a clear dance influence on the choreography of movement in the piece and it creates an extremely accessible contemporary circus show. The and poise of the cast is impressive and each performance has that wonderful quality of seeming just difficult enough. You get a real sense that there’s effort in these physical performances and the possibility that it could go wrong brings the audience to the edge of their seats on more than one occasion. A particular highlight is a spectacular balancing feat that has real risk attached and a fantastic routine which thrills. Driftwood is also a success in its quieter moments; a Samoan dance is performed with grace, beauty and respect, and the audience seem to hold their breath for a perfect second. It’s a beautiful vignette in a perfect show. We may all be cast on the ocean of life but Driftwood is rising above the waves.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Edinburgh Festival Mag – Nastassia Sutherland – 21st August 2017 http://www.edfestmag.com/driftwood-3/

Casus Circus’ Driftwood is becoming a staple of the Edinburgh Fringe, and rightly so. Despite the rowdy Fringe goers creating a dull hum outside, inside the grand, billowing Spiegeltent there is complete silence. Casus have our complete attention as they expertly flip, tumble and balance across the stage, and each other. Using a solitary light in the centre of the stage as their one constant, these are performers who know exactly how to put on a show and they do so spectacularly. Driftwood is sleek, polished and full of entertainment for all ages. The performers manage to create the unimaginable and perform the impossible in a fabulous feat of human flexibility, discipline and balance. Alongside all of this, they still manage to incorporate humour into the show and the whole group genuinely look like they’re having the best time which emanates into the audience. The show uses elements of dance alongside circus, creating a flow of movement as one stunt blends into the next. Sitting in a fairly small venue so close to the stage may seem like a bold decision but this just raises the tension as the audience can see each intricate detail of the routine, adding to the sense of awe for what they manage to achieve. The double act is a beautiful piece that truly shows off the partnership between the two women and the unity of the group as a whole, while the solo acts are equally stunning, made more so by the musical accompaniment that suits each piece perfectly. Driftwood is quickly becoming circus royalty so quick, go and grab a ticket.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Edinburgh Fringe Festival 4th August – 28th August 2016 Kerry Teakle – TV Bomb - 7th August 2016 http://www.tvbomb.co.uk/review/driftwood/

As we drift along the current of life, we are shaped by the humans we encounter. In this circus show from the highly skilled Australian company, Casus Circus, three men and two girls perform jaw-dropping acrobatic stunts showing us the inter-connectedness of human contact and how this shapes our lives. Beautiful and graceful, their strength defies what is anatomically, and for most people, humanly possible – and that includes the girls, as they balance their male companions. Driftwood is a circus show that does not let you forget that to feel is to be human and in a moment of danger, a grasping hold is survival. The company create unique, shapes interacting with each other, showing the power of touch and hold. They each play their part in linking to each other showing the need for trust. A great musical score accompanies their moves, injecting humour and beauty into this hour of circus, and graceful, physical movement. With aerial ropes, hoops, and a contraption resembling a clothes stand (which is in fact a balancing implement used on the head of one of the males for the other to climb up and perform death defying stunts), this show will have you gasping for breath as they complete their moves. Casus Circus is an exciting, aesthetically strong circus company, who have won international accolades for their previous piece, Knee Deep, which played in Edinburgh a few years ago. This show will leave you marvelling at the human form, its extreme power and beauty and how our lives are shaped by our connections with others.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Lucy Ribchester – The List – 8th August 2016 https://edinburghfestival.list.co.uk/article/83053-driftwood/ “Australian circus Casus makes a welcome return with an outstanding follow up to Knee Deep”

Whenever a new company storms the Fringe with a hit show, its follow up is always a bit of a litmus test. In Casus' case – after a three-year gap following Knee Deep – the five-strong circus troupe has come back better than ever.

Driftwood feels less thematic than Knee Deep – is the driftwood of the title physical flotsam and jetsam or shifting relationships? – but the choreography is more intricate and imaginative, and the group has increased in confidence without losing any of the curiosity and dreamlike experimentation which sets their tone differently to the sleek, ironic one of fellow Aussies Circa. Still they continue to test the aesthetic, gravitational and muscular limits of the body and the results are mesmerising.

There is such kindness, cooperation, flexibility and creativity in the group, whether they are forming a churning half wheel on stage for performers to leap over, a teasing duet between husbands Jesse Scott and Lachlan McAulay or in the case of Kali Retallack and Abbey Church making beautiful four-legged stars on doubles trapeze.

Props are used sparsely and never tricksily. Scott swings, pendulum-like, on his head, on a trapeze, like he is marking out the decreasing time of a moment that can never last. Retallack contorts into extraordinary poses on a hoop, and perhaps one of the most fascinating segments sees Natano Fa'anana and Retallack team up in a Samoan dance, his nuanced graceful movements echoed by her muscular contemporary form.

The finale is outrageously impressive, while remaining soaked in muted, ethereal beauty. This is circus that makes your lungs seize, that makes you want to jump to your feet: circus that makes you glad you are there in the moment watching it and not anywhere else. Bravo Casus.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Chiara Margiotta – Edinburgh Festivals Magazine – 14th August 2016 http://www.edfestmag.com/driftwood-2/ ***** (5 star review)

Casus Circus give us mere mortals the opportunity to realise the true capabilities of our bodies in their latest feat, Driftwood. In the audience, it feels like the whole spectrum of human emotion is compressed into that one hour. We smile, gasp, and clutch each other as the ensemble leaps, experience real terror as we worry that surely this time someone will fall, surely this can’t be done, and, finally, feel the prick of almost-tears at the awe-inspiring abilities of others with bodies just like ours. The incredible energy and chemistry between the family-like five performers completes the atmosphere, and the sheer range of tricks they master is astounding, treating us to displays of skill and strength using , aerial hoops and each other. One of the most magnificent shows of the Festival, Driftwood is a chance to witness the true physical peak of the human body.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Richard Birch – edfringe review.com – 12th August 2016 http://edfringereview.com/r/V4jSKj2kSWaRPlzQXDx6yg *** (3 Start review)

Driftwood is a circus performance brought to the Edinburgh Fringe by the Casus troupe in the distinctly circus-like atmosphere of Assembly Palais du Variété. A flawless display of their acrobatic skills, the show however occasionally suffers from choosing to emphasise the physical strength of the performers over their visually dazzling routine. To this reviewer’s eyes, this comes as a weakness; although to many of the audience this wisas not the case, with many evidently impressed by their prowess. The opening is truly astounding, changing from a seemingly ordinary scene via a dramatic fall and light change into an interlocking lying-on-air position. This initiates an hour of non- stop dramatic movement, utilizing atmospheric lighting and descending lampshades, ropes and so on to create a varied, interesting and compelling show. However, the performance does occasionally veer into feeling slightly repetitive, using some of the same moves in a similar manner. At times like these one cannot help but feel that the show could benefit from being slightly shorter. However, again this is not a feeling universally held – so much of the audience are clearly sad to see the show end that they conclude with a standing ovation; the best sign of a successful show. The lighting is spectacular throughout; utilizing shadows and floor-lighting to create an eerie and unforgettable setting. Comic sketches are also cleverly integrated to create a nice sense of relief to the show; one expecting a constant show of gymnastic extravagance is pleasantly surprised to find one of the performers dancing with a coat hanger. An unorthodox addition to the performance, however a welcome one. In addition, as a display of each performer’s skill, the show is fantastic: it is indisputable even to a casual viewer of that this is an example of everyone at the top of their game. The intertwining bodies that are the essential basis of this show, in the words of the troupe, serve to ‘reveal our innate need for human contact’ – although this may sound a little far-fetched and even (dare I say it) almost pretentious, the show does manage to convey this concept with panache. In short, a highly enjoyable show with many good points; with a few small quibbles for this reviewer which do not however hinder the audience’s enjoyment. The standing ovation says it all.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Coreen Grant – edfringe review.com – 13th August http://edfringereview.com/r/V4jSKj2kSWaRPlzQXDx6yg ***** (5 Star review) Casus Circus’ fusion of dance and aerobatics is a stunning performance which spoke volumes using only bodies. With just five performers on a blank stage and minimal props, the spirited artists and vivacious music create life and energy in an incredible demonstration of the potential of physical theatre. In the centre of a packed, circular circus-tent, the audience surround the relatively small stage, but as soon as the lights dim the performers take complete control of the space and make it their own: from the very beginning the audience are held captive. The pacing of the performance is rapid, the artists segueing from each beautiful movement into another: each segment, characterised by different music and a distinct character, seems to top the last. The interwoven bodies create beguiling shapes, in one moment reminiscent of the intricacies of ornate clockwork, working together in perfect, timely harmony. The tone is lifted not only by the audience’s approving reception, but by the actors themselves, whose enjoyment and dedication shines through in every motion. One of the most endearing features of the performance is that it is unquestionably human. Unlike some circus performances such as where the artists seem more supernatural than real, these performers are plainly dressed and largely unadorned. There is no distinction between male and female artists: both prove to be unbelievably strong and exquisitely graceful. Their muscles are on show, the visible sweat making their enormous effort tangible. The lack of frills or fancy costumes to distract from their movements is all the more mesmerising. The performance is not without a few minor fumbles, but that simply proves that they were like us – fallible – and remindes the audience that any one of their awe inspiring feats could go wrong. Each successfully completed stunt is met with an appreciative round of applause. Not only do the cast members interact flawlessly and intimately with each other, they also appear noiselessly amid the crowd, walking through the audience to leap back onstage and straight into a routine. The focus on human interaction and connection is clearly conveyed not only between the strong bonds between artists, but also the way they meld seamlessly into the audience, as if part of the greater species. Despite not speaking a word, the performance is touching in a way that every member of the audience could relate to. The climactic, whirlwind finale ends in a moment of calmer, reflective peace: a near full standing ovation relays the audience’s admiration. A dazzling performance which demonstrates that beauty and power of the body can be the same thing.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 Stuart Boyland – The Upcoming – 10th August 2016 http://www.theupcoming.co.uk/2016/08/10/ed-fringe-2016-driftwood-at-assembly-george- square-gardens-theatre-review/ Ed Fringe 2016: Driftwood at Assembly George Square Gardens

**** (4 Star Review)

Hailing from Australia, Casus Circus bring their new show, Driftwood, to the Edinburgh stage in a graceful flurry of tightly honed demonstrations of skill, taking in tumbling, dance, physical theatre and traditional high-wire circus disciplines.

Routines are linked through transitional scenes in which the troupe interact with a single red lampshade hung from above, and these, along with chicly co-ordinated costume, lend a distinctive autumnal motif, if not a concrete narrative, to proceedings.

There is plenty of variety within the one-hour running time, which comprises both spots that showcase individual’s specialities and those that reveal their strength in numbers. Often, a performer is elevated by their colleagues to subtly lend a supporting or guiding hand to another, and demonstration of the things that can be achieved by the power of the collective is an overarching theme.

Staged in the round, Driftwood fills the space within Assembly’s Spiegel tent incredibly well. A section performed on an aerial ring sees one company member rotating at dizzying speed just a few feet above the heads of those in the front row, and platforms of varying designs of purely human construction are frequently built to literal death defying scales as high as the ceiling will allow. While the tools and methods on show have been on display in throughout history, Driftwood is constantly shot through with unique and imaginative moments that lend an utterly contemporary feel. For many, this will be their first encounter with head- stand trapeze or the shoulder-to-shoulder vertical human tower, and such gasp-worthy moments are what make this performance a tremendous fit for the Fringe, and one to catch if you’re at all able.

“Director Suzy” – White Slate Undone – 05th August 2016

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 https://whiteslateundone.wordpress.com/2016/08/05/top-fringe-picks-day-3/

Director Suzy says: “The second show I’ve seen from Casus and they never cease to amaze with their insanely stunning acrobatics. The way the group work together delivers gorgeous chemistry and beautiful connections. You won’t be disappointed” 3 words to sum up: Heart-stopping, Breath-taking & Jaw-dropping.

Sincerely Amy – 23rd August 2016 – By Amy Stutz http://sincerelyamy.com/2016/08/23/driftwood-casus-circus-edinburgh-fringe/

We become who we are because of the people we encounter, and the connections we make with other humans. Following the success of their previous Edinburgh Fringe performance Knee Deep, Australian dance and circus company Casus Circus perform the stunning Driftwood, which explores the theme of human connection.

Performed in an extraordinary 1920’s style tent that is littered with radiant colour, mirrors surround the stage, creating a sparkle of light that reflects onto the performance. As the lighting dims, a cast of three men and two women appear on stage, creating unique and enthralling shapes that echo the idea of connectivity. They use their strength to trust each other, performing dangerous lifts and jaw-dropping acrobatics. Their ability to move so impressively, makes the room fall still.

Despite the art deco surroundings, the piece is set to a contemporary score that projects the root of human emotion through poetic lyrics. The dancers connect with one another in different ways, but when they come together as a group, it is almost as if they become one. It’s an intimate performance that leaves you questioning how much we need to have contact with other people in order to fulfil ourselves. Their movement is dynamic as the performers link together, showing the necessity of trust both in the performance, and in life. Amongst the captivating moments, intertwined within the piece are playful duets that lighten the enthralling and tense elements of the show. Interjecting humour, a particular highlight involving a male performer undressing and dressing up a coat stand, which he then proceeds to balance on his head as another performer balances on top of him. Throughout the piece, the constant shift of mood is created effectively with the use of lighting and movement. They compliment one another exquisitely, transitioning smoothly and keeping the performance alive with colour. It’s a highly ambient piece that is visually beautiful and truly moving. The audience were up on their feet at the end, in awe of the cast’s strength and ability.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 The Scotsman – 25th August 2016 – By Kelly Apter http://www.scotsman.com/lifestyle/culture/edinburgh-festivals/dance-physical-theatre- circus-review-driftwood-1-4212337

After wowing us with Knee Deep in recent years, Australian circus company Casus has now taken up permanent residence in the hearts of Fringe-goers, and rightly so. Star rating: **** Venue: Assembly George Square Gardens (Venue 3)

In an almost flooded market, Casus has floated like cream to the top, alongside fellow Australians Circa (it should come as no surprise to learn that two former Circa members co- founded Casus).

Driftwood finds the company in largely similar territory to Knee Deep – stripped back circus skills that are both breathtakingly beautiful and eye-wateringly difficult. Acrobatics form the backbone of what they do, although it’s a wonder some of them have a spine at all after the pressure they put it under. In one particularly challenging routine, Jesse Scott balances a bespoke metal contraption on his head – some form of ladder/coat hook hybrid – which looks hard enough as it is. Until Lachlan McAulay gently climbs to the top of it and does a one hand balance – then it just looks agonising (and awesome, obviously).

Finding new ways to link bodies, lift each other and balance in fiendishly tricky positions is all in a day’s work for Casus, as is dismounting from it with a flourish of graceful beauty. It’s never just a case of dropping back down and walking away, when a synchronised group forward roll looks far more pleasing.

But amongst the muscle and power, is delicacy, too. When Kali Retallack climbs into an aerial hoop in her velvet dress, the busy outside world just melts away. All that is left is Retallack, curling her body around the frame, spinning through the air and holding us in her sway.

All good circus is about teamwork, but the close bond between these five performers is especially strong. During a brief moment early on, they are like one body, snaked around each other to form a human table. It sets the scene for what’s to come – an exercise in human connection on every level.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 The Stage – 26th August 2016 – By Natasha Tripney https://www.thestage.co.uk/reviews/2016/driftwood-review-at-assembly-george-square- theatre- edinburgh/?utm_content=bufferfa829&utm_medium=social&utm_source=twitter.com&ut m_campaign=buffer

Driftwood review at Assembly George Square Theatre, Edinburgh – ‘dazzling’ **** Four Stars

In the discussions about gender that have sprung up around this year’s fringe, circus has been rather overlooked. But, though (mostly) wordless, this work is very much part of the discussion. Female bodies, male bodies. Strength and fragility. The different shapes people take. The best circus is eloquent about all these things.

Driftwood is a case in point. The work of Australia’s Casus, the company behind fringe hit Knee Deep, this is a slick and sophisticated show. There are technically dazzling sequences, but there are also moments of calm and quiet. Sometimes the piece feels more akin to dance. The company members pile themselves on top of each other, forming totems and pyramids, clinging to each other. A small red lamp, like a little alien eye, occasionally descends from the ceiling and each performer takes the turn to play with it, flirt with it. Small gestures, the turn of a wrist, the raising of a hand, matter as much as the large ones, and company co-founder Natano Fa’anana’s movements include elements of traditional Samoan dance.

There are a couple of dizzying moments of aerial work here, and some stunning balances, including a head-balance while swinging above the stage that’s incredibly impressive.

While it's true there have been rougher, rawer pieces that have left a more lasting impression at this year's fringe – Driftwood is almost too polished in places, and could use a touch more humour – this is a highly accomplished, graceful and delicate circus gem.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 The Circus Diaries – 25th August 2016 – By Katherine Kavanagh http://www.thecircusdiaries.com/2016/08/25/driftwood-by-casus/ Like pieces of beautiful flotsam, we are washed through Casus‘ latest production, Driftwood, where human encounters, collisions, and partings are subject to the implacable tide of time and circumstance. The five wordless performers (Kali Retallack, Abbey Church, and company co-founders Natano Fa’anana, Lauchlan McAuley and Jesse Scott) float and tumble over each other and their circus heritage, creating a dust-filled acrobatic current that flows through circus past, present – and, perhaps, future. The square stage at the centre of the Spiegeltent is bare, with a dark red lampshade that descends into the space and retreats. Any intended symbolism is oblique, but it is a pleasing image that harmonises with the maroon and pale silver costumes of the company. In a Fringe season characterised by gender commentary, Driftwood presents a world where men can wear corsets or kilts (more accurately, the Polynesian lava-lava), and women can bear the weight of an entire company in a solo-based human pyramid. The show is a series of fleeting acts and personal snapshots that melt into and out of each another. At one point, Fa’anana creates a date for himself out of his own clothes, removed with a sexy twitch of the hips and hung upon a metal contraption. Later, this turns out to be a reinforced head that Scott grips from below while McAuley scales the pole to perform a handstand in the wrist-guarded balance grips at the top. Suddenly, this too is gone, and the two women are walking up each other’s bodies from the floor. Hula hoop and aerial numbers are also characterised by the interchanging of bodies, unusually assisting each other into and out of contact with the equipment; when the performers touch, they are always tender even through the sometime playfulness. Retallack drifts on an aerial hoop, stretching and searching motifs swept away in the tidal pull. In a duet with Church, the floor becomes an extension of a hanging trapeze with choreography that treats each surface with the same weight and transience. As the pair flow away from the trapeze, Scott rolls into it, moving directly from the ground into a handstand on the bar, ankles wrapped around the ropes. Turns are taken on the trapeze – the pair of women, Scott, the pair of women – until it’s the turn of a Washington trapeze to float in and support Scott’s headstand as he is swung between the twin columns of his cast mates, standing now in two-

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017 high towers. A soundtrack that begins with a suggestion of fairground organ and seashore sounds, courtesy of Aphex Twin, goes on to include spectral singing and husky-voiced compositions from artists ranging from Katie Noonan to In Gowan Ring, tied together by the talents of sound designer Javier Langham. Driftwood creates a gorgeous space for Casus to utilise their acrobatic talents, through its music choices, minimalist vintage-inspired aesthetic, and the slight haze that pervades everything. A false ending that precedes McAuley’s rope act jars a little, as the three-high that came before makes me swear out loud and drop my coffee at its brilliance (imagine rolling backwards into standing position from lying flat on the floor. Now imagine if three people holding each others feet do the same. Yes. That), but Driftwood has so many gems in the sweeping flow of movement that its ebbs are minor indeed. It also makes me think of the search for a circus identity amid the jetsam of history and outside influences that is poignant and timely in itself.

Casus Circus – Driftwood Reviews Edinburgh 2016- 2017