Review: THE GENESIS, Copenhagen Collective - Peacock Theatre

Photo credit: David Poznic

Much is promised for The Genesis, and some of it is delivered. We certainly get the jaw-dropping acrobatics that are to be seen, and it is impressive to see the ways in which gender expectations are upturned, with towers featuring female bases and male flyers.

Less in evidence, we think, is the also promised profound human expression. It’s a big claim and it is perhaps not surprising that it falls short. Yes, there is a feel of what is possible collectively, and the whole one-hour performance is an example of an art form that requires total support and concentration from all in the group.

With 17 super-talented international performers, the Copenhagen Collective can achieve feats not possible for smaller acrobatic groups. At times, there are up to four human towers on stage, three persons high, and the performance ends with a stunning four-person tower which stretches to the top of the Peacock proscenium arch. Such feats need not show just strength and agility, but the watchful presence of catchers around the tower in case they are needed.

The Genesis is directed and choreographed for Copenhagen Collective by Patrick King and Johan King Silverhult, with a soundtrack (a mixture of voices and classical themes) composed by Leif Jordansson. We are promised lighting with “the grandeur of a cathedral and the vibrant pulse of nightlife” and Stefan Goldbaum Tarabini is responsible for the lighting design: always appropriate but not perhaps quite as ground-breaking as promised. The copy writer for this group perhaps has a tendency to go over the top.

Between these amazing feats, there is a lot of tightly-choreographed running about the stage and much to admire, with the title - The Genesis - indicating mainly the beginning of this new company. Any narrative thread is more in evidence in the minds of the creative team than on stage. Most of the performers adopt a serious expression, which means the audience do not feel prompted to applaud for the first section of the show, but there are one or two members of the group who later break out in smiles on occasion, building a helpful bridge with the audience.

Somewhat bizarrely, in the middle of this serious cross between dance and acrobatics, one performer suddenly addresses the audience in a brief dialogue that seems to belong much more to the usual new circus dynamic.

Tonally confused perhaps, but we found it best to resist trying to make sense of the narrative, if there was one, and enjoy the remarkable feats by this impressive team of acrobats.

*** Three stars

Reviewed by: Chris Abbott

The Genesis plays at London’s Peacock Theatre until 6 September, with further info here.