Edinburgh Fringe Review: Kin heralds new wave of British circus

Beren D'Amico and Nikki Rummer in Kin by Barely Methodical Troupe
(Tristram Kenton) — Beren D'Amico and Nikki Rummer in Kin by Barely Methodical Troupe (Tristram Kenton)

CIRCUS is having a moment.

While childhood circus experiences might include clowns and candyfloss, new show KIN, from the Barely Methodical Troupe, has none of the garish colours, outrageous costumes and set pieces an audience might expect from the Fringe Circus venue.

Instead, Kin is a smart and slick production. Despite there being only a slither of dialogue, the show has emotional depth and explores the complex dynamics of a group where five men vie for the attention and approval of one woman.

A scene from Kin by Barely Methodical Troupe (Tristram Kenton)

Set in a bleak competition where five of the performers are pitted against one another, the show lets each of the company have their moment in the sun, as well as showing (with some astonishing results) what they can create when they come together.

Charlie Wheeler and Jonathan Bendsten in Kin by Barely Methodical Troupe (Tristram Kenton)

There are some stunningly cinematic stunts in this show. When Charlie Wheeller, co-founder of the troupe, displays his Cyr wheel skills accompanied by David Bowie’s ‘Five Years’, it’s a spellbinding spectacle and it’s thrilling to watch someone harness their talent and skill so completely.

Another surreal yet gorgeous set piece is when the troupe set up the stage with a see-saw and crash mats and go on to flip, jump and tumble to Edith Piaf’s ‘Je Ne Regrette Rien’. Unforgettable.

Nikki Rummer, the sole female of the troupe, has a stoic presence and possesses an almost ethereal quality during a routine where she is draped dramatically in a flowing black cloak while standing on the shoulders of her contestants.

A gorgeous show which transcends the circus genre.