Humans 2.0: Standing on the Shoulders of Giants
Image: Arnaud Mbaki, Southbank Centre
At the London Premiere of Australia's Circa’s Humans 2.0, a full house eagerly awaited a symphony of circus, pulsating beats and a vision of light. We were not disappointed. In the Queen Elizabeth Hall, The Southbank Centre was packed with an audience that were ready to spring into an evening of awe and admiration.
Humans 2.0 was a show that leaned on the edge of change, playfully weaving between balance and motion. Created by Yaron Lifschitz and visually designed by Paul Jackson’s theatrical lighting, the performance was centred on a circularly lit stage. Flitting between a singular purple spotlight to red tinged floodlights, and juxtaposed with flashing lights to darkened shadows in slow motion, the cast’s bodies were pushed to extremes. From planks to cartwheels, backflips to primal downward dogs, these acrobats weaved their bodies through aerial dance, hung on ropes and swung on swings with effortless effort.
Image: Arnaud Mbaki, Southbank Centre
The performance explored the idea of our collective future: will humankind ever find a perfect balance? Or, is adaptation to constant change the only way forward? As the audience held their breath and gasped throughout, we watched as a future rooted in resilience, strength and intensity played out. Post pandemic, the world continues to move through ripples of rapid change, we’re reminded of Darwin’s evolutionary theory - that change over time gives rise to renewed species, and in this case, one would typically anticipate a physical performance favouring the survival of the fittest - a natural selection based on masculine ideals. However, as Ori Lichtik’s musical composition dissipated from an intensifying drum and bass, into a collective exhale and beat that rhythmically evoked our hearts in unison, humanity moved towards a renewed direction.
The women in Humans 2.0 were symbolic of a world building back better. In this reformed depiction, acrobat Kimberly Rossi exhibited both strength and grace as she hung on aerial ropes, emoting angular, reptilian-like movements, as if she was cocooned in a womb ready to burst out into the world. Fully clothed, she hung upside down and then purposefully fell into the splits between two ropes - twisting and turning her way to physical excellence.
In contrast, acrobat Jon Bonaventura hung on a singular snake-like rope. The masculine form was not confined by two ropes, but flowed, stripped back in a black organza unitard. This revealing costume hinted of vulnerability, as Bonaventura hung from the rope by his waist and one foot alone.
Typical gender roles interchanged like an exercise in forward movement. Acrobats like Georgia Webb and Christina Zauner were anchored throughout, often carrying other dancers on their backs. Repeatedly throughout the show, dancers stood on the shoulders of giants; women exhibited a hopeful future where we were celebrated for our resourcefulness and interdependence. Bodies were often seen holding one another, spotting, intentionally throwing one another and then moving with intention and synchronicity, capturing moments of safety and support. Trust and intimacy were at its core - a creative economy grounded in care and collaboration.
Yet, I couldn’t help but yearn for a future that also celebrates diversity - diversity in race for one. As I glanced around a packed auditorium, I felt almost alone in my presence as a mixed race woman of colour. Progressive change also considers intersectionality. How can we truly move towards a future that echoes resilience, strength and community when bodies like mine aren’t wholly represented in these revolutionary, safe spaces?
In a playful moment of comic relief, the cast broke into jolted movements that stemmed from their hips. With a surge of energy, these acrobats threw each other into the air, exploring trust falls from great heights as they leapt across the stage. As they showcased Humans 2.0 bodies balancing together, this generously high-spirited performance is a show that left us inspired by our human existence and possibilities.
Humans 2.0 runs at the Southbank Centre's Queen Elizabeth Hall from 12-16 April. Get your tickets here.
