Multi-talented, the crew intersperse their tricks with sinuous street dancing of loose limbs and edgy grace: hip-hop with a soupcon of capoeira and a few breakdance freezes. The singing doesn't come across so well, but we know they're not lip-synching; the rapping is better and all the music is suitable and original. Not many words are translated, but their pronunciation of "kia ora" is perfect.
There is little in the way of set, but lighting and poses evoke a boxing gym, nightclub and street.
The performers dramatically arrange themselves into rival groups; it's West Side Story's Shark Ballet updated by people who know from experience how fantastical this gang parody is.
Having all studied at the National School of Circo Para Todos (Circus For All) for disadvantaged youth, they are "taking the piss out of their own stereotypes", as British founder and artistic director Felicity Simpson has said in the past.
At the same time, the one "true" story points out that success brings a few problems of its own.
Breakdance battles turn into impressive jump-rope battles. Joke-sneering, the crew take joy in their physiques, and twitch their muscles to comic effect. Individual personalities are instantly communicated.
Day of the Dead skeletons make a brief appearance. Impressive, and lots of fun.
Urban
Who: Circolombia
Where: The Civic
When: Until Sunday
Reviewer: Janet McAllister
