In the beginning, there was the word. Several words, actually; voiceovers, in English, Danish, French and more besides, as similarly international bodies swarm the stage. This is the Copenhagen Collective’s Fringe debut, The Genesis: a 17-strong physical exploration of humanity, individuality, unity and harmony.
Sitting at the intersection of this particular Fringe category’s three labels, The Genesis deploys key repertoires of circus, physical theatre and dance, and all extremely competently especially for such a new outfit. The high points (figuratively and literally) are the particularly eye-watering human towers, and the passion and energy of the cast – once they get going – is infectious.
But it’s the slow ramp to get there that is puzzling. About half way through the show, the cast’s individual personalities burst into playful life, making all the intricate, dazzling choreographies much more engaging – which is needed, when the show’s narrative had been thus far tricky to parse. And while the elements of the production – the lights, the music, the body-poetry – are fit to purpose, there is an apparent lack of cohesion to make The Genesis more than their sum.
The athletic prowess of the troupe is not in doubt here; this ticks all the boxes for a crowd-pleasing spectacle. But much of what’s here is done better elsewhere. Journeys start with a beginning, after all; this company is one to keep an eye on.
The Genesis, Assembly Hall, until 25 Aug (not 6, 11, 18), 12.30pm