Looking out upon the eager theatre-goers waiting to enter, it is hard not to notice that this audience is not here by happenstance, The Dust Palace has a cult following of supporters who revel in being the first to witness what this exceptional circus theatre company will deliver next. Aside from a particularly late start, they do not disappoint.

Two bare rippling feminine physiques glide on stage towards each other for a brief caress that lasts only a moment, with the sublime sounds of Flavio Villani on piano to set the tone of the show. The show is filled with similar metaphors as well as less obvious symbolism.

The choreographers created each piece thinking about the dynamics of same sex relationships, society’s impact and attitudes towards homosexuality, and where their material fits between the ideas of “Carnality and Holiness”. This theme allows the audience to assimilate into the presentation with their own questioning process invoking emotions and thoughts of arousal, confusion, awkwardness, piqued interest, voyeurism, anger, acceptance of self and others, crudeness and even humour. The last two in particular are depicted in the scene Gay For Pay, where the Adonis male form of Mike Edward reclines on the floor, while Edward Clendon as a wealthy and lewd old man showers his man-toy with gifts in exchange for crudely escalating debauchery, resulting in the ruin of the finally sated old fossil. The use of the mask and make up on the senior character enhances the theatrical effect of the interaction, while the indifference and bareness of the ‘hired help’ epitomises the purpose of the piece.

A standout piece, and real crowd-pleaser is the ironically titled Solo Duet, performed by Aaron Burr, a voyeuristic illustration of masturbation. As ever, The Dust Palace succeeds in cleverly delivering another aerial device that adds drama and mirth by being the visual representation of the dancer’s erection. This draws several sniggers from the audience as this powerhouse performer demonstrates his prowess with the device, treating it with the utmost awe and worship, employing movement that is both literal and symbolic at times.

Big Flower Opening is a scene featuring the grand vocals of  Erikka Griffiths-Keame, with Flavio Villani on piano, and Rochelle Mangan as the flower, progressing across the stage with the fluidity and grace that every woman imagines she possesses. The transitions of movement by the dancer are remarkable, her perplexing sensuality, and her dexterityis reflected in the precise contraction of muscles from sharp to languid movements.

For people who have seen previous Dust Palace shows, the difference between the performance level of some of the new blood on stage versus our favourite aerialists is stark, but does not detract from the overall experience of the evening. The Dust Palace prevails in balancing impossibly alluring artistic movement, seamless integration of staging, and an intellectual debate that stays with audience members long after program is over.

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