With appropriate safety warnings dispensed outside, the audience are ushered into a corner of the stage. The theatre is darkened and a black curtain covered with twinkling lights cuts us off from the rest of the space.
A young woman enters, tears the curtain down, and then performs a mesmerising dance with a footlight. We sit.
Whether this third work in three years from the team behind past Summerhall favourites If There’s Not Dancing at the Revolution, I’m Not Coming (2016) and Power Ballad (2017) counts as dance, physical theatre or some combination of both is uncertain, but it’s a beautiful piece. Performer Julia Croft is unerring and precise in what must be a physically draining role.
In semi-darkness, she drags ladders around the stage, lifts and lowers heavy spotlights, and hangs desk chairs from carabiners.
At one point, diverting the tone somewhat, she dons a Judy Garland costume and performs a dance with a bunch of black balloons which is somehow playful and sinister.
The whole thing is mesmerising. Self-described as being influenced by “quantum physics, club culture, Wizard of Oz and queer theory”, the most resonant feminist message which remains in the memory appears directed at the industry its creators are in; about women’s capacity to do physically demanding tech work and make it look easy.