One of the many goals as an artist is to transcend time and space, as if all that is ‘visible’ by the mind's eye is the art itself. It is a place where there are physically and mentally no limitations. To transport the human psyche into a swirling inner-chamber of emotion and unlock the senses for both creator and crowd to transport us into a state of being where we’re wholeheartedly in the moment. The concept of 'Ten Thousand Hours' is a theory curated by Malcolm Gladwell in his 2008 bestseller, 'Outliers', which suggests that is how many hours it takes to master any particular craft. Lachlan Binns, with the cast of Gravity & Other Myths, achieved exactly that while giving an insight into the journey; the blood, sweat, passion, tears, training and discipline, frustration, dedication, reaching for that spark in the unknown. The feeling of almost getting to that kind of euphoria but not being able to grasp a hold. Trying again. It pushes and pulls at the heart, you feel all of those emotions throughout the show, as if you were the artist, giving a sense of anticipation for what may be to come. In a dark room, a board lights the room behind the performers, but who is keeping score? In nothing but training tops and tights, it draws you into a space where you feel like you’re sitting in a rehearsal studio, a part of the process. We’re presented with human building blocks as a clock ticks up to ten minutes. A small portion of what’s to come but it is here, the foundations are laid. Arguably, the most important step. It feels as if the crowd is engaged in a game of charades with style as an important learning curve, being mimed out by relating movement to that of the animal kingdom, as if to tap into the roots of origin. We later see statues built up via diagrams drawn out on a piece of paper on an art easel by audience members. A challenge accepted and pulled off each and every time with little struggle and a willingness to persevere, with the most difficult of tasks at hand, which provides insight into the level of talent and training from the acrobats. This is very much a mixed medium project with a focus not only on the gymnastics but the music and visual aspects too. Melbourne drummer and producer, Nick Martyn, composed a soundtrack which delicately emulates the sound of ticking time. Imagine something along the lines of Steve Reich's 'Electric Counterpoint', with an eastern harmonic flavour in the violin, played exquisitely on a pre-recorded track by Shenzo Gregorio. Nick plays live along with the electronic track and works his way through styles and time changes alongside the acrobats. The show incorporates a substantial drum solo from Nick, on a black stage with a spotlight shone on the kit, exhibiting how the same rules of practice apply to both mediums as it builds. I did my research after the show because I was blown away, and if you like what you hear as much as I did, Shenzo goes by ‘@40hourmusicman’ and plays in an alternative Australian string quartet by the name of FourPlay. Nick writes and performs under the name Las Mar. There is an imminent sense of danger felt among the crowd as the level of skill and tricks rises higher, but watching it build takes the edge off, understanding capabilities. Gasps can be heard echoing through the small circus tent but it doesn't come without laughter. This show carries the same level of witty character and child’s play the company is well-known for. Friendly competition plays out among the performers with the use of a scoreboard, conveying insight into the industry but also exhibiting a level of trust and friendship among the group. The show has flaws in the best possible way, because this is a large part of why it was created. This is a story of humility and perseverance. Nothing is ever perfect and practise doesn’t make perfect like we’re taught, it simply creates a sacred space for freedom. The final scene of 'Ten Thousand Hours' exhibits an enthralling display of this in perfect harmony. This one really is the artist's show. Words: Kara White