“It’s All Around You, All Is Full Of Love.” – Björk. The idea of a love story being articulated via a circus performance may seem perplex, but this is where Aleshanee Kelso(Penny) and Tomas Correia(Alex) have created a very special production. Before preconceived viewpoints are formulated, let this writer set a few things straight: firstly, this is not a “Romcom” tale along the lines of You’ve Got Mail. Nor is it a grand love tragedy narrative of Shakespearean embellishment, this isn’t Romeo & Juliet. In all honesty, Space Between is a quirky analysis of what love between two people is and what it entails. It can be fun, flirty, energised, silly and beautiful. But it can also be challenging, disarming, painful, dubious and filled with uncertainty. It’s enough to make a person stand on their head and this is what occurs, quite literally. Upon entry, the audience is greeted with the couple lounging around, having a rather loud conversation about anything and everything – it is questionable whether they are in character or just being themselves. Nevertheless, all feel right at home, and the simple setup of a couch, table, rug, cups, pizza, and a laptop seems familiar to any modern-day living environment. Almost instantly, everyone feels part of the creative work and it is extremely endearing. “What are you working on?” asks Penny. “I’m thinking of starting the show soon.” Alex replies. “Yes, do it! That sounds good!” enthuses Penny. Whether “the show” is meant to be Space Between itself or a program on the laptop is nearly impossible to tell, although it isn’t important. At this early juncture, the number of cartwheels, somersaults, handstands and hat and cane tricks have already entranced everyone inside the tent. Childlike play becomes the main motif and imaginations run wild. Remember when you were young, and the couch could be a piece of gymnastic equipment? Even another universe? This is what Lesh and Tom portray as a loving couple, unbridled youthful fun – a power that being in love possesses. Playfighting over the last slice of pizza, playing hide and seek, climbing on each other; but in this instance, it is to the level of Olympic gymnasts. It is all very charming, and it is near-impossible not to be affected positively by the remarkable and exquisite love they share. Especially in their dancing that varies between brilliant ballet choreography and simplistic drunken sing-alongs to The Killers. The couple often breaks the fourth wall, engaging the crowd with conversation and fantastic anecdotes. The spectators have a “fly-on-the-wall” experience to the inside of Penny and Alex’s lives from an observers’ perspective and although they are in love, people are always guaranteed to be different which can cause disharmony. A darker turn is portrayed in the plot and the dancing becomes more intense, the discussion between the couple becomes almost melancholy. The intensity builds in every element: physical, emotional, verbal and the acrobatics follow suit impeccably. Through their charismatic characteristics and playfulness they find each other very much in sprightly love again. Penny decides to become a burrito in the rug and Alex gets swallowed by the couch – let it be known that this is after countless flips and impossibly high balancing acts on each other and the couch. Love can be a foolish game too. “What are you working on?” asks Penny. “I’m thinking of starting the show soon.” Alex replies. “Yes, do it! That sounds good!” enthuses Penny. The end is a recreation of the start, sometimes we have to go back to the beginning and relive the love we found. “It’s All Around You, All Is Full Of Love.” – Björk.