Putting all cards on the table, Ten Thousand Hours was named See Do Eat Review’s FAVOURITE SHOW at Adelaide Fringe in 2025. Last year, I sat in the front row and watched in awe as these performers graced the stage. This wasn’t just a show; it was an experience. I got to see the peak of human athleticism working together to produce some truly outstanding feats of strength, agility and endurance. Lucky for me, at Adelaide Fringe 2026, I got to witness it all again!

Situated at the back of Gluttony, Ten Thousand Hours takes place in The Peacock tent once again. By some strange twist of fate, or maybe just sheer coincidence, I sat in the very same front row seat that I was in in 2025. This time, however, I wasn’t watching the performers in awe; this time, it was pure admiration. I knew what was coming the second time around. My eyes weren’t popping out of my head in startled amazement. This time, I was looking at the little things the Gravity & Other Myths (GOM) crew were doing. The placement of the hand for leverage, the swapping out of one base man for a stronger base man, the calf holds for extra stability, all these little tricks that are mostly done in the dark, were the secrets I was looking for that make this monster of a show the synchronicity spectacle that I (and the audience) loved. The most spectacular thing about this show is that the performers make everything they do so effortless. In Ten Thousand Hours, everything is timed to perfection. It’s not so much a series of set athletic pieces but more of a beautiful flow. If by chance there is a slip, someone is there to catch them; if a person overbalances, a leg split quickly corrects the issue. The little mistakes are proof that even the most finely tuned athletes are performing some ridiculously hard stunts.

Ten Thousand Hours is all about trust and teamwork. Without the nine performers having complete faith in the person next to them, what they do could never be achieved. Triple shoulder stands, literally throwing another person, upside-down handstands, and running and jumping aplenty, this is definitely not a one-man or woman show. I’d best describe it as movable art. The type of accomplished work that belongs in The Louvre. However, if they were ever set up in Paris, France, we’d never have the absolute good fortune of seeing them at the Adelaide Fringe.

***** Five Stars