Prepare yourself for gasps of disbelief mixed with giggle-inducing cheekiness as eight world-class contemporary circus performers and one talented singer take centre stage in this high-impact production.

In a series of acrobatic-focussed vignettes, The Mirror narratively reflects on contemporary audiences’ enjoyment in a world expectant of instant gratification, and its ramifications on our attention spans. In a society filled with instant shots of serotonin living a grasp’s length away in our bags, pockets and hands, can we still enjoy – and also appreciate – what live entertainment can provide us?

In this case, the GOM (Gravity & Other Myths) performers have no competition, gleefully entertaining their audiences with jaw-dropping moments of shock, admiration, joy and surprise.

Flips, twists, leaps, throws, catches, bounds, stacks, bends and more – there’s plenty to visually feast on in this world-class example of highly skilled physical power and fluidity. These evidently muscular performers (we know the acrobatic kind are allergic to clothing) continually remind the audience of their super-human strength and flexibility, transforming their enviable sculptural bodies into human furniture, walkways, turrets and even a five-person ceiling-high archway.

Alongside the overarching acrobatic prowess are dynamic moments of dance-inspired movement. From fluid contemporary manoeuvres and even a sprinkling of skilled breakdancing, to a routine set to Sway’ (most known by Michael Buble) which sees even the mighty base of a three-stack-high human tower perform some dangerously fancy footwork. 

Musically backing the night’s visual festivities are loud punchy beats, hauntingly lingering notes, and a slower-paced dramatic cabaret-take on hits like Britney’s famed Toxic and Bill Withers harrowing Ain’t No Sunshine. Although not the strongest vocals found at Fringe (competition is high), singer Megan Drury Is impressively consistent, magnificently holding her notes while being twisted around the stage, thrown in the air and while walking upon a wall of pulsing human bodies.

In line with its reflection on modern day technologies, The Mirror utilises technology in a myriad of ways. From on-stage radios and transportable fluorescent tube lighting, to a large backdrop LED screen that projects out to the audience a variety of views from live camera angles surrounding the stage. An especially gaze-holding routine sees the vocalist and acrobatic crew projected on the screen within a live feed from a selfie-stick held camera which is manoeuvred all around the stage. While being dipped, dropped, thrown and caught, the acrobats and Drury don’t miss a beat creating a memorable collaboration of vocals, movement and technology.

This Best Circus Award Winner at the 2025 Adelaide Fringe is a deserving victor, showcasing what new-age conceptual circus can be, honouring astonishing physical talent rather than exploiting it for cheap shock value. If you’re looking for an evening of wonder, filled with punchy vocals, sweaty skin to skin contact and gravity-defying motion, look no further than Gravity & Other Myths’ The Mirror.