Scotland’s only ongoing cabaret circus night, Cirqulation is an event founded by performance artist Jusztina Hermann. With the help of funding from Creative Scotland, the event is designed to showcase Scotland’s contemporary circus artists. Tonight’s theme is the future and the evening has been curated by none other than Hermann herself.

There’s a cracking line up of performers: clowns, a magician, acrobats, and an eclectic collection of aerial performers. It provides a fascinating insight into the range of work currently being developed in Scotland. Ye olde traditional circus this is not: we have performers in ripped denim, overalls, and joggers – there’s barely a feather in sight. Throughout the evening, there’s a knowing wink to the audience’s expectations yet many of these acts take the conventions and stamp on them, resulting in a night of great fun.

Melanie Jordan performs an intriguing work-in-progress piece on the aerial hoop: a woman hangs her laundry and muses on stain removal, physically and maybe metaphorically. Bob (Robert Gallagher-Lyall) concocts a lyrical ballet, juggling self-assembly furniture in a charmingly executed routine. Blaise Donald and Kate George get closest to the bedazzled lurex you might expect from a circus cabaret, executing a gorgeous lollipop hoop piece with sassy panache.

Matt von Trapp (Matthew Keys) kicks off the second half with a breathtakingly beautiful piece of magic, born from mundane beginnings (a towel, a fan, and a piece of paper). Eric Munday and Alix Bailie turn in a boisterous and funny acrobatics routine.

Sally Fyfe makes elegant, touching use of the aerial hoop to perform a routine contemplating the disappearing act performed by women as they age. Amy Longmuir performs a mischievous exploration of gender identity, appropriating Elsa’s famous song from Frozen and her peroxide plait. Finally, Elsa van der Wal presents a poetic exploration of the beauty and peace found in nature.
Imagination, creativity, and a defiantly down-to-earth spirit make Cirqulation: Future sparkle. Bridging the various acts is a tough gig as the equipment needed varies with each performer, resulting in a considerable length of time between each act. Nevertheless, Matthew Keys does a sterling job of compering the whole shebang, even if there’s a few awkward pauses. It is by recognising that this is a cabaret and, more specifically, an evening designed to support local talent and encourage experimentation that Cirqulation gives an enjoyable insight into the breadth of talent working in circus in Scotland.