Humans 2.0
When the Human Body Becomes the Stage
Reviewed by Brendan Daynes
In Humans 2.0, Circa once again blurs the line between circus, dance, and physical theatre, delivering a work that is both jaw-dropping and deeply moving. Directed by Yaron Lifschitz, this powerful work showcases extraordinary physical skill, with the human body serving as both instrument and architecture. The remarkable acrobats move through space with strength, grace, and astonishing precision. What unfolds is a poetic and at times primal meditation on connection, support, and the ever-shifting balance of being human.
At the heart of the work is the human body – lifted, balanced, swung and caught with breathtaking fluidity and control. The performers become each other’s platforms, anchors, and launchpads, blurring the lines between individual and ensemble. They move with such cohesion that it often feels like one continuous organism in motion. While aerial elements like silks, straps and a trapeze are occasionally used, they never overshadow the performers. Instead, these moments are seamlessly integrated, they are extensions of the physical storytelling, so that even with apparatus, the human remains the focus.
The result is breathtaking. Moving not just around the stage but through one another, the performers operate with a level of synchronicity and trust that feels almost instinctive. There is a raw intimacy in the way they connect, physically, emotionally and rhythmically each lift, fall and suspension enhanced by Ori Lichtik’s dynamic score. It mirrors the movement in tone and intensity, always complementing but never overpowering. Paul Jackson’s lighting design adds another layer of depth, often shadowy and sculptural, shifting with the performers to subtly reframe the space. Like the score and apparatus, it never draws focus but directs it, highlighting the extraordinary control and detail in every moment.
The choreography, created by Yaron Lifschitz in collaboration with the ensemble, moves between explosive bursts and moments of quiet restraint, reminding us that beneath every display of strength lies vulnerability. Each performer brings something unique, but as an ensemble, they function like a single organism—dynamic, agile, and fiercely alive. The minimal costume design by Libby McDonnell ensures that nothing distracts from the physical storytelling, allowing the performers’ bodies to remain the focus. This is a performance that demands your full attention and earns every gasp.
The trust between performers is constant and instinctive. Even at the height of risk, with bodies flying and towers forming, there is always someone ready to catch or steady. This unspoken support grounds the work, underscoring its deeper reflection on balance, change and the human condition. Can we ever find stability, or is adapting to constant movement our only certainty? These questions are never directly asked, but they resonate throughout, felt in every moment of tension, release and quiet surrender.
With its stripped-back aesthetic and heart-racing choreography, Humans 2.0 is contemporary circus at its most visceral. It’s not just about what the body can do, but what it can communicate. Awe-inspiring, emotionally resonant, and executed with astounding control, it’s a reminder of just how extraordinary humans—individually and collectively—can be.
Humans 2.0 will continue to captivate, playing at Arts Centre Melbourne’s Playhouse until 24 May. To experience this extraordinary production and purchase tickets, visit https://www.artscentremelbourne.com.au/whats-on/2025/circus-and-magic/humans-2-0 Following its Melbourne season, the show will continue on an international tour across Europe. For more information about Circa and their upcoming performances, visit circa.org.au.
