Washing lines criss-crossing the stage are hung with papers, papers, papers with lines and lines of writing. In amongst the lines sits a woman in a paper dress trailing with pages of her life works – childhood experiences, shopping lists, accounts, love letters – tapping away on a typewriter in a rhythmical way (fabulous soundtrack by Mauro Remiddi), pregnant with anticipation. Suddenly the woman is gone, only to appear again to walk across the tightrope at the back of the stage. In a neat and complete way Gisele Edwards and her collaborators present a series of ideas all interconnected by the simplicity and complexity of a straight line. She spent a lot of time simply existing in space and doing very simple acts like cutting up a piece of paper and handing it to someone in the audience, inviting us all round for a drink at her place, or giving travel directions. Edwards has a very sophisticated understanding of audience interaction. She clearly possesses great skill, both as a singer and as an aerial artist – her irony and confidence made the piece very satisfying to watch.

The second part of the bill was Mimbre's Tryp-tic. This piece is intended for outdoor performance and therefore made difficult viewing within the confines of The Circus Space. However, Mimbre's acrobatic skills are based on intimacy, at their most powerful when they are close and at one. By introducing three huge structures, with the associated thrill and danger factor, they risk ruining what they are best at. These three women have something very special and should nurture that.