Review: Escape
Picture: A memorable moment from the impressive ‘box’ opening act (image credit: Cheryl Mann - NOT a Creative Futures Photography image).
Founded over 30 years ago, Diavolo: Architecture in Motion is an American dance company that has become known for a unique combination of acrobatic, gymnastic and modern dance with large moving structures. Escape is a showcase that draws on the body of Diavolo’s work, featuring several of their ‘most famous architectural structures’ presented in a 62-minute format in the closing week of the 2026 Brisbane Festival.
Escape is a series of stories and interactions with the various structures, communicated through the choreography and movements as well as though the narrative incorporated within the sound design (France Nguyen-Vincent, Writer & Dramaturg, and Simon Larson Greenberg, Sound Designer & Media Specialist). Diavolo’s mission is ‘to create socially relevant work,’ and Escape certainly delivers on that aim. At a time of turmoil and flux, many people across the world are trying to find ways to escape: from war, from poverty, from relationships, or merely from the exhaustion or sheer boredom of every life. Escape is a highly relevant series of acts that convey moments of being ‘boxed in,’ of collaboration to achieve freedom, and of travel and adventure—evoking feelings of fear, wonder, connection, delight, joy, and amazement.
Choreographed by the Diavolo founder and creative director, Jacques Heim, in close collaboration with Kate Dougherty (Associate Choreographer) and the 22 company dancers/performers,* Escape is a captivating, athletic and fast-paced blend of acrobatics, circus skills, and contemporary dance. At a Brisbane Festival ‘Talk of the Town’ event, it was fascinating to hear how Heim does not seek to characterise his performers as circus performers or dancers. They are certainly a multi-talented group who work so well together. Expect moments of break dancing, powerful contemporary dance, incredible aerials, circus leaps, and acrobatic tumbles. Be ready to delight in the almost balletic door duet, and be amazed at the often-surreal imagery, jumps and moves.
Picture: The Diavolo ‘wheel’ in motion Credit: Cheryl Mann (NOT a Creative Futures Photography image)
So many favourite moments and images from this show are still tumbling and in motion in my mind, but my highlights include: the opening act; the mid-show acrobatic duets that built to the creation of a large group work on around and above the impressive metal wheel/’donut’; and the closing act.
After Heim’s introduction, you know you can expect something different as the performers walk through the stalls side doors, greeting members of the audience and thanking us for being there before they walk onto the stage and through the entry door. And so the mesmerising action begins, in a first act that features a large scaffolding box. Trapped inside, a solo performer moves around, over and through the box in a fluid and acrobatic piece of dance. Fellow artists support, move, and carry the frame—at times also being imprisoned inside together, before breakdancing and tumbling out. In the piece, the scaffolding works as a prison, a life raft, and even a springboard for escape—and is a powerful way in which to capture the full attention of the audience, particularly when the lead dancer drops from height within the box into the arms of a fellow performer.
The mid-show work with and around the segments that eventually form a wheel is a fast-moving, and fabulous piece that coveys the joy of escape as the dancers tumble, jump and peel off the moving frame. Finally, the extended closing scene, featuring a very large half barrel, is an impressive showcase of the movement, balance and acrobatic skills of the performers. At time evoking a sense of the heaving movement of a boat at sea, the spectacular moves, leaps and tumbles are quite breathtaking. And we all wondered if, just occasionally, the artists were about to join the front row. As Escape closes, the audience is spellbound by the final solo performer, as she seeks to escape down the apparent wall.
The show has a strong team of creatives where the effectiveness of the bold choreography is amplified thanks to the excellent lighting design (Jean-Yves Tessier, Lighting Designer), work by an impressive technical and construction team (Steven Jasso, Technical Director), and use of understated and cohesive costumes (David Touster, Costume Designer). The sound design blends a mixture of different musical styles—of course including the Pink Floyd Another Brick in the Wall—and voice (Simon Larson Greenberg, Sound Designer). Picky perhaps, but I wasn’t convinced we needed the narration, and I would have preferred the sound levels to be dropped to a more comfortable range—as I found the soundtrack to be occasionally too loud and even a little distorted.
After the opening night performance, six of us swapped notes on where the best place to sit might be. The use of the large shapes, clever lighting design, and bold choreography meant that—from the middle of the balcony, through to the front row and edges of the mid-stalls—we all felt we had a great experience.
Picture: One of the spectacular closing ‘half barrel’ leaps Photo: George Simian (INOT a Creative Futures Photography image).
However, our individual show highlights differed slightly, which led to some interesting post-show conversation in the Festival Village ‘Town Hall.’ Escape is a great show. As a collection of movements not every piece appears to fully connect with everyone. I loved the balletic contemporary dance duet around, over, and through the single door—but a friend was not so keen. Equally the early ‘Brick in the Wall’ piece is at times funny, and a fellow spectator loved the interpretation and sense of escaping from being a mere number, but I didn’t have that in my top three list. And, although the scene that evokes ideas of astronomy and space travel is visually impressive—with some incredible aerial holds and circus moves—my ‘plus one’ wasn’t as keen on that piece.
But the one thing we could agree on is that we had all enjoyed Escape. The transcript of the text includes the line ‘The only way to make sense out of change is to plunge into it, move with it, and join the dance’ (credit: Alan Wilson Watts). If funds allow, I highly recommend getting to the QPAC Playhouse to see Escape, and to experience the dance. Best availability appears to be for the two matinees and don’t forget to select the ‘Family 4+’ option if eligible for a family discount.
I’m guessing we might all consider this to be an audition piece for the Brisbane 2032 opening ceremony. With themes of rebellion, escape, connection, working together and trust, Escape seems to be a very Brisbane spectacular.
Audience information: Escape, Playhouse, QPAC, Southbank (23-27 September 2026). Program. All ages/8+ suggested (note that the production contains use of smoke machine and haze). 62 minutes with no intermission. Tickets $65-$99.50, plus $7.50 booking fee (Family 4+ package available).
* Performers: Abraham Meisel, Caribay Franke, Chadwick Gaspard, Chance Becker, Claire Schick, Connor Senning, Co-eL Rodriguez, Daemion Marcuz, Emily Grable, Emrose Seidenberg, Evan Hernandez, Gabriela Collazo, Isabella Reveles, Jarel Lewis, Karah Haug, Kate Dougherty, Kittrell Poe, Liana Kulchin, Madison Moser, Marcel Abadia, Nola Gibson, Ryan Ruiz, and Simon Larson Greenberg (understudies: AJ Guevara, and Matthew Wagner).
Additional Credits: Jose Hernandez (Chief Operating Officer), Caribay Franke (Project & Production Manager), Ryan Ruiz (Assistant Choreographer & Rehearsal Director), Steven Jasso (Technical Director), Adam Davis & Daniel Wheeler (Structure Designers), Mike McCluskey & Tina Trefethen (Designers/Fabricators/ Engineers), Mark Baker (Technical Production Consultant), and Daemion Marcuz (Technical Manager).
The reviewer attended the 23rd September 2026, 6:30pm performance.
A version of this review first appeared at Nothing Ever Happened in Brisbane.