Stephanie Garrison

There is always at least one show destined to make a killing at Fringe — one show that ends up a sold-out blockbuster during the festival’s final days — and while it may be too early to say so, LoopsEnd may be that show. How appropriate for a venue called the Ironwork to incorporate iron chains and heavy industrial music within a surprisingly delicate and mesmerizing show.3 LoopsEnd takes risks, using a blend of hard chains with the usual flowing ribbons of cloth, and adding a dark sense of magic to the fairyesque art form. More impressively, the momentum of the show never diminished when the acrobats touched ground. Rather they seemed propelled with story, pushing and recharging themselves against one another, and your eye always dances with the characters. If one person stops, another quickly jumps in, all the choreography so perfectly effortless that every sleight of hand is overlooked, unless you happen to have unnaturally good peripheral vision.

Details are everything, and from the flow of moment to the stark white, black, and red of both costumes and prop, Paper Doll Militia’s LoopsEnd came to Fringe ready to impress. And it did. See Full Black and Gold Review Article Here