A phenomenal physical performance exploring all forms of rotation, 360 ALLSTARS connects the street with the elite to deliver a supercharged urban circus. Boasting a stellar international cast of World Champion and World Record holding artists and athletes, 360 ALLSTARS is a spectacular fusion of the extraordinary artistry that emerges from street culture.
Review by Richard Lambert
A drummer/rapper and a singer using a loop station perform from separate podiums on stage. Upstage, there is a large white projection screen, with two smaller screens positioned beneath the podiums. Twenty pixel LED battens are rigged around the stage in a deliberately rough or industrial style, although their arrangement may not be in numerical order. At certain points in the performance, lighting cues bring in a single overhead LED batten and three LED battens located beneath the MC’s podium which suggests they might not have been rigged in the correct order.
The haze machine is placed downstage right, where it creates a smoke barrier between the performers and the audience instead of being used to reveal and enhance the lighting beams. The lighting design itself relies heavily on fixtures aimed directly into the auditorium, including two blinder panels rigged solely to shine into the audience. This results in a visual experience that prioritises glare over atmosphere and offers little in the way of creativity, subtlety, or artistic expression.
The structure of the show is relatively straightforward. It begins with a rap from the drummer, followed by the MC, before each performer is introduced and given an opportunity to present their act. The individual performances are interspersed with further rap sections and a drum solo. A group number follows, with all performers sharing a single downlight pool and moving in and out of the light as they take turns performing. This pattern of individual showcases linked by musical interludes forms the basis of the show’s format.
Admittedly, the show is aimed at a younger audience, but there is little here that feels new or original. The acts themselves are competent yet familiar: a Cyr wheel routine, basketball freestyle, BMX flatland tricks, and acrobatics. While the performers demonstrate considerable skill, there is little sense of progression or innovation beyond what audiences may have seen many times before.
The visual presentation does little to elevate the material. With most performers dressed in black T-shirts and the lighting design offering no side light and minimal front light, much of the stage picture lacks definition and impact. The musical score is frequently overwhelmed by the drumming and rapping, resulting in a soundscape that can feel repetitive rather than dynamic.
Audience engagement around me appeared mixed. During the performance, one audience member fell asleep while another spent much of the show with her fingers in her ears, seemingly struggling with the volume levels.
The video content contributes little to the overall production. A succession of stock imagery—fan blades, tunnels, smoke, and fire—plays on the screens, but these visuals rarely appear connected to the action on stage or to any discernible narrative or thematic development. Rather than enhancing the live performance, the projections often feel decorative and disconnected.
There is no question that the talent is there. Each performer is an award-winning champion in their respective discipline, and their technical ability is undeniable. The difficulty is that much of this skill is obscured by a lighting design that frequently works against the performers rather than showcasing them.
The show’s structure also presents challenges. Produced and directed by the drummer, the production often feels more like a collection of individual speciality acts than a cohesive theatrical experience. Each performer is given a spotlight for several minutes before the focus shifts to the next act, but there is little dramatic, visual, or thematic thread connecting these moments.
What the show lacks is not talent but creative cohesion. An injection of stronger direction, storytelling, or visual imagination could transform the impressive individual skills on display into something greater than the sum of its parts. As it stands, the production often feels like a sequence of standalone tricks and routines rather than a unified piece of theatre.
Gene Peterson – Drummer
Peter Sette “Bboy Sette” – Breakdancer
Mirrah Fay-Parker – MC & Vocalist
Josh Curtis – Acrobat
Jared Graham “Bboy Leerok” – Breakdancer
Peter Sore – BMX rider
Jun Hasegawa AKA Pafo – Basketball freestyler
Creatives
- Gene Peterson – Creator
- Gene Peterson – Director
- Gene Peterson – Composer
- Onyx Productions – Producer
Production
- Onyx Productions
Creator / Director
- Gene Peterson