Onyx Productions: 360 ALLSTARS

Peacock Theatre, London
June 2, 2026

There is no mystery about the idea behind 360 ALLSTARS. It is there in the title. This is a show built around rotation: bodies spin, wheels turn, basketballs whirl, a Cyr wheel rolls and circles, and Gene Peterson’s drums drive everything forward with relentless rhythmic force. The result is a hugely entertaining, high-energy hour of physical performance that sits somewhere between street culture, contemporary circus and dance.

Created by Onyx Productions, 360 ALLSTARS brings together an international cast of specialists, each outstanding in his or her own field. Rather than trying to disguise the show as a narrative work, it wisely embraces the format of a showcase. Peterson, together with MC and vocalist Mirrah Fay-Parker, introduces the performers one by one, before each is given a solo spot of around five or six minutes to demonstrate what they can do.

And what they can do is often quite extraordinary.

The evening’s premise is simple, but very effective. Each discipline finds its own version of circular motion. Peter Sore’s BMX flatland work is all control, balance and nerve, the bicycle becoming almost an extension of his body. Jun Hasegawa, known as Pafo, brings basketball freestyle to the stage, spinning and manipulating the ball with astonishing dexterity. Josh Curtis performs inside a giant hoop, producing movement that, while not dance in the conventional sense, has a strongly balletic quality. His whole body is involved in sustaining the motion of the wheel, shaping and redirecting its momentum as it turns.

From a dance perspective, however, the highlights are undoubtedly Peter Sette, ‘Bboy Sette’, and Jared Graham, ‘Bboy Leerok’. Their head-to-head breakdance battle is tremendous. Both are technically exceptional, but what impresses most is not simply the tricks, spins or balances, but the confidence, musicality and attack with which they perform them. There is a competitive edge to the encounter, as there should be, but also a sense of generosity. Each dancer seems to spur the other on.

Breaking can sometimes be reduced in stage shows to a series of crowd-pleasing power moves. Here, although there is certainly plenty of spectacular physicality, the dancing has more substance than that. Sette and Leerok show precision, timing, rhythm and character. The skill is phenomenal, but so is the command of performance. They know exactly how to build a phrase, how to hold the audience, and how to turn virtuosity into theatre.

Gene Peterson’s own drumming solo is another major feature. Loud, yes, as one would expect in a show of this nature, but not oppressively so. The music throughout is big, punchy and emphatic, yet somehow does not become intrusive. It supports the action and keeps the energy constantly lifted. Peterson’s solo is a remarkable display of speed, stamina and rhythmic control, and it helps bind the different elements of the evening together.

Perhaps the show’s biggest surprise comes towards the end. Having spent much of the evening watching each artist excel in a specialist discipline, it turns out that they are all more than passable hip-hop dancers too. The final section brings the company together in a lively ensemble number that feels almost like an encore. Each performer has another brief moment in the spotlight, but the emphasis shifts towards shared rhythm and collective enjoyment.

There is also some very nicely judged comedy too, particularly involving the hoop, a spotlight and an on-off switch. It is a simple idea, but cleverly constructed and warmly played. That lightness matters. Without it, the show might risk becoming merely a succession of impressive feats. Instead, it has charm as well as power.

At sixty-five minutes, with no interval, 360 ALLSTARS is tightly paced and never outstays its welcome. It is not a dance show in the purest sense, but dance is very much part of its DNA, especially through that breaking and final hip-hop sequence. More broadly, it is a celebration of physical skill, rhythm, timing and the sheer pleasure of watching people do difficult things brilliantly.

It is also a genuinely family-friendly show. There were a number of children in the audience, and judging by the reaction both during the performance and on the way out, they were enthralled. The young companion with me certainly was, from start to finish.

Fast, loud, skilful and very entertaining, 360 ALLSTARS is well worth catching while it is at the Peacock Theatre.

360 ALLSTARS is at the Peacock Theatre, London to June 6, 2026.