Completely still is the way Michael Moschen begins his juggling act ? and the way he ends it too, having come full circle.

And as he claims geometry was his first language, almost even before English, this is not surprising.

As you may have guessed, this is not your ordinary juggling act; it is in many ways a metaphysical experience ... but leavened with a gentle humour.

As he skilfully manipulates white balls in a black, empty stage, like tossing the stars in an infinite universe, he describes juggling as far more than catching balls; it is manipulating line and space to control the chaotic world.

The sphere of his juggling space expands to include two white-shod feet and incorporates sound and rhythm and then expands further to draw in the audience.

So deftly does he do this that at the end of the show, when he invites the audience to approach and ask questions, he has gathered a constellation of young fans eager for an autograph.

In the first half of the show, Moschen attempts to show not only his skill but his thoughts as well, explaining how he came to incorporate dance and rhythm into what could be a silent medium.

The taps on his shoes, the slaps on his thigh and the snap of the ball on the ground create a complex counterpoint of sound just as the balls weave a visual pattern.

The audience is invited to attempt simple exercises as a way of entering the thought and experience of the performer, thereby increasing the audience?s knowledge and appreciation of the skill involved.

He weaves words as he weaves the balls in his hand, telling how the illness of a relative encouraged him to explore the challenge of simplicity with a single ball allowed to celebrate its roundness in an open palm.

It is then joined by another, and then a third, and three crystal clear balls revolving around each other become a metaphor for life.

As he explains the evolution of other acts, we learn how beauty can come from adversity, that there is joy in recognising patterns and that everyone learns in a different way. Just like much clever children?s literature, this performance can be appreciated at many levels.

The second half is as much choreography as it is manipulation of objects. Balance is central to a juggler?s skill, and Moschen balances glittering rods, spheres and circles of varying sizes, using the lighting to good effect to convey the idea of lines in space.

The beauty of the shapes in a constant state of flux is supported by haunting music to create a rather surreal experience.

The climax of the set is his juggling within the limits of a triangle, incorporating colour, movement and sound in a virtuoso demonstration of the skill of the juggler.

I was entranced by this skilful but also very wise man; and what made it extra special was the realisation that the very youngest of the audience was too.