THE Arrival is both a finale and a new venture for Tamasha.

On the one hand, departing co-founder and artistic director Kristine Landon-Smith is off to Australia to lecture in acting in Sydney; on the other, the London company has opened up new possibilities, a new route, by working with Circus Space for the first time.

Journeys to new beginnings are at the heart of The Arrival too. Under an hour in length, it nevertheless takes in huge change in that time as it charts the passage to Britain of assorted migrants.

Adapted from Shaun Tan’s graphic novel by playwright Sita Brahmachari in tandem with co-creator Landon-Smith – like Sita, a child of migrants – the play focuses on Dele (Charlie Folorunsho), who begins a new life in a smog-filled metropolis in a strange new country.

To do so, he leaves behind his son, seen climbing to the top of a pole, as Tamasha’s embracement of circus skills come to the fore. As a symbol for parting, it works both visually and emotionally too; indeed the circus throughout serves as a metaphor for a migrant’s own walking of the tight rope and need for courage.

The production also incorporates recordings of verbatim testimonials from migrants; animation by Yeast Culture; football-ballet choreography by Freddie Opoku-Addaie; and original music by Felix Cross.

Each element complements the next, all informing the narrative flow of the piece that successfully captures the bravery of migration and the alien strangeness of new sounds, customs and our British skies.

The Arrival is multi-national, multi-skilled theatre with an uplifting message of hope for a better life that no-one should be denied. UKIP should watch it.