Daring and exciting fusion of circus arts and classical ballet
By Lois Maskiell
The National Institute of Circus Arts has joined forces with the Australian Ballet School in the bold, large-scale production, Le Sacré. With over forty bodies on stage, directing this large work, which fuses two distinct art forms as well as showcases diverse student talent, is no easy feat.
The directorial team includes NICA’s Movement and Performance Coordinators Zebastian Hunter and Meredith Kitchen along with Simon Dow, the Resident Choreographer at the Australian Ballet School. With additional creative input from Francois-Eloi Lavingnac, these collaborators have devised a piece using all the right key ingredients. Though despite the advertised aim to expose the themes inherent in Nijinsky’s the Rites of Spring, I found that the narrative development left any deep exploration of its themes to the wayside.
What was identifiable was two distinct parts: the first filled with riotous dance scenes and the second filled with smaller acts and the ceremonious choosing of the young girl or sacrificial victim. One ingenious directorial choice was how the ballet’s story is transferred from a pagan world of ritual to a twisted ball where power constructs are playfully altered through a camp aesthetic mixed with a techno sensibility.
The technical abilities of these bold, young students are manifold. Their talent is abundant, particularly during smaller group acts that made me wish for more solos. Standout performers include Georgia Webb, a chameleon of skill whose aptitude for acrobatics is as dynamic as her skill on lyra, rue cyr and hand balancing. Straps performer, Troy Griffiths had an intriguing presence, covered in tattoos and endowed with grace and flexibility, he was a brilliant embodiment of circus’ power to subvert the mundane to something extraordinary.
Stark and beautiful choreography was found in a visually poetic rue cyr act that featured three wheels. Jessie Carson on dance trapeze was serene and of a penetrating icy calm. Her timing was in complete unison with her apparatus and like a seasoned performer she didn’t reveal a hint of exertion in her execution.
The ballet dancers doused the show with energy and elegance, approaching their form without such distinct specialisations as found in circus. With powerful leaps and complex foot work, the differences between the two art forms were exposed. An exceptional skipping rope act involved classical ballet steps accomplished in the minute gaps of the rope’s swing. The pas de deux and pirouettes in the second half were exact and powerful.
The stirring result of circus arts and classical ballet coming together in such a novel and bold production as Le Sacré is exiting to say the least. Collaborations like this do push boundaries and it would be wonderful to see more in the future.
Le Sacré is being performed at the National Institute of Circus Arts until 23 June. Tickets can be puchased online.
Photographs: Aaron Walker