An evening of astonishing circus and variety

By Leeor Adar

I was lucky to bear witness to last year’s National Institute of Circus Arts (NICA) showcase, and the astonishing talent left me breathless. I am always absolutely thrilled by circus arts, so I was a little surprised to see that the focus this year became more of a variety show of occasionally awkward (albeit sometimes spot on) jokes from Jan Van De Stool, and a closing song by Queenie Van De Zandt that could rival Eurovision without the fire and lasers. What a pandemonium…

Aside from the variety elements, and the occasional focus on theatre over circus for some acts, I was still impressed with the talented group. These amazing circus artists are elite-level athletes with three years of training behind them. Company 18 benefited from a new NICA initiative that provided individual artistic consultation sessions. Aside from the excellent networking opportunities this provided, Company 18 also had the benefit of discussing and honing their preferred skills with those at the top of their field.

The opening act of Jordan Hensley-Twartz performing diablo was certainly a jaw-dropping beginning. Hensley-Twartz’s ability and concentration was a very strong start to the night. It’s always difficult as the first act, as it sets the tone of the night – and on this occasion the bar was set high. As the night progressed, performers told stories through their bodies and choice of song. Notably, the joyous folk-hop as Hayley Mills circled the stage in her Roue Cyr was followed by a startling and dark performance by Ellen Henry on loop straps. I really began to enjoy the variety provided on the night.

Featuring Jordan Hensley-Twartz

Featuring Zoe Marshall

As the night progressed, some real standouts emerged. Poppy Fairbairn and Zion Martyn were mesmerising with pointe adagio and risley. The choice of costumes by the pair and their play on the marionette made for incredible entertainment and a showcase of their skill. I could barely look when Fairbairn on one pointe balanced herself on Martyn. One would think the following act would struggle to keep up after such a crowd favourite, but Adam Malone absolutely smashed it with his hula hoop act. Malone’s blend of meditative dance and use of lighting made for an excellent alternate experience to the previous act.

For something a little different, the audience loved Shay Bowskill who had a large focus on comedy and physical theatre, which was less circus-focused. I was also delighted by Georgia Deguara on her aerial chair with the showgirl feel she injected as she performed to Rolling on a River.

Post-interval began with death-defying ferocity as Karla Scott tantalised on a swinging trapeze. I was delighted to see Elanor Nunn follow on tissu, which was absolutely gorgeous to watch; Nunn was able to stand between the soft materials in an incredible feat I did not think physically possible. This segment also brought something out of the ordinary in Zoë Marshall’s contortion carpet spinning. Marhshall’s performance was completely beautiful, and showcased both her poise and unique skill. Brooke Duckworth and Lyndon Johnson performed together in an endearing set of acrobatics, which they undertook with an ease that might tempt audiences to perform at home (don’t). An ethereal and powerful Emily Chilvers (on rope) and an elegant Liam Dummer (on straps) were in perfect form as they scaled incredible heights in their individual acts, representing in my opinion, circus excellence.

As Company 18 awkwardly smiled through the final sing-song, I have high hopes for next year’s talent, which given the excellence of NICA and its pupils, should remain more circus, and less variety show.

Company 18 was performed 19 – 22 September at the National Institute of Circus Arts. See here for more information.

Photographs: Aaron Walker

Circus Oz’ Precarious has audiences smiling minutes in, gasping minutes later and applauding for many minutes more

By Joana Simmons

2018 marks Circus Oz’ 40^th anniversary and if their new show Precarious is anything to go by, the company is far from a mid-life crisis and much closer to getting better and better with age. Set in the newly located big top in the Royal Botanic Gardens, this high-class show features a cast of multi-skilled circus artists and musicians. I was smiling minutes in, gasping minutes later and applauding for many minutes more.

The story of the show is simple: set in an imagined world, a bureaucracy called The Ministry of Seed control nature like a group of bumbling, tumbling fools. Times are precarious, good seeds are scarce, humans have a big impact on the environment, in fact they have the power to make everything come toppling down (literally).

The opening number features ambient sounds, which are looped to create layers and layers within this quirky world, as the cast deconstructs a giant tower of jenga blocks painted like a forest. From the get go their energy as an ensemble is a strong force, as they tumble, roll, balance, throw and catch each other fluidly. The conflict arises when one special seed goes missing and the apparatus and methods that all the performers used to get it back still have me in awe.

Artistic Director Rob Tannion and co-director Kate Fryer must have one incredible dynamic to produce another outstanding production for Circus Oz. I was fortunate enough to review last year’s Model Citizens which was this killer combo’s debut. The circus cast of Tara Silcock, Dylan Singh, Tania Cervantes Chamorro, Jake Silvestro, Jon Bonaventura, Emily Gare and Lachlan Sukroo each had standout moments across their apparatuses and in their supporting roles.

Those who had me on the edge of my seat were Jake Silvestro in his rue cyr act full with smoky haze, Emily Gare with her balance blocks, Tania Cervantes Chamorro’s aerial slings and Lachlan Sukroo on something I have never seen before: swinging Chinese pole. Sukroo was like a monkey, only much more elegant. I found Jon Bonaventura to be a beautiful dancer and his hand balancing act featured incredible flexibility and was so well choreographed. Characterwise, all performers were absorbed in the world they created. I didn’t see any facial expressions that gave away the hours of training and effort that must go into their craft.

The comic duo of Sukroo and Silcock carried much of the story. The overall show stealer though was Tara Silcock. From doing hula hoops whilst swinging in the air, to every small and hilarious facial expression – I couldn’t keep my eyes off her – she was equal parts fearless and charismatic.

One of my favourite parts of this show was the live music. Musical director Jeremy Hopkins has created and performed a joyfully dynamic soundtrack with a huge range. There was not one point where he was not drumming, singing, looping, clapping, creating voice overs and who knows what else. Hopkins was supported by Sophia Exiner on keys, synth and vocals and together the pair created a full-scale sound that was perfectly suited to each act.

Other parts of the production that deserve congratulations are Laurel Frank’s costume design, Maddy Seach’s lighting design, Michael Baxter’s set and prop design and Andrew Dyson rigging that had him climbing to the very heights of the big top, only to slide down a ladder minutes later.

Circus Oz is made up of “creative maveriks, ground-breakers and risk takers.” Circus is far bigger than the canvas walls – it’s what makes us want to play again, delight in the gravity defying and marvel at magic. When work-life balance feels like the thing that is most precariously on the edge, escaping to a show like this, in a stunning setting, is an absolute joy. Buy a ticket, or twenty, as Precarious is highly enjoyable for everyone.

Precarious is being performed 26 June – 15 July at the Circus Oz Big Top situated in the Royal Botanic Gardens, Victoria. Tickets can be puchased online and by calling the box office on 1300 665 915.

For information about audio described performances, Auslan interpreted performances and companion cards, take a look at this access ticket webpage.

Photographs: Rob Blackburn

A must-see family show for kids and kids at heart

By Ciara Thorburn

The show opens with a simple premise, two goofy looking guys dressed in man-sized onesies, with a voiceover of their mother screaming down the hallway to clean their room. These two goofs quickly prove themselves as talented acrobats, jugglers, and charmingly adorable clowns. What we are about to witness is a tight, well-choreographed and thoroughly developed show with humour and slapstick comedy that appeals not only to the kids, but to mum and dad (and grandma) too.

The best part? The ingenious, reverse psychology involved at the roots of the whole show. At one point the brothers (Julian Roberts and Derek Llewellyn) have the kids screaming “it’s still messy” or “you missed a spot”. One thing I know is that kids love telling adults what to do, and these brothers obviously enjoy indulging in self-induced audience chaos, while remaining undoubtedly in control. The performers embody the true spirit of clowning, setting-up scenarios where they enable the kids to outsmart the adults. I don’t think I have ever witnessed a kids show that integrates conceptual clowning techniques so immaculately.

And just as with any good kids show, there is a message. It’s the essence of the whole production. The performers intelligently characterise their twin-brother relationship, covering themes like sharing, cooperation, adventure, wrestling, comradery and danger. In fact, they do it so well that at some points, their stupid and smart clown logic seems lost by the adults, only to make perfect sense to the kids. It goes to show that these idiots speak fluent ‘kid’, they know their audience, and they know exactly what they’re doing.

With a simple concept and both a clear narrative and objective, this show is full of surprises and is an absolute delight to watch. The whole show has impeccable timing, great visual imagery, high-skilled circus and acrobatics, and flawless execution. Chores, a must-see family show for kids (or kids at heart).

This is a review of Chores as performed at Woodford Folk Festival, January 2018.

Chores will be performed 18 April as part of Showcase Victoria at Darebin Arts Centre. Tickets can be purchased online.

A sizzling, sensational summer hit

 By Rebecca Waese 

Las Vegas thrills transformed Hamer Hall at Arts Centre Melbourne during the opening night of The Unbelievables with a terrific variety of gravity-defying acrobats, a sword-swallowing comedian, illusionists, singers, dancers, and circus talents. American producers, Simon Painter and Tim Lawson of The Illusionists, hand-picked top performers from around the world and the result is a sizzling, sensational summer hit.

The show begins with transformationalist, Victoria Petrosyan who changes in and out of sixteen costumes designed by her husband Sos in 120 seconds, leaving the audience in a state of incredulousness and delight. Blademaster, Brett Loudermilk was a highlight; not only captivating in his ability to swallow metal swords and a few other surprises but as a charismatic comedian who connected with the crowd. The hand balancing acrobats, Alan Pagnota and Rafael Ferreira, a.k.a Dupla Mão na Roda, (look them up!) were favourites of mine as they defied gravity and social preconceptions about what a performer in a wheelchair might be able to do with strength, grace and unbelievable muscle control.

Outstanding vocals by Emi Secrest set the jazz-cabaret mood and the band served up sultry jazz and electric guitar interludes with stunning award-winning dancers.

The Card Illusionist, Shin Lim was a champion on Penn and Teller’s television series Fool Us and is currently the FISM World Champion for Close Up Magic. His artistry with cards was mesmerising and close camera work followed his sleight of hand as cards vanished into thin air and reappeared in puffs of smoke from his mouth.

Ukrainian sand artist, Julia Kurkina tied together fantasy and exoticism creating sand art pictures of exotic locales and of the very Arts Centre we were in. 

Ventriloquist Jay Johnson, a veteran in the game, took the gag to a new level with his rude monkey named Darwin and hard-to-please sidekick, Bob. Strong man, Artem Lyubanevych and aerial hoop acrobat, Aleksandra Kiedrowicz were riveting to watch and the Mexican speed juggler, Roberto Carlos got the loudest cheers of the night.

Comic host, Harrison Greenbaum held the show together and seemed to grow more confident over the night and better in tune with what the Australian audience found funny than in his opening patter. His humour was friendly for fans of all ages and he came out to mingle after the show with diva, Emi Secrest and they chatted with spectators, hopping into a photo or two.  

The Unbelievables is a polished, well-thought out show with fabulous talent and updated references on the classic variety formula. Treat yourself to some terrific summer fun for young and old.

Dates: 9 – 13 January

Venue: Hammer Hall, 100 St Kilda Rd, Southbank VIC 3006

Times: 3:00pm, 7:00pm

Prices: $30 – $120

Bookings: https://www.artscentremelbourne.com.au/whats-on/2018/theatre/the-unbelievables

Image by Jacquie Manning

Rebecca Waese is an Honorary Associate at La Trobe University in the Department of Creative Arts and English.