Category: Circus

Circus, Festivals, Whats On

Melbourne Festival 2017: BACKBONE

Stand strong

By Myron My

Just when you think you’ve seen all that is possible in circus, along comes Backbone (by Adelaide company Gravity and Other Myths) that makes you think again. Presented as part of the Melbourne Festival, this show examines the need of strength and support from those around us, and a need to be able to come together as a unified front if we are to ever succeed in life, wonderfully represented through some mind-boggling acrobatics.

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There’s a strong ritualistic aesthetic in Backbone as the performers pour buckets of sand early in the show onto the stage in varying patterns. They begin to move left to right across the floor in a repetitive rite-of-passage while executing captivating body rotations, twists, flips, balances, jumps and turns that I’ve never witnessed before. These bodies are doing things that should be physically impossible and it’s baffling as to how they keep their energy and momentum going for the entire 75 minutes.

The strength, teamwork, flexibility and trust that lies within this troupe (Martin Schreiber, Lachlan Binns, Jascha Boyce, Jacob Randell, Lewie West, Lewis Rankin, Joanne Curry, Mieke Lizotte, Lachlan Harper, Jackson Manson) is clearly evident, as bodies are thrown from one side of the stage and caught on the other and three-person human towers are constructed. Boyce’s hypnotic suit and rock act has her fixing her sight out towards the audience, remaining expressionless throughout her act so even as she stands precariously on the shoulders of one performer and is being passed to another, her eyes stay locked and she remains calm, knowing everything will go according to plan.

Director Darcy Grant ensures an energised pace for the show, while providing the opportunity for the audience to savour every second of what is transpiring on stage – not only through the performers but also with the production’s technical and artistic design too. Elliot Zoerner and Shenton Gregory‘s original score heightens the tension and drama allowing the audience to become fully enveloped by what they are seeing. Each act is perfectly matched with music that has these musicians seamlessly swapping from one instrument to another.

The laser and lighting design by Geoff Cobham is impeccable, as his rig beams across the stage and shines down from above. The lighting refracts off mirrors hanging from the ceiling, creating mesmerising patterns and stunning images on stage, with some performers veiled in shadows while other are brightly lit under the hues of the various colours.

Gravity and Other Myths return to Melbourne in January 2018 with another show, A Simple Space, which – after having seen Backbone – I will not be missing. Not only has this circus company delivered my favourite circus show of the year with Backbone, but quite possibly one of my favourite circus shows ever.

Venue: Arts Centre Melbourne, 100 St Kilda Road, Melbourne.

Season: Until 8 October | Sat 7:30pm, Sun 2pm

Tickets: $30 – $59 

Bookings: Melbourne Festival

Circus, Festivals, Review

Melbourne Fringe 2017: PRECIPICE

Edge-of-seat spectacle

By Joana Simmons

Diving into a world of chaos, National Institute of Circus Arts’ second-year ensemble show Precipice defies danger in an effort to celebrate life. The cast of 19 young athletes, under the direction of Zebastian Hunter and guidance of their world-class teachers, perform exhilarating tumbles, turns, shifts and falls using a range of apparatus in solo and ensemble pieces. This is the most professional student work I have seen at NICA, and is an absolutely astounding production in regards to skill, concept and music.

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The high performance space at NICA in Prahran is clad in stark scaffolding and plastic in a set designed by Stephanie Howe. Two performers are suspended from the ceiling, as if they are falling from the sky reaching for each other. The first act is filled with struggle, with performers leaning and reaching, about to jump off the edge, only to be pushed or struck down by another performer flying or flipping into them. The music- played live in violin, cello and piano and directed by David Wiskin provides fantastic tension and adds to the frantic nature of the movement. Standout individual performances included Adam Malone’s hula hoop and head-balancing trapeze act: I was on the edge of my seat as he effortlessly balanced on his head whilst swinging and spinning through the air, above his cast mates lying in a puddle of laughter below. The adagio waltz featuring Poppy Fairbairn and Zion Martyn was also wonderfully refreshing, as they played a couple having a fight at a party and standing on each other’s heads to spite their face. Their characterization and flow through their stunts was strong, and it was supported well by the cast.

Act two found the performers displaying bland urban costume, torn and dusty, with contemporary dance-inspired rolling and twisting, and moving up out of the ground. My jaw once again remained dropped for Ciara Thorburn and Liam Dummer’s chair balancing. The themes began to evolve more through some spoken word, reminding us we are creatures of love and after chaos we emerge, but we need to feel the fear and leap into the void that is change. The mood lightened with the chin-up contest: it is incredible that after suspending themselves in all sorts of directions the performers can bang out 20 chin ups, with the female cast members winning in the end. Overall congratulations go to Lyndon Johnson for his strong performance on the Roue Cyr (big ring) and commitment in the acrobatics and ensemble numbers, while my favourite of the whole show was Emily Chilvers, an absolute gun on the rope, handstands, and acrobatics.

The creative team have done a stellar job of showcasing these young professionals in the best way possible. Directed by Hunter and devised with Meredith Kitchen, not only is this show an athletic spectacle, it also interrogates the impermanence of time, physical and psychological senses. The monochromatic lighting by Matt Cox works well with the industrial set. Some of the ensemble choreography was somewhat predictable, and repetitive, though as it was executed with full commitment it was still highly effective.

Australia’s circus scene is becoming of a higher and higher caliber and it is incredibly exciting to see students be pushed to deliver such a strong and slick production. There’s is a handful of circus shows on this year’s Fringe program: Precipice is a thrilling, eye-opening, edge-of-seat spectacle.

PRECIPICE was performed from Wed 20 – Sat 23 September 2017 at the NICA National Circus Centre. For information about upcoming productions, visit www.nica.com.au

Cabaret, Circus, Review, Whats On

Strut & Fret Present BLANC DE BLANC

A toast to the highlights

By Myron My

Set inside the Aurora Spiegeltent, Strut & Fret’s Blanc de Blanc is the newest blend of cabaret, circus and burlesque to make its way to Melbourne. A stream of scantily-clad men and women present a variety of acts intended to titillate and dazzle, and while there are certainly some thrilling moments, this is unfortunately rarely the case. As such, the show ultimately comes across as a relatively mediocre variety night of dance and clowning, which over two hours begins to feel repetitive and even tiresome.

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Spencer Novich is absolutely hilarious as the right hand man to maitre d’ Monsieur Romeo. His clowning and physicality kept the entire audience bellowing with laughter and his mime montage of various sound bytes all thrown together was the highlight of the evening. His later pairing with J’aiMime for a second dose of this was even more impressive. Unfortunately the same cannot be said for his Romeo, whose entire presence throughout the show felt awkward and at times unnecessary.

Of the limited circus acts performed, it must be noted Hampus Jansson and Milena Straczynksi’s double aerial act showed strength and sensuality, while the bellhop acrobatics by Masha and her spinning hotel luggage cart displayed strong skill and real concentration.

Despite the glaring presence of champagne throughout, there was neither a strong, fluid (pun intended) theme running between each act or an overarching narrative to make Blanc de Blanc a cohensive whole. The use of the spa felt tacky and as if it was imposing on the show rather than working as a character. Meanwhile, towards the end of the show audience members are given five minutes to take selfies with the performers, and while the intentions might be to connect with us, the overt self-promotion meant the show unfortunately lost any charm for me it may have garnered along the way.

Strut & Fret delivered an amazing show with LIMBO during Melbourne Festival in 2015. Unfortunately they have failed to re-create that magic for me with Blanc de Blanc, with its lack of a clear purpose and the dearth of exciting acts.

Venue: The Aurora Spiegelent, Jacka Boulevard, St Kilda (next to Palais Theatre) 
Season: Until 30 July| Tues – Thus 7:30pm, Fri – Sat 7pm and 9:30pm, Sun 7pm
Tickets: between $38 and $78
Bookings: Map 57

Circus, Review, Whats On

Circus Oz Presents MODEL CITIZENS

Brilliantly breathtaking

By Joana Simmons

In their newest show Model Citizens, the Circus Oz crew has made a masterpiece that blows our socks off and tickles our feet as the same time. Featuring a highly energetic all-Australian cast, and an absolutely fantastic live band, we are taken on a journey to explore the myths of modern Australia, what it means to fit in; to be a model citizen. The range of circus acts is immense, all skillfully choreographed and intertwining with the blue set and giant everyday objects, with a delightful dash of the company’s trademark Aussie charm.

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The Circus Oz Big Top on Birrarung Marr buzzes as the audience of all ages piles in to the well-lit, well structured, technical canvas wonderland. The blue set designed by Michael Baxter, with a giant pair of scissors side stage, provides a familiar yet unrecognizable backdrop for the world we are about to enter.  We are asked to wonder what makes us us, to open our eyes and mind, as the models come to life: flipping over and around each other to the punchy drums. There’s a real sense of play throughout the show, contrasted with the element of danger in the acts and the deeper questions we are searching for answers to. We crane our necks gasping as the performers hang and spin high above us on various circus apparatus, each with a wonderful twist – a giant pair of Y-Fronts, a huge safety pin, trapeze and more. From the contortion to hula hoop, spring sequences, adagio, fire, juggling, balancing to rollerskating, each act seamlessly glides into the next, with no divide between storytelling and ‘tricks.’ This show is something greater than people making shapes to music.

I could rave for days about the band. The original music by musical director Ania Reynolds had me tapping my feet and at the edge of my seat. Reynolds was joined by energetic musical ensemble – Michelle John, the multi-talented and highly hilarious Matt Wilson, Alex Wiebel Wiebel and Jeremy Hopkins (whose new rendition of “Waltzing Matilda” was a standout). From synth to drums to guitar, bass saxophone and violin, the soundtrack united the show.

Moreover, the athletic performers ought to be properly chuffed at how they all kicked some serious ass, and clearly have trained for a very long time to be the top of their game. All performers’ characterization was natural and they don’t only make it look easy: they make it look fun.  Individual acts that had the audience going berserk included the “Peg Acrobatics” featuring Jake Silvestro, Lachlan Sukro, Steph Mouat, Luke Ha and Mitch Jones – a delightfully playful, well-choreographed and comic sequence. Meanwhile, Jarred Dewey’s contortion irons were graceful and stunning, and Freyja Edney is a multifaceted performerand incredibly strong; she also wears an apron like a boss.  It was the penultimate piece however – Alex Wiebel Wiebel on the slack ropes – that absolutely tore the top down.

It’s hard to believe it’s Artistic Director/ Concept creator Rob Tannion’s first show. Everything is so well put together, with the right combination of comedy and something to think about. He has something wonderful to share, and I am excited to see what he will bring next. Shows of this magnitude take an army of creatives to bring to life – Laurel Frank’s costume design was both fitting with the theme and all the individuals’ bodies.  Lighting by Sian James-Holland gave a real sense of originality and ingenuity, especially paired with Ryan Taplin’s rigging design (never before have I seen a giant pair of undies from which one can suspend themselves). It gives me so much inspiration and pride to see what is capable when such creatives work together on something with such overt dedication.

If you still think circus is just tightropes, jaded bearded ladies, and seedy ringmasters, you couldn’t be more wrong. Circus Oz has created its own ballsy brand, and has bought us a terrific show in Model Citizens. Go with your kids, your partner, your friends: it’s worth every penny, and will get your heart racing and a smile on your face.

Model Citizens – Circus Oz Big Top premiere in Melbourne 

Season 20 June – 16 July 2017

Duration 2 hours (including 20 minute interval)

Venue Circus Oz Big Top

Location Birrarung Marr, Melbourne (between Federation Square and Batman Avenue)

Tickets $30 – $95 (plus booking fees)

Bookings ticketek.com.au

Image by Rob Blackburn

Circus, Review, Whats On

NICA Presents CIRCOSIS

New-generation circus artists dazzle

By Leeor Adar

Circosis is the coming together of the National Institute of Circus Arts (NICA) final-year students. It is a solo performance showcase for the students to perform their skills after three intense years of studying their art.

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Director Kate Fryer assisted students in crafting their solo works and created a hospital/warehouse theme as a backdrop, where students donned doctors’ uniforms and shuttled pieces and props offstage. Interspersed amongst solo performances, the group would create vignettes that were telling of their own skills and stories, some humorous and others downright disturbing.

Due to the large number of graduating students now coming through NICA, Circosis was split into two separate groups labelled the Left Brain/Right Brain. I attended the opening night of the Left Brain, and had an absolutely fantastic night.

The solos opened with Nelson Smyles – a last name befitting the Port Macquarie native whose clowning with hoops suspended in air was charming and breathtaking. Watching Smyles effortlessly leap through the hoops before him as they playfully bounced and wiggled out of his way was a delightful start to the night. Following Smyles were two very differing acts; Phillip Island’s Harley Timmermans performed a powerful and fluid piece with aerial straps and Maya Tregonning hailing from Perth treated us to a rambunctious day in the life of a wild-animal circus trainer in some clowning that sent the audience into fits of laughter.

A more nostalgic work followed with New Zealand’s Emily Gore who took us on a sentimental ride in using the rotating ring apparatus. Isaac Lawry’s energy was palpable, but almost at odds with the haunting blue lantern that swung from the ceiling, sending him diving perilously away from it. One thing was clear from some of these works, there were definite energies and experiences they were calling upon – loneliness, desperation to grasp joy, or escaping from some force. The final piece before interval was therefore the shock factor brought by Brisbane’s Ela Bartilomo, whose anti-fur campaign began as a fashion-model photo shoot suspended in air before a contortionist act with a grotesque twist.

Post-interval revealed acts that only continued to raise the bar. Canberra’s Elizabeth Jackson balanced herself with breathtaking strength upon the Chinese pole, recalling an almost proletkult theatre-style. Jack Wilde also hailing from Canberra delivered a glitzy number whilst flirting with the crowd balanced on a ladder. Ulladulla’s Luke Thomas followed in what was one of the standout performances of the night: an ethereal piece that saw him suspended in the air in circus tissue. Thomas’ work captured the concept of rising above circumstances beyond our control as he fluidly ascended the tissue and plastic bags fell from above him. Sutton’s Sandra Lee took us to an even darker space as she hand-balanced and contorted her body to a recording of performance artist Marina Abramović discussing her experience of the piece Rhythm O, where she allowed the audience to inflict pleasure and pain upon her body. Listening to Abramović’s recording was harrowing and distracted a little from Lee’s movements – but overall Lee’s performance was a marvelous show of elegance and physical strength.

The last two performances of the night were very much about showmanship. Ulladulla’s Riley McDonald’s performance on the swinging trapeze as he embodied a deranged seducer/madman was very tongue-in-cheek and risqué, while Melbourne’s Jessie McKibbin’s performance on the roue Cyr (Cyr wheel) was a beautiful finish for the evening, and one of the most memorable performances of the night. McKibbin managed a multitude of costume changes in the few minutes whilst controlling her Cyr with effortless grace.

To wind up the night the performers came together in their doctors’ uniforms for an exciting finale – capping off an incredible evening from the up-and-coming circus talent in Australia.

You can catch either Left Brain or Right Brain (why not both!) until the 24 June. Please follow the link for performance dates/times and bookings: https://www.nica.com.au/event-tickets.php?cPath=422

Image by Aaron Walker Photography

Circus, Festivals, Whats On

Melbourne International Comedy Festival 2017: SOAP

Lather up

By Myron My

Bath time has never been this fun – and sexy – as Soap. Direct from Germany, Soap is touring Australia with original and engaging circus acts that will leave audiences with their mouths wide open as they witness the re-interpretation of what circus can be. Presented as pat of this year’s Melbourne International Comedy Festival, it’s definitely a show that should not be missed.

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The troupe – Adem Endris, Liudmila Nikolaeva, Lena Ries, Daniel Leo Stern, Mario Espanol and Moritz Haase – are on top of their game with their physically demanding and challenging acts. The acrobatics between Espanol and Haase create a firm highlight, displaying the performers’ athleticism and strength, and also being a rare opportunity where I have seen same-sex relationships highlighted in mainstream circus. Nikolaeva has a commanding presence each time she appears on stage, as she executes a variety of tricks with finesse and skill.

Joining the cast on stage is soprano Jennifer Lindshield, who adds an operatic tone to Tal Bashai’s musical arrangements. While this seems like a peculiar choice, the genre is integrated thoughtfully and creatively with the rest of the show. Lindshield’s “Splish Splash” re-imagining is particularly entertaining to watch and hear, as is Nicole Ratjen‘s commendable clowning ability in warming up the audience and providing laughs during the very smooth transitions.

Daniele Drobny‘s stage design of six bathtubs raised to various heights captures our attention before we’ve even taken our seat and its authoritative presence is never forgotten. The bath theme works well in creating moments of playful fun, like Endris’ juggling striptease, to something more intense and intimate, such as the loved-triangle themed acrobatic performance by Stern, Nikolaeva and Ries.

Soap is world-class circus that is bound to have audiences transfixed by what is being presented on the stage. It’s full of surprising moments and acts that – while they may have been done before – have never been done in this way. An extremely polished show that will have you looking at your bathtub in a different light.

Venue: Malthouse Theatre, 113 Sturt Street, Southbank
Season: until 22 April | Tues – Sat 7.30pm, Sat 4pm, Sun 6:30pm
Length: 85 minutes
Tickets: Prices from $44.50 to $56.50
Bookings: MICF website

Circus, Review, Whats On

Cirque Du Soleil Presents KOOZA

An experience to treasure

By Myron My

Trying to put into words what watching Cirque Du Soleil’s Kooza (inspired by the Sanskrit word “koza”, meaning “box” or “treasure”) is not the easiest thing when you spend the majority of the show absolutely speechless and stunned with the skills and performances of its hugely talented cast. Returning to Melbourne with this brand new show, Cirque Du Soleil dazzles once again as Kooza tells the story of The Innocent as he is transported into a world of surprises in a kingdom inhabited by strange and peculiar people.

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The night is a non-stop run of entertainment and wonderment, which includes Mongolian contortionists Sunderiya Jargalsaikhan and Ninjin Altankhuyag twisting their bodies in ways and at speeds you’ve never seen before that would put The Exorcist to shame. Other memorable performances include an intense double high wire act, a romantic unicycle duo and a chair-balancing act that reaches some amazing heights.

However, the award for the most heart-stopping moment I have had when watching a live show would have to go to Jimmy Ibarra and Ronald Solisand with their 700kg Wheel of Death routine. Powered solely by the two Colombians, the huge wheel is rotated and counter-rotated at incredible speeds with leaps, jumps and skips that had everyone on the edge of their seats. A slight stumble from one of the performers sent fear rippling through the audience, reminding us that we are seeing high-risk acts where precision timing is key, with no room for even the slightest of errors.

Bandleader Carl Murr ensures the music is pulsing throughout the show with a fusion of jazz, funk and Bollywood beats, which includes a brilliant drum solo by Australian musician Paul Butler, making his official premiere with Kooza.

There are over 175 costumes on display during the show and designer Marie-Chantale Vaillancourt ensures that each one gorgeously builds on the spectacular world created by Stephane Roy‘s set design. The dazzling main set piece – the towering Bataclan – is inspired by Hindu culture, Pakistani buses and Indian jewellery, and exudes an aura of mystery and excitement. While taking in all these visual elements, you too, like The Innocent, have been transported into this extraordinary world.

The journey of self discovery for The Innocent ends the same way as it started, but there is a sense of confidence and strength in him now, and in some ways, this reaches out to the audience too. After having seen the spectacular acts in Cirque Du Soleil’s Kooza, you can’t help but leave the big top tent feeling like anything is possible.

Venue: Flemington Racecourse, 448 Epsom Rd, Flemington, 3031
Season: Melbourne season until 26 March | Tue – Fri  8pm, Sat 4:30pm and 8pm, Sun 7.30pm, Sun 1:30pm and 5pm
Perth season opens on 13 April
Tickets: From $60
Bookings and further information: Cirque Du Soleil

Image by Matt Beard with costumes by Marie-Chantale Vaillancourt ©2012 Cirque du Soleil

Cabaret, Circus, Performances, Whats On

Arts Centre Melbourne Presents BRIEFS

In short? – revealing in all the right ways…

By Myron My

Having seen Briefs last year in an upstairs room of the Athenaeum, I was more than eager to see them again for their short return Melbourne season. The six talented performers covering (or uncovering) burlesque, circus, drag and everything else in between, were a highlight of my theatre experiences last year and after seeing their show on Tuesday night, remains a highlight for this year as well.

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Led by the charismatic and engaging bearded lady Shivannah (alter ego of ringmaster Fez Fa’anana), the performances are nothing short of mesmerizing, but also laugh-out-loud hilarious and with plenty of skin on display – it is called Briefs for a reason, after all.

While some acts are the same as last year (which is to be expected for a return season), they are still incredibly entertaining to watch. With no lulls throughout, it is extremely difficult to choose a favourite performance , however Thomas Worrell‘s erotically-charged silks routine to Jarryd James’ “Do You Remember”, Evil Hate Monkey‘s uproarious banana skits, and the breathtaking finale by Captain Kidd (Mark Winmill) that just needs to be seen again and again, stick firmly in mind. The group acts also bring huge energy into the room, including a well-choreographed performance to Crooker’s “Royal T” showcasing the talents of drag queen (and brilliant costume designer for Briefs) Dallas Dellaforce, along with Shivannah, Worrell and Captain Kidd.

As Shivannah explains at one point, Briefs is a little bit political, a little bit idiotic and a little bit disco but it is also a celebration of being different and embracing that diversity. The entire show raises questions as to what masculinity and femininity mean and can mean, and creates an environment that is very much a joyous blurring of gender and sex.

It’s been nine years since Briefs came together and if this return season is anything to go by, this artist-driven collective is going from strength to strength. With a thumping soundtrack, slick production values and inventive acts, you had better book your tickets sooner rather than later because Briefs is only on for a brief time.

Venue: Arts Centre Melbourne
Season: until 18 December | 7:30pm, Fri – Sat additional show at 10.30pm
Tickets: $65 Premium | $60 A Reserve
Bookings: Arts Centre Melbourne

Circus, Review, Whats On

The Wonderland Spiegeltent Presents SCOTCH & SODA

Gorgeous and gritty circus theatrics

By Leeor Adar

The Wonderland Spiegeltent’s Scotch & Soda is a riot of mad-hatter-esque lunacy and junkyard jazz. It’s definitely more than a little something, something, and encapsulates the grassroots of carnival whilst injecting that dirty, depression-era feel.

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Elaborate costumes and performances litter the circular stage and one genius act after other flows, much like the scotch and soda. Having witnessed several other circus performances as of late, what sets Scotch & Soda apart is the style and theatrics presented to us. It’s rambunctious, wild and pretty much guaranteed to have audience members gasping and laughing at the same time.

We are presented with a diverse range of acts which twist the classics. Balancing at obscene heights on even more obscene objects, the performers often use one another with assured physicality to push the limits of their bodies and our racing hearts. Definite highlights include watching a ‘drunken’ tango of sorts between performers turn hilariously violent, and one performer dangle and contort himself precariously over a toilet with mad abandon.

There is however the occasional slip, but I expect this is the usual business of opening night. Hopefully the drum kit will not tumble off stage! Yet given the highly physical and wild quality of Scotch & Soda, there is the expected element of uncertainty.

Setting the night further alight is the incorporation of the Uncanny Carnival Band, which features some of Sydney’s best jazz musicians. The band were evidently enjoying themselves as part of the night’s theatrics, and at one point we were treated to a sax solo whilst a performer spun the musician in circular motions, only adding to the absurd wonder of it all. Scotch & Soda certainly gave every band member a chance to shine, whether it was a drum or sax solo, and a hilarious incorporation of the cellist who at one point walked down the aisle with his curvaceous instrument.

Scotch & Soda is not your average fun night out, but I guarantee you will enjoy every minute of it as you are lured into a world of carnival and mayhem.

Scotch and Soda is performing most nights at 8pm until the 23 October at the Wonderland Spiegeltent (Docklands), you can purchase tickets here: https://www.wonderlandspiegeltent.com.au/whats_on/event/4d558803-8cbb-4351-9218-e2be71c6ff4a

Circus, Festivals, Whats On

Melbourne Fringe 2016: JUGG LIFE

Throwing around innovative ideas, and catching everyone’s attention

By Myron My

There was a time when it seemed juggling was simply a person throwing a handful of balls in the air and keeping them there. While it is skillful, there was surely not much you could do with it to keep audience entertained for a prolonged period. However, presented as part of the Melbourne Fringe Festival, jugglers Byron Hutton and Joe Fisher breathe amazing life into the art form with a highly engaging circus show, aptly titled Jugg Life.

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While the two use a variety of balls, pins and rings for their acts, it is the incorporation of music, percussion and their innovation in challenging what juggling that makes this show a definite crowd-pleaser. Their routines involve both some precision timing and the maintaining of impeccable hand-eye coordination not only for themselves but with each other, as objects are often passed adroitly back and forth while in mid-routine.

The energy and chemistry Hutton and Fisher possess is infectious, and watching them trying to one-up each other during their “street fighter” combat juggling is highly enjoyable to watch. The two remain strongly connected throughout the show and the support they have for each other is evident.

The set-up of the stage elicits an environment of fun, with bright boxes to store their props and a drum kit sitting in the corner, and the way they use the latter further displays their juggling prowess. The music is perfectly suited to keep energy levels up and the choreography of the routines to the music – particularly with the Polyphonic! app where the two create their own electronic songs – shows the real thought that has been put into Jugg Life.

Usually, juggling might not considered be as wow-inducing as jumps on a tight rope or balancing upside down on seven chairs, but Jugg Life certainly closes the gap. It’s a strong show by Hutton and Fisher who have taken juggling to a whole new exciting level.

Venue: Fringe Hub – Arts House, 521 Queensberry Street, North Melbourne, 3051
Season: until 1 October | 6.30pm
Length: 50 minutes
Tickets: $20 Full | $15 Conc
Bookings: Melbourne Fringe Festival