Category: Circus

Circus, Festivals, Review

REVIEW: Gasworks Presents UNCOVERED

Sleek and sensual circus for Midsumma

By Myron My

After Dark Theatre’s Uncovered would have to be one of the sexiest circus shows I have ever seen, and with its overt intent to explore homosexuality, love and sex, this isn’t surprising. Director and performer Dave Coombs has brought together recent graduates or current students of the National Institute of Circus Arts, and through a number of circus acts, explores the idea of “the first”, including the first encounter with a man and the first kiss.

Uncovered.jpg

The performers – Emily Gare, Alex Jeans, Mark Graham, Nelson Smyles and Coombs – are all committed and enthusiastic and for where they currently stand in their experience, deliver some impressive feats. Jeans’ silks routine and his subsequent double aerial hoop act with Graham are strong highlights of the evening. The latter in particular successfully displayed their talents with their seamlessly moving bodies, and paired with the music, permitted the audience to recall their own sensual experiences while appreciating what was occurring on stage. Smyles’ short but sweet clown act, with his attempts to be the object of someone’s desire, is also a firm favourite. It is very simple routine but it relies heavily on Smyles’ ability to convey vulnerability and hopefulness through nothing but facial expressions and body language.

The music selection is well chosen, with a variety of songs from different genres often reimagined into new forms, giving a fresh feel to many of the acts performed. The direction of the performers is also an accomplished effort, ensuring that the whole space is used effectively and, just like the theme of the show itself, exploring every dark corner and space.

While Uncovered works on exploring these “first times” as individual stories, in order to elicit a deeper and emotional response from the audience, I felt stronger focus on character and an overall story is required. In the beginning, Smyles enters the bar and upon being questioned about his sexuality, states he is straight. One lap dance later, he has now realised he is gay and although this revelation could have been a wealth of inspiration, it is never really visited again.

Uncovered has a lot it wants to share with the audience about being a gay male. While this is a good start, I still felt it needs to build a stronger connection with the characters and what it is being explored. It’s got the talent and it’s got the vision: with a little bit more work, it can find its heart.

Uncovered was performed 27 – 30 January at Gasworks Arts Park as part of the 2016 Midsumma Festival.

Circus, Performances, Whats On

REVIEW: Daniele Finzi Pasca’s LA VERITA

Circus spectacle celebrates surrealism

By Jessica Cornish

La Verità – directed, choreographed and written by internationally renowned creator Daniele Finzi Pasca, and inspired by Salvador Dali’s surrealist depiction of the fraught love story between Tristan and Isolde – was a visually stunning production, with breath-taking acts executed by well-seasoned performers.

La Verita.jpg

Travelling with an incredibly strong cast of 13 acrobats, musicians, clowns and dancers, La Verità morphed the State Theatre into a beautiful melancholic circus, with sumptuously rich scenery often silhouetted by the beaming golden cyc cloth hanging upstage. The performance work also incorporated trance-like shadow theatre, stark imagery, contrasting bold lighting states, shapes and the morphing of colours powerfully and continuously throughout the two acts.

La Verità’s aerial acts were particularly stunning, featuring double-helix ladders spiralling through the air, ultraviolet-lit hula hoops dancing across the stage, and the incredible acrobats illustrating human form at its peak of perfection. The performance also included one of the best choreographed and most intricate and quirky juggling scenes I have ever seen, and a wonderfully cringe-worthy contortionist, to name only a few memorable moments. My only criticism of the performances was that Act One heavily relied on comedic relief to transition between items: I didn’t really find the shiny silvery characters very funny, and felt the slapstick humour a little lame and unnecessary at times; however, my companion clearly enjoyed the glittery clowns, so maybe I just need to adopt a better sense of humour!

Meanwhile, the comedic narrators provided some background information on Salvador Dali through a mix of English, French and Spanish ramblings, retelling remarkable snippets of his life such as the time he tried to present a lecture in a diving suit and nearly suffocated in the process. To further accentuate Dali’s work and influence, some of his other famous iconic images were also smattered throughout the items, such as the melting away of time and the recurring rhinoceros, (he believed the latter’s patterned horn possessed the same logarithm as both cauliflowers and sunflowers…!)

A captivating and stunning night of entertainment, overall – if you are a lover of all things circus and beautiful, go see this show!

VENUE
State Theatre
DATES
Friday 22 January, 7:30pm
Saturday 23 January, 2pm
Saturday 23 January, 7:30pm
PRICE RANGE*
Premium: $85
A Reserve: $65
B Reserve: $45
Under 30: $30 (strictly limited)
Concession and family tickets available
BOOKINGS
Phone: 1300 182 183

https://www.artscentremelbourne.com.au/whats-on/circus-physical-theatre/la-verita

Circus, Events, Review

REVIEW: Batton & Broadway Present THE CLASSICS

Veteran circus performers continue to delight

By Myron My

The popularity of circus shows is certainly rising in Melbourne. Although there are constantly more and more exciting performances being held, the opportunity to see a show with a difference does not always present itself. Presented by Batton & Broadway, The Classics is one show with quite the difference: all the performers are over 50 years old. It is a rare opportunity to see a variety of talented artists unite in doing what they have done for decades, and also to enjoy the reminder that that the older you get doesn’t have to mean the less can you do.

The Classics

Our MCs for the night, Sue Broadway and Debra Batton, share quite the charming camaraderie and their quips back and forth feel spontaneous and natural. I do feel, however, that more time was required for the transition of the acts and the show’s overall stage direction, which often popped that enchanting bubble of wonderment you want to stay in when at the circus. 

The acts themselves are a variety of hits and misses with the opening numbers not really having the pulling power and spectacle you expect from a circus show to draw in the audience immediately. The two sets of trapeze and silks routines seemed like an odd choice, especially when the second acts were nowhere near as strong as their predecessors. With different performers scheduled for different nights of The Classics however, this might not be a regular line-up.

Having said that, Anni Davey and Kathryn Niesche‘s trapeze act was enthralling to watch and provided something quite unique to the evening. The opening act for the second half was also notably enjoyable, with a rendition of Kate Bush’s “Wuthering Heights” that hit all the right notes in its entertainment. Peter Gray‘s clowning and juggling act was immensely fun and quite possibly the highlight of the whole evening, managing to get the whole audience warmly involved with his routine.

There is strong skill and a wealth of experience on display with The Classics, and you can’t help but wonder if the performers are this good in their fifties, how amazing would they have been to watch 30 years ago, and how much could younger artists learn from their combined wealth of experience and skill? Despite the lulls in some of the acts, The Classics is a great opportunity to watch these deservedly classic circus performers show us that they’ve still got it. 

Venue: The Melba Spiegeltent, 35 Johnston St, Collingwood
Season: Until 12 December | 8pm
Tickets: $25 Full | $20 Conc
Bookings: Circus Oz

Circus, Events, Whats On

REVIEW: NICA Presents BORN IN SAWDUST

Wonderfully engaging

By Narelle Wood

This year’s National Institute of Circus Arts graduating artists perform Born in Sawdust, an insight into the world of circus performing and the trainers behind the performers.

NICA-Born-In-Sawdust

Inspired by former trainer Kostya Ibraguimov, and the stories and dedication of other trainers and mentors, Born in Sawdust follows one circus performer’s dream to one-day work for the famed Monte Carlo Circus. Director Gavin Robin showcases the vast and impressive talents of many of NICA’s graduating students, as artists use trapeze, tumbling, high wires, and some clowning around to add light and shade to this intriguing story.

The performance focuses on the characters portrayed by Adam O’Connor-McMahon, Elke Uhd and Simone Salle, as they form a family within the larger circus family. O’Connor-McMahon is charming; there is something completely endearing about his performance throughout the entire show, regardless of the skills (and there are many) that he is showcasing. While Uhd’s performance of strength and balance on the Cyr Wheel received “wows” from the audience members around me, I couldn’t help but smile at Salle’s joyous, and occasionally insolent, performance as the Fat Clown. The group ensemble work was also impressive, the drunken slapstick tumbling of the Bar Scene looked like the sort of party that everyone would want to be a part of.

But it wasn’t just the story and the skills of these circus artists that made this performance so interesting. Born in Sawdust also makes use of digital projections, provided by students, under the guidance of coordinator Lisa Robins, from Swinburne University of Technology’s Advanced Diploma of Screen and Media. Live performers, live shadows and digitally projected shadows intermingle to provide the most captivating silhouettes and narrative device.

Despite the incredible strength and skill of circus artists, I often feel anxious when watching circus performances, but that was not the case this time. Born in Sawdust took me along on the journey through the sacrifices, injuries, hard work and jubilation of following a dream to join the circus. It is an enchanting circus tale told with just the right mix of heartbreak and humour.

Venue: NICA National Circus Centre, 39-59 Green St, Prahran
Season: Until 28th November, Wed-Sat 7.30pm, Sat matinee 1.30pm
Tickets: Full $36| Conc $29
Bookings: www.nica.com.au

Cabaret, Circus, Comedy, Whats On

REVIEW: BRIEFS

Erotic, erratic and glorious entertainment

By Myron My

For those who have an immense fear of audience participation, this show could possibly be your worst nightmare. But for those after some sexy excitement and fun, then look no further because Briefs has got you covered – or uncovered as the case may be.

Briefs

Formed in Brisbane, this all-male boylesque group has spent the last year travelling around Europe performing sell-out shows to rave reviews. Melbourne finally gets its turn to revel in the skill and beauty on stage in a stunning show that is not to be missed.

All the performers – Shivannah, Captain Kidd, Dallas Dellaforce, Thomas Worrell, Evil Hate Monkey, Lachy Shelley and Louis Biggs – possess a strong sexual confidence among them, which is imperative when your acts revolve around you wearing minimal clothing (and sometimes nothing at all). They also happen to be highly talented individuals and while the show is heavily structured and choreographed, there is a naturalness to their performances that allows for spontaneity and surprises for both themselves and us. There is moreover a brilliant mix of variety in the acts and they are so well paced that the ride we are on never stops being enjoyable.

Worrell’s aerial hoop and silks routines are simply breathtaking to watch. There is an erotically-charged energy to him as he ties himself in knots and contorts his body into some impressive poses while swinging from the hoop. Biggs’ circus acts and his cheeky smile are the epitome of naughty fun and the personas he takes on are executed extremely well. His mischievous high-school student act remains a highlight of the evening.

Evil Hate Monkey’s banana is a touch of comedy genius and had everyone in fits of laughter. Even with the common equation of banana as penis, there is a freshness and daringness to this act. Las Vegas King of Burlesque 2011 Captain Kidd and his famous birdbath act is a sight to behold and the less said about it the better; but it is an incredible finale to an incredible evening.

It’s been a while since Briefs has graced a Melbourne stage and you would be utterly mad if you missed the opportunity to see this seductive burlesque-cabaret-circus glitter explosion!

Venue: Athenaeun Theatre, 188 Collins St, Melbourne.

Season: Until 5 December | Tues – Sat 7:30pm

Tickets: $52.81 Full | $47.71 Conc

Bookings: Ticketek

Circus, Kids Theatre, Whats On

REVIEW: Circus Oz Presents CURIOSITY

Delightful kids theatre

By Narelle Wood

Curiosity performed by acrobatic group Dislocate, is a charming theatrical journey in to a land beyond the bottom of the toy box. Alex is an adventurer and very curious, which means we meet lots of interesting characters along the way.

Curiosity Image by Rob Blackburn

Alex is in trouble, preferring to use her brother’s skateboard for a mode of transportation rather than clean up her mess. Unfortunately for Alex she gets into more trouble trying to explain that she is cleaning up, and this is where the slapstick theatrics begin. Once Alex discovers the new and colourful land she finds herself climbing, tumbling and twisting her way through the land of Curiosity.

The acrobatics are very cool; my three-year old nephew was transfixed by all the chairs, ladders and tossing people in the air. The biggest winners for Darragh though were the acrobatic ribbons (this was met with very enthusiastic applause) and what he describes as the ‘sad monster robot’ who was playing hide and seek on stilts. Many of the older kids found themselves interacting with Alex and helping her through her adventures.

The show is very cleverly written; I found myself laughing at jokes and watching the performance in just as much amazement as the kids. And like many good kids show Alex learns a lot about herself along the way, like how to solve problems and be respectful.

The set and prop use was impressive. There was never too much happening on stage and the performance made smart use of the space, including several scenes towards the ceiling and scene that found itself at the back of the theatre.

Curiosity is a simple and enchanting story that is sure to enthrall and entertain young and old. I highly recommend, a lovely way to spend an hour with some little ones.

Venue: The Melba Spiegeltent, 35 Johnston St, Collingwood
Season: 17-24 October Wed-Fri 10.30am & 2.30pm Sat 10.30am & 12.30pm
Tickets: Full $18 Children four and under free
Bookings: themelba.eventbrite.com.au

Image by Rob Blackburn

Circus, Festivals, Whats On

REVIEW: Melbourne Festival Presents LIMBO

Circus with flare

By Myron My

Presented as part of the 2015 Melbourne Festival, Limbo is an exhilarating blend of circus, acrobatics and cabaret that will have audiences speechless and leave them wanting much much more. With a strong nod to the 1920s and performed in a Spiegeltent, Limbo transports its audience into a seedy underworld of no barriers or rules, a place where everyone can come and play, no matter what your tastes and likes may be.

Limbo

Its international cast ensures that they have the best of the best in its skilled performers including fire-breather sword-swallower Heather Holliday who at one point literally has the stage in flames and the near-impossible contortionist act by Tigris. Other highlights include Danic Abishev‘s hand-balancing act and Mikael Bres‘ Chinese pole act, which left audiences gasping throughout.

There is a great sense of play and cheekiness coming from the performers, which adds to the excitement of Limbo. While they are clearly focused and very careful in what they do, they never let this emotion show and except for one of two moments, you can never actually tell if anything doesn’t quite go according to plan.

The interludes between acts are well thought-out that not only assist with the set up of the next act but allow the audience to catch their breath and compose themselves from the excitement they’ve just witnessed. Scott Maidment has directed a very tight show that has no unnecessary lulls among the incredibly highs of watching these talented people creating intense and jaw-dropping acts with their bodies.

Sxip Shirey‘s live score – including some brilliant beat-boxing by Bres – is a great accompaniment to the acts. The music and the performances come together in unison, to the point where the movements of the acts are in perfect sync with the beats and rhythms of the music.

The charisma and genuine playful nature of the performers ensures that Limbo is an intense yet highly enjoyable experience. There are a number of “need to be seen to be believed” acts that will have you exiting the Spiegeltent in awe and wonderment of what has just been witnessed.

Venue: Spiegeltent, South bank of Yarra River, east of Princes Bridge.

Season: Until 1 November | Tues-Sat 8pm, Sat 3pm, Sun 7pm.

Tickets: $35 – $69

Bookings: Melbourne Festival

Image by Tony Virgo

Circus, Festivals, Whats On

REVIEW: BODIES OVER BITUMEN

Circus under the sky

By Myron My

This year’s Melbourne Fringe Festival has seen a variety of circus performances using the art form to create some highly unique shows. There’s been glow-in-the-dark circus, and circus that is inspired by climate change, and now with Bodies Over Bitumen, there is outdoor circus that takes us out to the streets of North Melbourne.

Bodies Over Bitumen

We follow the three performers Skye Gellmann, Alexander Gellmann and Naomi Francis, down side streets and main roads as they perform various tricks and acrobatics. Similar to other Fringe Festival shows, Suburbia and Citydash, Bodies Over Bitumen invites its audience to look at your surroundings in a new light and to take notice of what is there.

The silks routine off a tree on Errol Street was quite mesmerising to watch, with quite a few passers-by also stopping from their evening outings to admire. Looking up to Francis as she spun herself around and climbed up the rope, surrounded by all the leaves and branches, felt fairytale-like.

Similarly, the finale with Skye Gellmann’s pole routine on a street pole was well choreographed and displayed some amazing strength. It was a great way to finish but sadly, the rest of the evening failed to leave a strong impression on me. There was a lot of waiting and watching for things to happen and when they did, the build-up was not justified. One act involved a piece of flint being scraped on the road and watching a few sparks for five minutes, which unfortunately did not create a sense of wonderment for the audience.

Bodies Over Bitumen wants us to acknowledge how landscape and environment play a big part in defining who we are. I only wish the performers had attempted to develop some of these ideas further as this production has the potential to be an eye-opening show and create real curiosity in people’s minds. Instead, it is a show that seems to have taken a few wrong turns in determining what journey it wants to take us on.

Venue: Meet on the steps Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: Until 3 October | Tues-Sat 6.30pm

Tickets:$23 Full | $18 Conc | $14 Cheap Tuesday

Bookings: Melbourne Fringe Festival

Circus, Festivals, Whats On

REVIEW: The Broadwalk Republic Presents BARBAROI

Dark, dangerous and death-dealing circus

By Myron My

Traditionally, circus is about bright colours and laughter. However in the 2015 Melbourne Fringe circus show Barbaroi, circus is transformed into a dark, gritty and dirty art form. Coming out of the darkness are shady characters and misfits of society… It’s an enthralling hour of entertainment from the seedy underbelly of the arts.

Barbaroi

The strong opening sequence sets the mood for the show with The Barbaroi (Avan Whaite, Stan Ricketson, Will Meager, Phoebe Carlson, Caz Walsh and Hazel Bock) entering and exiting the stage, completing various flips and tricks as they do. The lighting work during this is highly effective with six square spotlights on stage shaping the darkness, subsequently allowing the performers to be coming in and out of the shadows. The fast movements of the performers combined with the erratic but perfectly timed lighting choreography is a captivating sight.

There is barely a lull in Barbaroi with the audience kept on the edge of their seats for its entirety. Bock steals the show with her two sets of foot-juggling, that are just gobsmacking in their skill. She also plays the femme fatale-esque persona with the right amount of sass and attitude, which results in her having a particularly strong presence on stage.

Strong men Meager and Ricketson are amazing to watch during the teeterboard act – and not just due to their physique, as they achieve some phenomenal flips and twists. You would think The Barbaroi couldn’t make their acts any more difficult than they already do but then they turn the dial up even more and still breathtakingly succeed. Even Carlson’s bottle-walking act completely changes our expectations and its difficulty with just a simple action.

Barbaroi is the type of show that requires an immense amount of trust and support from each of the performers. Throughout the show, those not directly involved in the act remain on stage and watch, reinforcing the idea that The Barbaroi are one team and depend on each other to succeed. The set-up between acts  is well executed and along with the music played, emphasises the roughness and the “danger” of where we are and what we are witnessing.

The clapping and cheering from the audience at the conclusion of Barbaroi’s opening night for Fringe was more than well deserved. There is a high calibre of talented circus performers on display that deserve to be seen by many people during this two-week run. It is high-octane circus that will have your eyes transfixed on the stage and your heart beating at rapid speeds, until those spotlights finally go out.

Venue: Gasworks Arts Park, 21 Graham St, Albert Park, 3206

Season: Until 3 October | 24-26 September, 9.20pm | 29 Sept – 3 Oct, 8pm

Tickets: $27 Full | $24 Conc | $20 Cheap Tuesday

Bookings: Melbourne Fringe Festival

Circus, Festivals, Whats On

REVIEW: PERHAPS THERE IS HOPE YET

Circus at its most polished and poignant

By Myron My

Having recently seen Rockie Stone perform in Finucane and Smith’s Glory Box and being blown away by her sets, I was very much looking forward to seeing her in this year’s Melbourne Fringe show, Perhaps There Is Hope Yet, and it did not disappoint. Along with fellow circus performer Vincent van Berkel and with music by Sam Keevers, it is a wonderfully constructed show that is inspired by climate change and the slow disintegration of our environment.

Perhaps There Is Hope Yet

The stage is littered with a number of glass bottles, a makeshift seesaw and a kinetic sculpture by Callan Morgan that while only acknowledged a few times, has a strong visual presence throughout the show. Initially reminding me of a traditional windmill and later, due to its movements, that of a wind turbine, it keeps the idea of retaining a sustainable environment for the future churning.

Meanwhile, Stone and van Berkel’s adagio routine is simply breathtaking and some of the formations created not only show the strength they possess but also the sheer amount of trust they have with each other. There is no fear or hesitations in anything they do. Similarly van Berkel’s balance crane routine is just as engaging to watch. His movements are smooth and fluid and there is a beautiful sense of calm to his act. While this is happening, Stone is side of stage, dancing erratically to her Walkman and at one point moving into the audience; a contrast of scenes, mood and environment.

Perhaps There is Hope Yet is a meticulously thought-out show and there is no step and no movement that does not have a reason or purpose for existing. The finale is a definite showstopper and there were minimal movements and breathing from the audience in fear of creating a butterfly effect that could spell disaster for Stone.

Stone and van Berkel know how to put on a show and Perhaps There is Hope Yet is what circus should be. There are no gimmicks or anything to hide behind. Stone and van Berkel not only keep themselves exposed to our scrutiny but also expose the cracks in our environment. A show that needs to be seen.

Venue: Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: until 3 October | Tues-Sun 9pm

Tickets:$25 Full | $20 Conc, Cheap Tuesday

Bookings: Melbourne Fringe Festival