Category: Circus

Circus, Festivals, Whats On

REVIEW: Jessica Watson Miller’s LUMINOUS

Visually glorious but missed some marks

By Myron My

Created by champion body painter Jessica Watson Miller, Luminous is circus with a twist. The show is performed under black lights with the performers covered head to toe in various glow-in-the-dark coloured body paints and costumes that create a truly singular viewing experience.

Luminous

The performers appear on stage, reminding me of wild animals in the jungle as they slowly slither, slide and stalk into the space. At various points throughout the night, the body painters (themselves dressed head to toe in black so they are almost invisible) rub the paints on one of the performers, thus gradually bringing him to life. It’s a visual feat that is exciting and intriguing to watch.

There is always a risk with any live performance, and especially with circus, that things will not always go according to plan. Unfortunately, many of the tricks did not go to plan on the night I attended, and perhaps we can put this down to opening night nerves. Juggling items were dropped, hoops not caught and there were some wobbly moments during the adagio routine. To the performers’ credit, they always persevered and continued with the routines but I did feel the show was not as smooth and polished as it should have been. Furthermore, there were technical issues that occurred on the night with noises coming from backstage and, at times, issues with the sound and lights.

However, moments like the juggling of the orange UV balls did manage hit the right mark. The juggler incorporated bouncing the five balls on the floor and back into the cycle and the speeds which he reached and the variety to the act was very impressive. The partnered aerial silk routine (often a favourite of mine) was also one of the stronger showings in Luminous. Meanwhile, the soundtrack throughout the show was used well and helped enhance the primal environment we were witnessing.

While the idea of a circus show performed in glow-in-the-dark paint is unique, overall Luminous did not leave me with a yearning for more. Yes, the aesthetics were absolutely captivating and engrossing but the acts themselves need some more work to really create something memorable.

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

Season: Until 3 October | 22, 24-26 Sept, 10.30pm | 19, 29 Sept – 3 Oct, 9.20pm

Tickets: Melbourne Fringe Festival 2015

Circus, Review, Whats On

REVIEW: Circus Oz Presents BUT WAIT… THERE’S MORE

Fun but familiar

By Myron My

Circus Oz returns to Melbourne with But Wait…There’s More, fusing circus acts with consumerism and “infobesity”; the idea that everything is being commodified and the world is moving at faster speeds than before.

But Wait... There's More

The opening act of Lilikoi Kaos and her hoops was amazing. With hoop acts becoming a dime-a-dozen in recent circus productions, Kaos brought so much energy and fun to the routine it was impossible not to get swept up by the momentum. The program definitely does not lie when it compares her as a “mixture of Jessica Rabbit, Lucille Ball and Tank Girl”. Kaos has a unique talent that is great to watch on stage.

Similarly the enchanting balletic unicycle act by Kyle Raftery and April Dawson was mesmerising and the accompanying music created an almost whimsical environment. In fact, all the music, led by Ben Hendry and Ania Reynolds, was the one consistently superb factor throughout the show. Each act’s musical soundtrack was perfectly suited to build the mood and the suspense, and change the tone as needed.

Towards the end of last year, I saw Circus Oz’s Close to the Bone. Perhaps it was the more intimate and intense setting of the Melba Spiegeltent that allowed the acts to draw you in, but under the Big Top tent, many of the acts felt lacklustre and uninspiring. There were minimal wow moments and even though circus can be more than just “wow”, when you’re performing in this type of environment, on this type of stage, there needs to be plenty of dramatic climax and intensity.

This was more noticed in the second half of the shown which lacked the variety and the suspense needed to maintain my interest. The performers, such as the consistently amazing Sharon Gruenert, are clearly talented and accomplished in their fields, but as an audience member, there are only so many familiar flips and jumps that a show can have before it stops being interesting.

As a theme, the exploration of consumerism and information-overloading didn’t seem to work within the confines of circus, and despite Candy Bower‘s great voice, the singing numbers were out of place and broke the momentum of the acts. However, the set-ups for the bigger acts were great to watch as the whole ensemble playfully worked together to prepare the stage.

There is no denying that there are a number of highly skilled performers within the company and Circus Oz knows how to put on a good show: I’ve seen them do it before, numerous times. Unfortunately, But Wait…There’s More is not one of their better showings. For all the glitz and sparkle, I didn’t find much substance within the acts – which I guess is where you could argue society is trending with our obsessions on “infobeity” and consumerism.

Venue: Circus Oz Big Top, Birrarung Marr, Melbourne (between Federation Square and Batman Avenue).
Season: Until 12 July | Wed- Sat 7:30pm, Sat 1.30pm, Sun 3pm
Tickets: $22 – $95 (plus booking fees)
Bookings: ticketmaster.com.au or 136 100

Image by Rob Blackburn

Cabaret, Circus, Review

REVIEW: Spiegelworld Presents ABSINTHE

High energy, high drama and high expectations

By Myron My

In 2013, I had the good fortune to be working front-of-house when Spiegelworld brought its show Empire to Melbourne’s Crown Casino. I was able to watch repeatedly a troupe of world-class artists performing in highly skillful and often death-defying acts, which also proved to be an exhilarating experience for audience members. Fast-forward two years, and Spiegelworld have returned their Spiegeltent to the Crown Casino rooftop with their new show Absinthe.

Absinthe

Inspired by cabarets of late 19th-century Europe, Absinthe is a spectacular and intimate performance of burlesque, circus, song and dance with enough variety to appeal to everyone. However, given the theme of the show and the physique and strengths of the performers, there is also quite a bit of flesh on display and plenty of sexual innuendo and some not-so-subtle sexual humour by the hosts, The Gazillionaire and his sidekick Penny Pibbets.

Now I understand that, given the nature of the show, there is a need to be cheeky and funny and even controversial but for me these hosts lacked the warmth and the familiarity that was accomplished so well by the hosts in Empire. This led to some highly awkward moments, such as the performers pulling two males out of the audience and having them give a lap dance to a female audience member. It was extremely uncomfortable to watch as these men took off their clothes, touched her, and shook their ass in the woman’s face. Fortunately for everyone involved, it went relatively smoothly the night I attended, but looking around the audience there were clearly a number of people who did not find this funny in the slightest.

The acts themselves however were both mesmerising and frightening at the same time. Los Dos Tacos (Belarus duo Aliasandra Yurkavets and Andrei Sizonenka) and their dramatic parallel bars act was by far the highlight of the evening, with the artists performing extraordinary tricks where landing even a centimeter off would have proved disastrous for them and quite possibly for the audience. Another personal favourite was the Duo Strap dance routine by Americans Jacob Oberman and Maika Isogawa, which may have allowed our hearts to stop racing, but then displayed some beautiful moments on stage with aerial ballet.

Sadly, for me the high-wire finale by The Frat Pack lacked the suspense and ‘wow’ factor required to end the night on a high. There were stronger, more thrilling acts that were performed earlier in the evening that I feel would have been more suited for the finale spot.

Although it’s no Empire, Absinthe still manages to amaze, excite, and leave you with your mouth hanging open in astonishment. These are performers who are at the top of their game and it is probably one of the few chances you’ll ever get to see them perform. Despite its flaws, Absinthe is still a theatrical highlight of my year so far.

Venue: Rooftop at Crown Casino, Southbank, 3006.

Season: Until 17 May

Tickets: From $56.07 to $157

Bookings: Spiegelworld

Image by Mark Turner

Circus, Events, Whats On

REVIEW: Cirque Du Soleil’s TOTEM

A visual and aural delight

By Kim Edwards

There is a grandeur in a Cirque Du Soleil production that is rarely encountered elsewhere. Everything in this renowned international theatrical company is conducted on a magnificent and monumental scale, and their latest Melbourne offering Totem upholds their reputation. The iconic blue-and-yellow circus tent dwarfed the gathering crowds on opening night this week, both inside and out, and the evening was an elaborate and grandiose procession of world-class talent.

Totem Photo Credit OSA Images

Totem draws on themes of evolution, primitivism and cultural difference and development in bringing together a series of diverse and often death-defying circus acts. This thread is rather tenuous: a few performances felt thematically clumsy while still being excellent in themselves, although others were wonderfully profound and effective in exploring the idea of totems and human, environmental and artistic progress. I particularly loved the animals at play in the opening bars routine, the quaint and gentle clowning of Philippe Thibaudeau‘s Fisherman, the ‘Amerindian’ hoop dancing of Eric Hernandez and Shandien Larance, and the playful body-paint space suits of the Russian Bars troupe.

Kym Barrett‘s costuming and Carl Fillion‘s set designs are utterly glorious, with the attention to detail, the exciting use of colour, texture, light and projections, and the dynamic stage itself, with the skeletal shell centrepiece/chandelier, and the arching, curling gantry bridge. I was disappointed in the first act that I could hardly see the musicians led by Charles Dennard Jr. in their upstage bed of reeds, and was delighted when their wonderful work was more foregrounded after intermission: the scientific apparatus that became musical instruments was sensational.

My personal (and crowd) favourite was the unicyclists’ performance, but as with so many of these acts, the unexpected and often spectacular twists to what you anticipate will be a familiar circus trick are a joy to discover, and I don’t want to spoil the surprises here. However, the costumes and props that evoked votive offerings and elegant tea ceremonies were beautifully apt, and the concept and the performers themselves were astounding.

For me, Totem was not as a profoundly emotional experience as other Cirque Du Soleil creations I’ve encountered, but it is as always highly entertaining, and beautifully wrought and executed. Although tickets are pricey, with a large and extraordinary cast, a remarkable venue, and stunning technical and production values, it is money is well-spent.

Totem is playing at Flemington Racecourse until March 29, 2015. Tickets: https://www.cirquedusoleil.com/en/shows/totem/tickets/melbourne/maps-infos.aspx

Circus, Performances, Whats On

REVIEW: Circus Oz Presents CLOSE TO THE BONE

Wit, whimsy and wonder

By Myron My

When I go to the circus I often can’t help feeling like a child again as I watch in awe, wonderment and envy at the acts on display. Fortunately for me, these feelings continue to be felt at the Melba Spiegeltent with the current show from Circus Oz, Close To The Bone.

Circus Oz_Close to the Bone_Credit – Rob Blackburn_Caption – Lilikoi Kaos and Circus Oz band

The first thing you notice upon entering is the surprising size of the Spiegeltent. It’s a small and intimate space, which works well from an audience member perspective because no matter where you sit, you can more or less hear the heavy breathing of the performers, see the sweat dripping down their faces, and really see the strength and flexibility on display. These are highly talented professionals who are pushing themselves to their limits, and possibly even further.

I particularly enjoyed Lilikoi Kaos and Dale Woodbrige-Brown’s mischievous interactions during the hoop act, and Olivia Porter’s hacky-sack segment had everyone’s eyes glued on her from beginning to end.

The highlight of the night however belongs to Matt Wilson and his extremely high risk-balancing act, about which the less said is better so as to not ruin the surprise. What I will say though, is the tent was filled with tense excitement as Wilson went about performing this and the collective sigh of relief and cheers from the crowd upon completion was resounding.

There is a strong emphasis on music throughout Close To The Bone, which is led by the skillful Ania Reynolds and Ben Hendry. However, the cast also joins in throughout the night on a variety of instruments including guitars, piano and trumpets and even squeeze toys. The impressive “unconventional” drumming performance by Hendry further enhances the relationship between the two art forms.

Circus Oz’s Close To The Bone is an evening of good old-fashioned acts with just a touch of edginess and cheek that will most certainly entertain even the harshest circus show critics.

Venue: The Melba Spiegeltent, 35 Johnston St, Collingwood

Season: Until 21 December| Thurs-Fri 8pm, Sat 5:30 and 9:30pm, Sun 5.30pm

Tickets: $45 Full | $40 Conc

Bookings: ticketmaster.com.au or 136 100

Circus, Performances, Review

REVIEW: Drago’s Amazing Bona Fide Freak Show

A one-man carnival

By Myron My

I knew next to nothing about Drago’s Amazing Bona Fide Freak Show before attending the show, but I was intrigued by its title and minimal show synopsis. Fortunately, Drago’s (Ilan Abrahams) declaration at the beginning of the show that he is here to entertain us and we are here for enjoyment really proves true.

Drago's Freak Show

Abrahams has really honed in on showman Drago’s character and personality. The physicality displayed seemed very natural and habitual, and along with his miming, Abrahams has great story-telling abilities and ensures that he always has our attention.

The tatty circus tent designed by Hamish Fletcher and the outfit worn by Abrahams and created by Amaya Vecellio are both well thought out and carefully detailed, down to the dirt marks and holes, further embracing the travelling circus atmosphere.

The lighting played a very important and effective part in Drago’s Amazing Bona Fide Freak Show. A variety of lighting techniques are used including a circus spotlight, torchlights and candlelight, with each eliciting a different emotion or mood from us. Even amongst the low light moments, the shadows bouncing off the walls and flickering within the tent added to the freak show vibe being created.

Despite my enjoyment, I did walk out of the show feeling unsure as to the purpose of the piece. What is it that Abrahams wants us to feel? The stories were enjoyable as were the songs but I felt like there was a message that got lost along the way. I was also puzzled as to the meaning of the special guest and the “big reveal”. I expected a stronger impact especially with all the anticipation for their arrival.

The elements that do work in Drago’s Amazing Bona Fide Freak Show work very well and ensure that it is an hour of definite enjoyment, even if the ultimate meaning of the work does get a little confused.

Drago’s Amazing Bona Fide Freak Show was performed at La Mama as part of its Explorations season which supports works in development.

Circus, Festivals, Review

REVIEW: Point & Flex Circus Presents 3 STEPS AHEAD

Out in front of the rest

By Myron My

Circus has been around for a long time – in fact, since the late 1700s in its ‘modern’ form –  and with the same acts being performed world wide, it runs the risk of becoming repetitive. However, the show 3 Steps Ahead, created by Point & Flex Circus’ Taylor Dawson and Marina Gellmann, , has enough point of difference to ensure we remain entertained.

3 Steps Ahead
Using circus, sideshow, physical theatre and humour, Dawson and Gellmann compete against each other in a series of challenges, some of which require the audience to choose whether or not to help one of them win it. In between these, we are also entertained with more traditional forms of circus acts such as hoops, contortionism, juggling and even some nose drawing!

There is always a risk of things not going to plan when it comes to circus shows. A hula hoop might not go where it’s supposed to, a foot might not land where it should or a ball is thrown a little too high to get the right timing. There were a number of these mishaps in 3 Steps Ahead but Dawson and Gellmann retained their composure and the recoveries were always swift.

What sets 3 Steps Ahead apart from other circus performances is that the audience has a say the action and in what the order of those acts will be. So even though we will see all the same ones each show, the performers are never sure which act they will be doing next and the comfort of routine is thrown out the window.

Music was used successfully throughout, building on the suspense of “will they/won’t they” (make it) and the lighting work was incredibly sharp and precise. Just like the performers’ routine, these two aspects depended on what order the acts were decided upon and there was no noticeable moments where it felt like an error had been made.

Despite both being 18 years old, between them Dawson and Gellmann have almost 30 years experience in circus so it’s no surprise that Point & Flex’s show won Best Emerging Circus Performer at the Melbourne Fringe Festival Awards over the weekend.

3 Steps Ahead was performed at Gasworks Arts Park as part of the 2014 Melbourne Fringe Festival.

Cabaret, Circus, Festivals, Whats On

REVIEW: Lumiere Acrobatics’ THE LOUNGE – A CIRCUS CABARET

Dazzling moments

By Myron My

Every Melbourne Fringe Festival, I try see as many circus acts as I can, due to the unique variety that appear. Presented by Lumiere Acrobatics, The Lounge – A Circus Cabaret is one of those circus shows with a difference in its infusion of – as its name would suggest – circus and cabaret.

Floating through the 1950-60s era, creative director Glenn Birchall entertains us with a group of highly talented individuals. As far as openings go, The Lounge is highly memorable with the ensemble involved, coming on and off stage with various short acts that whet our appetite for what’s to come. The acts are accompanied by a great blend of jazz music which further sets the ambience for the show.

The Lounge

Two “club hosts” egg each other on as they attempt to out-perform each other and win over the audience. Each act adds a progressive layer of awe and culminates in something unique and amazing: for example, the majestic ‘AeroSphere’, a glittering two-metre diameter mirror ball that opens in four petals like a flower. With Birchall having spent 70 hours gluing every piece of mirror onto the mechanism, it really is a sight to behold as the acrobatic act takes place on it.

The other highlights of the evening included the silks routine and the contortionism, both of which appeared to be done seamlessly and with much ease. I was completely enthralled by the same silks performer who also impressed with the ‘AeroSphere’ acrobatics.

As a circus and cabaret performance, there is a great blend of acts to amaze us as well as acts to purely entertain us. I do feel that there were just a few too many lengthy interludes and dance numbers but overall, The Lounge – A Circus Cabaret is a highly enjoyably circus experience.

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

Season: Until 4 October | 6:30pm, Saturday 12.00pm

Tickets: $45 /$30 Conc

Bookings: www.melbournefringe.com.au

Circus, Festivals, Review, Whats On

REVIEW: Fringe Festival’s CARNEVIL

Unravel the mystery

By Myron My

I don’t even know where to begin in reviewing CarnEvil, and that is impressive. Conceived by Timothy Christopher Ryan, in collaboration with Stephanie Wood, Alexandra Meerbach, Joseph Chapman, Sam Whelan and Nithya Nagarajan, it is part show, part immersion, part murder-mystery and a whole lot of fun.

Carnevil

Firstly, the transformation of the Collingwood Underground Car Park into a carnival ground is extreme and effective – it even has a maze (and a creepy maze at that). There are tents and stall set up including fortune tellers, medicine women, a peep show and a few carnival games like bobbing for apples. However, even when murder occurs (which it does), the fun and games continue with various performances taking place throughout the course of the night.

We are free to roam and do as we please, and interaction with the actors/performers is heavily encouraged. There are clues and hints to assist in finding the killer and the only way to learn of these is to immerse yourself into the carnival world. I felt like a nosy reporter trying to get as much information as I could.

The variety of dazzling acts range from burlesque, singing and clowning with my highlights on the evening I attended being Whelan’s pole dance routine and guest performer for the night, Sir Hoops A Lot and his mesmerizing hoops work.

The commitment that all the performers have to their characters allows the authenticity of this world to flourish, which is not the easiest thing to do when you don’t really have a script to follow. I thoroughly enjoyed watching Meerbach, Whelan and Woods’ characters and how they interacted with the audience.

CarnEvil is a highly recommended two hours of fun and intrigue – just keep an eye on that pesky clown, you don’t know where he’s going to pop out from…

Venue: Collingwood Underground Car Park, 44 Harmsworth St, Collingwood

Season: Until 27 September | 7:30pm

Tickets: $20 Full | $18 Conc

Bookings: http://www.melbournefringe.com.au

Circus, Comedy, Events, Theatre, Whats On

REVIEW: Revolt Productions’ Encore of TWO POUND PARLOUR

Revamped, revitalised and re-viewed

By Myron My

In Two Pound Parlour, Miss Friby (Elizabeth Dawson-Smith) returns from exile after performing “preposterous acts of showmanship”. In order to find the critic who made such comments, she gets her girls and boy together to create a spectacular show to coerce the reviewer to attend and then enact her revenge. Cue a big night of burlesque, dance, circus, vaudeville, comedy and songs!

Two_Pound_Parlour

It has been a year since I first saw Two Pound Parlour so I was keen to see how the show has evolved and developed over time, and for the most part, it has turned into something better. There are still a few skits that fall flat – the Vegas wedding (despite its changes) still doesn’t work and is more awkward than funny – but the energy and commitment the six performers put in is more than you could ask for.

The addition of Daniel Ham (Egson Ham) as the first ever male in Two Pound Parlour is an excellent choice. Apart from being able to perform the “male” roles, such as in “Not In A Gay Way”, the dynamic versatility he brings keeps things interesting. Also appearing for the first time as Unleashya Deville was Aleisha Manion, who along with Stephanie Marion Wood (Lady Stiff) stole many of the scenes they were in. Their role in “Heaven in a Box” was particularly hilarious and Wood’s vocal talents are more than impressive.

As an ensemble, the group works extremely well together and the pace and choreography are extremely tight. The showy tap dancing routine and the memorable stomping-dance number really highlight just how synchronised they are.

With some worn for only a few minutes, the vast array of costumes designed by Kim Ritchie and Sara Yael is testament to the amount of time and skill that has been spent on getting this show up again. The set design by Rob Smith needs to be mentioned for its creativity and really setting the scene for the audience. The music by band Rapskallion is of a high level and the song performed by Miss Friby and the two singers, Yael and Carmen O’Brien, is perfectly executed.

Two Pound Parlour is still a little rough around some of its sexy edges but overall, it is a highly welcome return for this group of talented performers and this returning critic will be interested to see where Miss Friby and her girls and boy go to next with this wild and crazy ride.

Venue: Revolt Productions, 12 Elizabeth Street Kensington
Season: Until 16 July | 7:30pm
Tickets: From $35.00
Bookings: http://revoltproductions.com