Tag: Circus Oz

Circus Oz Presents SIDESAULT FESTIVAL

Sheer delight

By Lois Maskiell

Sidesault Festival kicked off with a roaring double bill on Wednesday the 8th of November. This experimental circus festival presented by Circus Oz is showcasing emerging and established circus artists in the wondrous Melba Speigeltent and features a range of independant artists from Melbourne and beyond. Casting Off by Australian troupe, A Good Catch and Unsuitable by Tumble Circus from Belfast certainly delivered the goods on the opening night.

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Casting Off commenced with three performers sitting under a table all the while deliberating how to start their own show. These candid clowns soon took their audience on a ride as absurd as it was touching. The dialogue was fresh, carrying the show along with popping originality. The acrobatics, fast-paced and true to the Australian circus tradition, were pleasingly raw and rough around the edges.

Performers Debra Batton, Sharon Gruenert and Spenser Inwood clearly have a bond that only years of training circus could provide. Debra’s one-liners, planned or improvised were goldmines of laughter. She dropped pearls of nonsensical wisdom, including forgetting what the meaning of life was on top of a three-chair stack. Gruenert threw firey tantrums that could outdo a toddler amidst her air-piercing acrobatics. Finally, the charming Spenser Inwood effortlessly executed an aerial cradle routine, throwing and catching Sharon while jazz scat-singing melodiously.

Casting Off was relaxed, personal and fantastically inappropriate. Not surprising to see these Circus Oz performers pushing their art to new places here in Melbourne.

The ambiance of the Melba Spiegeltent is like no other venue. It’s a space whose magic has been collecting like dust since it was made in Belgium in 1910. The second show on the bill, Unsuitable reflected the facets of this mirrored tent well with its revue-type show consisting of a series of individual acts.

Unsuitable by Tumble Circus premiered at Sidesault Festival, and to say it was welcomed warmly would be an understatement. This full-length show commenced with a short vignette of three mischevieous clowns who liked to kick each others’ butts to psychtrance.

Ken Fanning, Tina Segner and Angelique Ross demonstrated their talent in a series of individual and group acts. All our favourite apparatus took the stage: trapeze, tissue, hula hoops and even a group juggling act with all performers in spangled leotards, platforms and blonde wigs.

Highlights include Tina’s tissue routine performed in motorcycle helmet, Angelique’s poetic tightwire act that told the story of a trip on the metro and featured some edible props, and Ken’s clowning act that proves the art of buffooning is very much alive. He really had the audience in the palm of his hand, eliciting high-pitched cackles with ease.

Sharp, edgy and hilarious: Tumble Circus’s Unsuitable is guaranteed to keep you engaged and laughing.

Supported by the City of Yarra and presented by Circus Oz, Sidesault Festival runs from the 8th to the 18th and is not to be missed. For tickets and more information: http://www.circusoz.com/the-spiegeltent/shows-at-the-melba.html

Image by Rob Blackburn

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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

Melbourne Fringe 2016: SIRKUS CIRCUS

Variety is the spice of circus life

By Leeor Adar

Circus Oz is delivering some real treats as part of the Melbourne Fringe Festival this year. The Melba Circus Hub in Collingwood is featuring some excellent local and international circus and cabaret artists.

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Dale Hutton’s Sirkus Circus was a delight for all ages, featuring impressive independent circus, cabaret and contemporary vaudeville. The Melba Circus Hub filled with thrill-seekers of varying ages as we spent over an hour with our mouths gaping at the death-defying and often funny performances.

New Zealand’s Blingling Bros hosted our night with a series of laugh-out-loud mishaps interspersed throughout the astonishing performances.

Jess Love was a fantastic opener, as she flung and strung, and energetically twisted her body through her hoop act. Love was a perfect way to start this line-up with her professionalism and charm. The audience was fired up and whooping with claps and gasps.

As a Dale Hutton show, Sirkus Circus was a big tribute to the jugglers. Karl Laczko gave us a LED light show with his clubs that respond to movement, and Hazel Bock was an astonishing and unique wonder with her foot-juggling act. If you’ve never seen a flapper juggling a table, you’d have been in for a treat!

The international star of the night and DOCH alumni, Tony Pezzo, delivered his famous five-ring-juggling act. With colourful clothing and a striking, energetic presence, Pezzo commanded our attention and closed the night on a buzzing high.

Do yourself a favour and head on down to the Melba Circus Hub and catch yourself one of these Circus Oz treats by October 2. Tickets are available from the Fringe website: https://melbournefringe.com.au

Victorian Opera and Circus Oz Presents LAUGHTER AND TEARS

Brave ascent into arias and airy new ground

By Leeor Adar

It is a wonderful idea in theory to create an amalgamation of opera and circus in production. Both disciplines embody the drama of the human condition, whether through the astonishing highs of an operatic voice to the deep dive taken by the circus performer.

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Victorian Opera and the State Opera of South Australia merge here with Circus Oz to bring to life Ruggero Leoncavallo’s Pagliacci. The production begins in humour as one of our characters throws open the curtains and insists on joining the wonderful Orchestra Victoria under concertmaster Roger Jonsson. It’s a clever breakage of the fourth wall, and a nod at the fact we are watching a play within a play, which becomes of greater importance as we move towards Act II.

The dress rehearsal of a Commedia dell’Arte pantomime is slapstick in true tradition, with Circus Oz performers Kate Fryer, Geoffrey Dunstan, D J Garner and Luke Taylor as stage hands, essentially stealing the show from the main action of the dress rehearsal. The stage hands are so effortless in their expression, humour and movement that we as an audience implicitly trust them to flip their bodies and hang off ladders without batting an eye. Unfortunately, Act I is bordering on dull, and when the curtains closed at interval, it was difficult to fathom where Laughter and Tears would take us.

Act II is a very different turn from Act I, undoubtedly as we’ve moved on from the slapstick and now entered the Tears. Tonio, performed with brooding viciousness by the talented baritone James Clayton, is the prologue to the Tears, reminding us that the customs of Commedia are over, and we are now going to witness passion, blood and flesh in Act II.

Enter Pagliacci.

Disappointingly, the amalgamation of circus and opera does not work well here. There is one exception, and it is occurs when Nedda (soprano Elvira Fatykhova) describes the freedom of birds in nature as Geoffrey Dunstan leaps upon ropes, ever-escalating in height, inspiring awe and heightened pulse rates amongst the audience. This is the amalgamation I was seeking. It was the beauty of Fatykhova’s voice soaring as the body of the performer flung itself into careless abandon. It was breathtaking and brief. Circus Oz took a backseat to the drama of Pagliacci from here on, and it will be worthwhile to utilise their skill in more astonishing ways in future exercises.

It is wonderful to see the famous tenor aria, Vesti La Giubba, performed live by such a talented tenor as Rosario La Spina. As Canio (La Spina) breaks down during this performance, the heart simply stops. The warmth and pathos of his voice is heartbreaking. I was very moved, and in that moment Tears delivered. La Spina’s shaking rage and vulnerability prior to slaying his wife and her lover showcased La Spina’s marvellous talent as a performer.

To see the death-defying leap of bird-song, and the leap of faith taken by Victorian Opera and Circus Oz, you can see Laughter and Tears on Tuesday 16, and Thursday 18 of August at 7:30pm, at The Palais Theatre: http://www.victorianopera.com.au/what-s-on/season-2016/laughter-and-tears/

Image by Jeff Busby

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