What Are You Doing?

Have a safe and happy New Year, everyone!

I Won!

I won! I actually won! True, it’s a symbolic victory, but a win is a win and there’s still a prize! So… I win!

You see, the state of the stage at the moment can only be described as pathetic. It should be black, but it’s currently more of a whitish grey. Except for the parts that have been scrubbed raw and show bare wood. Aesthetically, it’s disheartening. But considering that the underside of the canvas is filthy and covered footprints, and there are paper petals littering the ground before the bleachers, you really can’t hope for the argument of attractiveness to count for very much.

Because we use so much paint throughout the show, the stage gets a good scrubbing every night and in the year and a half since it was last painted, it has been polished to a smooth and slippery finish. What’s worrisome about the stage in this state (for me more than anyone else, with the exception of A, though to a lesser degree) is that it becomes very unpredictable. As a result, there is one figure in my act that becomes dangerous for me, the musicians, and even the public.

It’s called a High Speed Spiral and involves pushing off the floor during a regular spiral. By pushing off the floor, I pick up a lot of speed very quickly and the circle becomes very big and is maintained at a pretty sharp angle. When the floor has good bite, no worries. When it’s slippery like it is now, the wheel can slide out from under itself at any moment and with no warning whatsoever. Because I’m going so fast, I can easily slide three meters. And depending where I am on stage when that happens, I can take out the musicians, or fall off the stage into the public.

I slid once (right before the stage was last painted) and it scared the Directors enough that they acted. I’d been warning them of the danger of sliding for ages (the worry then had been paint or water on stage) but they never took me seriously until they saw it happen. Fortunately, nothing serious happened that time.

But back to the story at hand.

Recently I’ve noticed that the stage slides in some places and not others. But most worrisome is the feeling that, during the High Speed Spiral, I’m actually fighting against the wheel to keep it in control. I’ve felt that it wants to slide out from under me, and it’s a scary feeling to try and maintain control over a huge object that is bigger and heavier than you are, and also traveling at high speed at a precarious angle.

So I spoke with the head technician to see if he would speak to the technical director about repainting the stage. We both laughed and agreed that the answer would probably be no. These days, the company doesn’t seem to want to invest another dime in this show. Let alone a hundred bucks on floor paint. That can wait for the new show.

Seeing as the title of this post announced victory, you’ve probably guessed that the answer was, in fact, yes. The floor will be painted in a week. But I can’t help but think that the thing that tipped the scale in the favour of immediate action was the extended extensions of the show in this city. Normally, the weekend is only two days long, but for the next set of prolongations (we’re already in the first set), we’ll only be doing three shows a week. That leaves just enough time for sanding, painting, and drying. Were it not for those few extra days, there’s no way they would have agreed to paint the stage. It would have been too much of a pain to set everything up for something as trivial as a paint job.

But in the end, none of that matters! In just one more week of shows, I’ll have a newly painted floor to scuff up! Hooray!

Rollin', Rollin', Rollin'...

Merry Christmas, Everyone!

I was having trouble finding the right holiday greeting when les 7 doigts de la main came to the rescue!

So if you celebrate it, Merry Christmas! And if you don't, may the holiday season bring you much good cheer!

Take it away, Fingers!

Drumroll Please...

The 2011 baby boom at the circus has come to a close with the arrival of little M on December 21st. And as predicted, it's a boy!

Congratulations to N and S!

A Call For Christmas

Christmas is just around the corner and as a Canadian, it doesn't feel like Christmas to me unless everything is covered in a blanket of white.

Well, my friend S has the right idea and has decided to play a game of chicken with the circus gods in order to get Christmas done right.

Circus artists of the world, let us all unite with this as our battle cry!

"No snow, no show."

And if you don't want any snow where you are, feel free to send it my way and everybody wins.

Merry Christmas!

Like A Boss

So It Is

Waiting in the pitch black for B to pass by so I could make my way into the wings, I turned to the bass player and asked him if he needed a Kleenex (the poor guy was sniffling up a storm). Suddenly I’m on my knees in immense pain, little green lights popping in and out of focus in front of me.

When I turned to the bass player he turned toward me too and damn near gouged my eye out. He later said it was just his pinkie finger, but his pinkie finger is as big as my index finger. I finished the rest of the show with one squinty, watery eye and, nearly 24 hours later, my eye still aches.

I guess mom was right. It really is all fun and games until somebody loses an eye.

Um… Thanks?

I was walking around the back of the tent to use the artists’ entrance before the show when this well dressed lady (who had no business being there, I might add) stops me and says with an approving nod: “Il a de la geule, votre chapiteau.”

Loosely translated, that means something along the lines of “Yer tent’s got chops.”

Good to know.

Overheard in the Kitchen

“Are there any more auditions this week?”

“Yes, there’s one tomorrow.”

“Is it going to be like the others, or is this one actually worth going to?”

Ouch...

The Green Eyed Monster

I am many things, and I like to believe that one of those things is honest. Sometimes I don’t quite get there, but if there’s any hope of me getting through the closing days of this show’s life, I need to be honest with myself.

I think I’ve been over the feelings of being cast aside. It’s hard not to feel that way when the musicians, sure of where their paycheques will be coming from for the next couple of years, smile brightly as though nothing is amiss. Meanwhile, the rest of us gnaw off our fingernails while the parade of new comers audition. The Associates, who for so long touted us as being some kind of family, no longer seem to be able to spare us a second glance.

All of that hurts. All of that, and many other complicated, bitter feelings and past slights have added up to a knot of unhappiness in my heart. As much as I know I need to move on from here, I can’t help but want to hold on. I recognize that it’s because staying here would be easy and safe. But I would be miserable. Fine. I can reconcile that. But then there’s the jealousy…

I’ve had friends audition for the next show. Other acquaintances have been tapped as well. One friend who auditioned has hinted how his girlfriend is free and amazing and maybe there’s a spot for her too? The company seems open to that possibility. His girlfriend is also a friend (and she really is amazing), and it makes me so angry to think that a person can get a job, without even auditioning, because their significant other pulled some strings.

I know her career path. I think she’s worked almost non-stop since we graduated. It took me two years to find work after finishing circus school and I am terrified to go through that again. It makes me angry that it seems so easy for some people. I doubt my worth, I gnash my teeth, and yes, I am jealous.

I’m not proud of it. I’m really not. Of course I want the best for my friends but it just feels like that final nail in the coffin to think that a friend is replacing you. I know it should probably be the opposite. That I should feel relieved that someone I know and love will carry on in my place. But the faceless stranger hurts less. I know it isn’t the case at all, but it feels kind of like a betrayal. What kind of friend takes your job?

The more I talk with the others and the more whispered conversations I happen to overhear, the more I realize that I’m not the only one feeling this way. It’s a small comfort, but it’s comfort none the less. At the very least, I know I’m not over exaggerating and that absolutely everyone here, even a lot of the people who will be staying on, find this entire process disrespectful, painful and unpleasant.

I’m afraid I can’t write anymore. I have another audition to sit through…

Then Came the Whispers

As you can no doubt imagine, all the auditions plus talk of the new show has lead to all kinds of speculation. As far as I know, the next show my company puts on is supposed to be some kind of homage to themselves and their 30 year history. What’s interesting about this is that they did a ‘best of’ two shows ago. What’s even more interesting is a certain theory going around…

One of my fellow acrobats has stated that changing out such a large portion of the troupe isn’t just about needing different acts for the show. Word on the street is that the director is essentially out of ideas and needs to steal some from some outside source. He needs new people because clearly, he’s sapped all the current people of any ideas they could possibly have. So goes the theory.

Now, I know that the director has a short memory when it comes to who came up with what. And I know from experience that in the end, he tends to take more credit than is due, sometimes forgetting where some of the more brilliant ideas actually come from (the lighting designer, for example). But as much resentment as I’m feeling these days, I couldn’t help but find the suggestion that he needed to hire new people to steal their ideas a little harsh.

Then I had a chat with one of the musicians.

He’s been around for quite some time and his assessment of the whole thing is that the director is treading water somewhere in the middle of the ocean. Apparently the director keeps saying how this new show is really going to rock it (this one, it would seem, did not), but then keeps dusting off all this old crap from past shows. I know the musicians aren’t too impressed at the moment because it’s a lot of rehashing of ‘object music’, where they play tin pots and so forth. Other than that and actually re-doing old acts, he seems to have nothing.

Which is why our show may be prolonged until December 2012 instead of June 2012. To quote the director: “Yeah it would be great, and of course it suits me better.”

UPDATE: Yeah, you know the whole 'different acts' theory? They just auditioned a rebound juggler and I believe he has been hired. There is a rebound juggling act in the current show. So much for that theory.

Overheard On-stage

“It’s huge!”

“It’s a nuclear butterfly!”

Respect

A friend of mine was asked to audition for this company and declined. I am very proud of him for saying no.

The reason I am proud of him comes from a conversation I had with the director not too long ago. In a nutshell, he was going on and on about how wonderful my friend is (which is true) and said how he would like for him to audition. The director then added that he had absolutely no intention of hiring my friend as there was no need for a rope act in the new show, but you know, maybe for the next show… Three or four years from now.

Considering the director forgot my name after I’ve worked with him for four years, I’m not sure that in three years he’ll remember ever having seen my friend, let alone be holding a place for him in a show that’s barely even a concept.

I know the director thinks his company is a big deal, but it is arrogant beyond words and completely disrespectful to a hard working artist to waste their time having them audition for something when the person conducting the audition knows full well there is no job possibility waiting.

It costs money to get to an audition. I should know. I flew to France from Canada to audition for this company. In the end, I had to buy a second plane ticket because the first airline wouldn’t accept my wheel. But at least I got hired. My friend? You don’t waste someone’s time and money like that. You don’t give someone false hope like that. And knowing how this company works, I’m amazed they even bothered mentioning that they had no intention of hiring him.

The longer I’m here, the more I see the lack of respect this company has toward its employees. In the beginning, there were some things that I thought were just quirks. But the longer I’ve been here, the more I see how messed up things are here and how in any other work environment, none of this shit would fly.

I don’t doubt that there are other companies that are much worse. Really, the overall conditions are quite good here. If you were to look in for a short period you might even think it’s perfect. But on a human level, there’s something seriously wrong lurking just below the surface. No matter how happy and shiny people look, private conversations reveal otherwise. And in the end, I think a lot of it comes down to respect. And if you aren’t one of the Associates, you’re probably not going to see a lot it.

Babies!

In my circus’ history, 2011 will be known for its baby boom. Yes, this Year of the Baby will have seen six babies born to the troupe. Six! With the artists, technicians, musicians and other assorted troupe folk, we’re maybe twenty people. That’s a lot of babies all at once for such a small group, especially when some people are past the baby bearing stage. Okay, there was one set of twins… but still.

Six babies!

That’s a lot of babies.

And now that I think of it, they alternated girl/boy. Even the twins. There’s one baby left to round out the six, and based on the trend that I only just noticed, I predict it will be a boy.

Bring on number six!

Don't Try This at Home

Or, you know, do.


Aerialist Seanna Sharpe 285 Feet Over The Williamsburg Bridge from Ronen V on Vimeo.

The aftermath is my favourite...

A Family Affair

The other night in the kitchen I was chatting with L, the woman who used to do the trampoline and hand-to-hand acts before she went on maternity leave. She gave birth a couple of months ago and I asked her if she planned on coming back on the show. The finer details are her own business but she did said one thing that really hit me hard:

“[The company] thinks it would just be work for them. They don’t care about this show anymore. They’re already on the new show.”

I found that painful to hear and I know it must be worse for L. She did two shows with this company and frankly, did more than any other acrobat in either show. She said that the director has essentially decided for her that she will not be getting her job in the show back. Heck, when she was still trying to get pregnant he told it would be easier if she just quit outright so they could replace her more easily. This was after three weeks of trying to find a replacement.

They go on and on about how they’re a family, but when you get down to it, they’re as much about the almighty dollar as any other company, circus or otherwise. And I suppose I should just be okay with that. Business is business, right? But when you’re hired for your humanity and sensibility, and then get thrown out with the dishwater because you’ve served your purpose, or because it’s easier not to have to deal with you anymore, that hurts.

I swear, for all their high-mindedness and flowery talk, they sure know how to make a person feel like shit.

I guess when they spoke of family I missed the dysfunctional part hidden in the fine print.

Let The Drummer Kick It

There’s been a veritable parade of replacements on this show (I’m waiting for the end of the tour to do the final tally) and the next one will be coming sooner than expected.

It was already planned that the drummer would miss the last week of shows in Lyon as he’s anticipating the birth of his first child. But now he’ll be leaving at the beginning of the month for an urgent, though not serious operation.

I know this show is about art, and that reproduction is a big theme in all that, but at this rate, less than half the troupe will have performed in every show of the run.

We’re keeping our fingers crossed for you, N.

Oh My...

The more auditions the circus holds, the more I question whether or not it’s normal to ask people to assist in the job hiring process of those who will be replacing them. It seems a little cruel, doesn’t it?

Anyway, today I got to sit through some pretty… special… auditions. And this isn’t just me being bitter and trying to make myself feel better. Oh no. Every single person in that tent, be it technician, acrobat, musician or kitchen staff, had a look of sheer WTF on their face when all was said and done. Most people were left speechless. Eyes were wide, cheeks were puffed out, and long, drawn out sighs could be heard from every direction.

The first guy did some kind of acrobatic monologue. It started with a lot of banging in the wings and was followed by some stylized falling down. Then there was the monologue. The text itself might have been good, but I couldn’t always make out what the guy was saying and he had a kind of one note delivery. The entire piece culminated with him stripping down to a Jesus t-shirt and walking into the audience to give someone a hug.

I have no idea what I was supposed to make of that.

Then came his ‘handstand’ number. It was maybe two minutes long, had no music, nothing to tie any of the movements together, and from what I could tell, no concept. There were one or two respectable figures, but he didn’t hold them very well and I wanted to scream at him to straighten his legs and point his damn toes.

Did I mention he’s the director’s nephew?

Ha! And the night before his audition he had the gall to sit in the kitchen with us after the show and decimate our work. Seriously, after a rant like that, to come to an audition so ill prepared and with so little substance… I’ve rarely seen such arrogance.

The second person to audition was a girl whom I would describe as a clown/manipulator of objects. Now she was well prepared. Everything from her costumes to her props were put together with obvious care and she had clearly put a lot of thought into what she was sharing with us.

The only thing is, I kind of felt like I was watching the end of year presentation of a clown student. She had an incredible amount of material to show us. Each act (there were many) had to have been at least eight minutes long. And I think that it if she were to trim it all down by about half, she might be onto something good. I feel that with some direction and further character development, she could really have something. But for now, it still seemed a bit lacking in precision and unfortunately, technique. Ripe with potential though she may be, she just doesn’t seem ready to be on such a big stage.

And this one goes to everyone who has auditioned so far: please stop spending so much time with your back to the audience. Also, on the occasions where you are facing the audience, could you perhaps look at us rather than the floor? Thank you.

It brings me great pain to say this, but so far, cyr wheel guy is the one to beat.

Loss

A dark cloud has fallen over the circus.

A week ago, a past member of the troupe and the ex-partner of one of the current staff suffered a brain aneurysm. The outcome didn’t look good and after a week of deliberation they decided it was time to let him go. Last night they unplugged the machines helping him to breathe and this morning he passed away.

The generational divide among the troupe is quite apparent today. Those who have been around for a decade or more deeply feel the loss. The rest of us can only drift uncomfortably through their private pain. We did not know him and those who did seem to have created their own impenetrable circle of grieving.

Individual members of the troupe have lost a loved one over the course of the tour, myself included. But for half the troupe to suddenly be in mourning is a strange and unsettling experience. All I can do today is keep my distance and let their wounds run clean.

And yet, even though I may not be a part of the collective grieving, I can’t help but find myself looking out at the dark grey sky and reflect on my own losses. Like it or not, a circus troupe is a living, breathing thing. Sometimes your feelings belong to more than just yourself, and sometimes, you take on more than what your own heart is bearing.

The candle has been lit, now all we can do is pay our respects.

History

I’m often asked is if there’s a history of circus in my family. To my knowledge the answer is no. I am, however, of Eastern European decent on both sides, so I can’t help but hope that if you were to look hard enough, there might just be some folks hanging from my family tree by their toes.

Though I may not have any relatives of the sawdust kicking variety, my family does have one claim to fame in the way of circus connections.

Back in the day, my dad’s side of the family used to hang out with the Wallendas.

I’m not too clear on the details other than that they stayed at my grandfather’s hotel back in the 50s or 60s. My family even went down to visit them down in Sarasota. Family lore has it that my grandfather invested in the Wallendas and then lost out big for some reason or other. Come to think of it, that might explain my grandfather’s dislike of my chosen career path…

All that’s left of that connection now are some signed photographs, the most wonderful of which is this one:

Is that the best family heirloom ever or what?

Tit for Tat

The other night, right before the bazooka number, I was about 10 cm away from accidentally kicking the drummer in the nuts.

The next night, just before we went on stage, he 'accidentally' elbowed me in the boob.

Justice, or a pre-emptive strike?

The battle goes on…

Words of Wisdom

The night of a particularly bad show, I found myself repeating the words a slackrope walker friend of mine once shared with me. Those words had been passed on to her by a glamorous Parisian cabaret star.

I am now going to share these words with you, but for the full benefit, be sure to say it in a Parisian accent with the kind of ennui that only the French can muster…

Ready?

“Sometimes, is shit.”

Take Two

As it turns out, the Great Bass Disaster wasn’t even the result of a faulty bass. The bassist thought there was a problem with his instrument (he’s been having trouble with one of the chords coming unsoldered) but when he grabbed his other bass and it didn’t work either, he realized the problem originated in the sound booth. While very frustrating for him, we managed to have a good laugh about it after the show.

The following night, I told him that should it ever happen again, he’s to come on stage with the double bass instead of the electric bass and just play the bass line on that. It may not be as loud, but at least the instrument is so damn big that maybe the other musicians will see him and not get so lost. Before the show he gave it a try. It was the stupidest sounding thing you’ve ever heard.

Right before I went onstage, he came up to me and said he decided that, when it was time for my act, he was going to skip the electric bass altogether and just come out directly with the double bass.

Ha ha! That’s a good one!

The number starts, I’m doing my thing, and then I hear it. And of course, by hear it, I mean don’t hear it. Once again, there is no bass.

The good news is the other musicians are now veterans when it comes to suddenly missing bass players and actually manage to keep it together. Even better, the bassist manages to make it back in time for our big dramatic moment. We say more with one look than most people ever manage and, laughing, I carry on with my act.

But I must admit, when I have a moment later on during the show to pull him aside, my tone is stern.

Where the hell was the double bass? That was a golden opportunity! True, it probably would have ‘ruined the show’, but there are some things that are bigger than the show! And a gag that is hilarious both visually and aurally, though admittedly and inside joke between only two people on stage, but coincides with an event whose timing makes the joke even funnier, again, to only two of the people present… I mean… come on! What are the odds?

I tell ya, if there’s a screw up with the bass for a third night running and I don’t see a big ass double bass come to the rescue, I will be most put out.

The Glue

A funny thing happened during my number the other night... It kind of fell apart.

Already, the cards were stacked against me. We were coming back from the weekend, and for once, I had actually skipped town. The train ride in from Paris seemed so strange on a show day and I must say, I was not feeling it. Fortunately (unfortunately?), this seemed to be the case for just about everyone.

Now I’ve done shows where my wheel basically did the act without much help from me. And I think that’s probably what would have happened were it not for the bass. And by bass, I mean lack thereof.

The music for my act is pretty rock and roll and has a killer bass line. It normally does, anyway. I’m not entirely sure what happened, but from pretty much the beginning of my act, the bass, as well as the man playing it, disappeared. Now you would think that one missing musician, while noticeable and unfortunate, wouldn’t be completely disastrous. But my music soon went from sounding a little off, to no longer really sounding like music…

The piano soon turned to mush, the sax didn’t seem entirely sure whether or not it should play at all and so cut in and out half-heartedly, the guitarist seemed to be lost without the bass player by his side, and I’m pretty sure the drummer was just trying to hold everything together.

It is a blessing to perform with musicians playing live by your side. But man, when things go awry, do you ever feel it. Already, I was struggling to get through my act. There is one moment where both the guitarist and the bass player step forward and we have a nice, dramatic little moment. I was relying on that moment to give me that little push to make it through the number. So when I turned toward them and saw that the bassist was still nowhere to be found and the guitarist was 80 billion kilometres away because he either forgot or didn’t feel like stepping forward for our exchange, I felt completely and utterly alone. My heart sank and I continued to limp my way through my act.

Later on, one of the technicians could be heard saying (in reference to my act) that the bass is a pretty damn good thing to have, come to think of it. And you know what? I had the same reflection while on stage. And that was well before things really started to get awkward. Without that solid base (sorry), everything just kind of ripped apart at the seams. I’ve always relied quite a lot on the bass player as a friend for moral support, but that was the night I learned that when it comes to my act, he’s kind of the glue.

One Foot In, One Foot Out

It seems like only yesterday that I was heading to France to audition for my company. I was nervous, of course, but also very excited. I felt I had a sea of possibility before me and that for once, I might actually get to set sail on it. I was on top of the world.

It never occurred to me how the artists on the show that was running at the time, the ones whose jobs I was vying for, might be feeling. It never even entered my head that my happiness in getting a job relied on someone else losing theirs.

Well it’s occurred to me now because I’m the one in the process of being replaced. This show is coming to an end and our time here in Lyon will be peppered with auditions. And frankly, I feel like garbage.

Picture it: I step into the chapiteau to train this morning and run into director, his arms around the shoulders of today’s hopeful candidate. The director, whom I’ve worked with for four years, gets my name wrong. When I correct him, he doesn’t even notice. The guy auditioning? He does cyr wheel*…

The show isn’t even over yet and already the director can’t be bothered to get my name right and on top of it I may well be replaced by someone who does freaking cyr wheel. Cyr wheel! Talk about insult to injury.

Now you may be thinking, ‘You’re not being replaced by a cyr wheel, it’s an entirely new show!’ The only thing is, the new show will basically be a ‘best of’ rehashing of the past 30 years of this company’s history. So it kind of does feel like the German wheel act is being switched out for a cyr wheel act…

I haven’t been happy here for a while now, and the more time passes the more frustrated and angry I become. But for within the past 24 hours I’ve finally reached a point where the idea of all this ending soon is something of a relief. There are a lot of problems with this company, most of which I’ve never written about. The idea of finding myself unemployed remains very scary, but not nearly as scary as the toll working here has had on my mental health.

They say that all good things come to an end. Thank god the not-so-good things come to an end too.



* Why the indignation at cyr wheel? When you specialize in German wheel, it can’t really be helped.

Nothing to See Here….

You know that dream that fictional characters always seem to have where they end up either naked or in their skivvies in front of the entire school/workplace? Well ladies and gentlemen, the other night, I came very close to achieving a dream…

It was the scene before the bazooka, in other words, my shining moment as a clown. Aside from the two boys setting up for the bazooka number, there’s no one else on stage and really, I’m there to take the focus so that the set up can occur in a way that is seamless and entertaining. In other words, all eyes are on me.

But right from the get go, I could tell something was off. While trapped beneath the tarp, I could feel that something wasn’t quite right with my pants. Not really having time to investigate further, I started the sketch. That’s when I figured out what was up with my pants. By this time, I’m sure that you’ve figured it out, too.

Now these pants tend to come a bit unzipped, but we added a snap and that tends to take care of that. But tonight, the snap came undone too, and that zipper kept falling. It should be noted that the zipper is, thank goodness, on the side of my leg, not front and centre. It is, however, really long and unzips to mid-way down my thigh.

So I’m rolling around all over the place (as I tend to do in this moment), the whole time hoping that my very voluminous top doesn’t flip up as I’m flipping over. But as you surely know, the rules of the Universe dictate that in such moments, the side of my body that the zipper is on is the side that will most often be facing the public.

And so, after a few minutes of uncharacteristically reserved flailing, the sketch is just about done! Nothing left to do but look at the audience, look at the guys and retreat. Yes! And it’s as I make my exit that I realize that while I was trying to shield the audience from my hindquarters, my top had also come undone and the ladies were getting a little stage time of their own.

Oops.

INTERNET!

Ah, sweet interweb.... I have missed you so.

I'm in Paris for the (circus) weekend and in the past few weeks I've written up a storm! So while my access to internet is limited, there are plenty of posts on deck.

A toute!

And Then You Become Great

Dreaming of Summer

A nice recap of the Montreal Completement Cirque Festival 2011. Can't wait for 2012!

Impro Cirque is Back in Town!

This post, like every other post from the last month or so, was written quite some time ago when I actually had internet access. But being the fan of Impro Cirque that I am, I felt it absolutely necessary that the circus going public be aware that some Impro Cirque action is coming their way.

I'm good like that.

So if you're in Montreal on the 19th of November, or feel like that might be a good time for a road trip, be sure to find your way to the Old Port for a circus experience unlike any other!

Ho Hum

While having breakfast one morning, I heard someone shouting. I looked out my window to see a man scaling a giant yellow tent. I merely blinked and went back to having breakfast.

I’m sure at some point in my life I would have found that at least mildly interesting, if not crazy.

What the hell happened to me?

I remember when I started circus school oh so many years ago, I spent most of the day with my jaw dangling somewhere near my navel. I was so impressed by everyone around me, and the incredible feats happening in every corner. There was this one time during a trampoline class where my teacher kept having to call me for my turn because I couldn’t stop watching some girl on cloud swing. Didn’t my teacher understand? There was a girl swinging on a rope! Attached to the ceiling! Swinging! I mean… holy crap!

It went on like that for a while until I finally realized that I was one of those really awesome people too. Eventually, I became as jaded as everyone else. What? Only a double back? Just a single twist? Whatever…

Seriously, what the hell happened to me?

The truth is, I know. And I should have known that it would happen as soon as I stepped foot into this incredible world of circus. At first I was beyond amazed, then I had that arrogance that only a student new to a field can have, and bit by bit, as that amazement was replaced by experience, I got used to it.

I’m being a little hard on myself though. I’m not as jaded as all that. I still love to discover a new space (be it training or performance), and knowing the work that goes into mastering a discipline and creating an act, I still appreciate the work that I see. A lot of the time, I’m even impressed by it. I said something about being less jaded, didn’t I? Oops…

I’m less impressed by grandeur and more impressed by cleverness. I suppose I’ve gone from not being able to see the safety lines, to seeing only the safety lines, to seeing beyond the safety lines, if that makes any sense.

I’ve often heard that going to the circus, with its awe and wonder, turns us all back into children, if only for a moment. And as much as I love having a deeper understanding of the world circus and being able to appreciate it on a different level than when I knew nothing at all about the art, I do miss that feeling.

Perhaps it's time to move on to something new.

From Street Performer to Billionaire

An interesting interview with Cirque du Soleil founder Guy Laliberté conducted by Barbara Walters. I'm not sure there are any new insights into the life and times of this circus legend, but it's still an entertaining enough video to watch with lots of great footage from various Cirque du Soleil shows.

Enjoy!

So I Says to the Guy I Says...

Did you hear the one about the circus manager who made the clowns undress in his office?

He likes comic strips.

Ba dum bum! Ching!

Happy Halloween!

Um... I think I'll go with treat, thanks.

By Argentinian artist Mariano Villalba

A Brief History of Art

Will Flip for Food

I'm Here Now

Only replace that pencil and paper with an apparatus or object of some kind. I know you know what I'm talking about.

Your Move, Globetrotters

Jonglage avec les pieds et les mains - Insolite

I believe the words you are looking for are 'hot' and 'damn'.

Bitterness and Writer's Block

At the moment, I can't write anything for this blog without feeling like a horrible person. I want to write about the experiences I've had on tour recently, but to be perfectly honest, I'm in a bit of a dark and twisty place these days and everything seems tinged with bitterness. Even posts that aren't even about my circus somehow end up about my circus and the angry feelings that have been surfacing lately. I suppose if I went into great detail as to why I feel the way I do, the posts would probably make sense and maybe even seem justified. But they would likely be very long and impossible to read.

Perhaps it's normal to feel this way after three years on the same tour. And I've certainly had to deal with more than my share of drama. Seriously, you can't even imagine. So until I figure out how to lessen these bitter and resentful feelings, I'm afraid this blog may become a little light in written content and focus a bit more on videos and fun pictures.

But if you're an artist and have any advice on how to work through difficult times in a company, I would really love to hear what you have to say. In the meantime, I guess I'll be heading down this road alone.

Enjoy the pics and videos.

Odysséo

Like circus? Like horses? Then you'll be happy to know that the team behind Cavalia has just launched its second show, Odysséo.
 
With 55 artists and 9 horses, Odysséo is a much larger undertaking than Cavalia. How much larger? The tent is for Odysséo is twice as large as that of Cavalia. The ring alone is 2500 square metres!

If you'd like to catch a glimpse of the new creation, Radio-Canada has the link to the news story about the premiere up on its website for your viewing pleasure. The segment is presented in French, but even if you don't speak the language, there are some clips from the show.

Enjoy!

Going Dark

Hey folks!

I'm afraid the blog will be taking a bit of a break for the next little while. I'm going to be backpacking for the next couple of weeks, and once the tour resumes, I'm pretty sure we will be without internet. I'm told we're in a nature park a good twenty minutes by car from the nearest public transport stop. I'm going to guess there won't be a cafe nearby whose internet I can mooch. And as it's a long stint with no end in sight (extensions have yet to be confirmed), who knows when I'll be able to share more adventures.

But never fear, we will be back!

Until next time...

UPDATE: I may have some time this evening to get some posts together (I have maybe half a dozen drafts just waiting to be posted), so hopefully I can schedule a couple of posts for the next couple of weeks. But once we hit Lyon, there's no telling when I'll be able to post again as the chances of having internet there will be slim to none.

I Flip for Fashion

What? Isn't that how everyone gets dressed in the morning?

I Think I See a Pattern

Either the cast of Mystere couldn't let itself be outdone by the cast of Quidam (and frankly, I think they were), or Cirque du Soleil has come up with a very clever and free way to publicize the its new show, Micheal Jackson The Immortal World Tour.

 Be it a reply, or a company wide challenge, here is Mystere's Micheal Jackson flash mob video!

Worst Pep Talk Ever

On the way to my training the other day I ran into my old German wheel coach. I was, of course, met with the usual questions: "What are you up to? Where are you working? What are your projects?" Harmless though they may seem, when these questions don't come with flashy answers (in other words, confirmation of work), it always feels like when your parents or grandparents start pestering you about why you aren't married and when exactly you plan on changing that. Because finding work, like finding a partner and getting hitched, is just that easy.

But I fear I'm getting a little off topic.

For the time being, I still have work, so I was able to produce the right kind of answers. No, my troubles began when I mentioned that I've started static trapeze.

My coach: "Oh, so you're giving up wheel?"

Me: "Of course not! I don't think I could ever just give up wheel."

My coach: "Oh... because most people just quit since there's no work in it."

Far from going the way I thought my trapeze news would go, it quickly became the kind of conversation where your family or friends think you're announcing that you broke up with your partner, start confessing how much they hated the guy, and then he walks into the room to reveal that you're actually announcing your upcoming nuptials... oops.

I'm sure that I'm overreacting to a certain degree. I've got a lot going on and have been having a hard time keeping things in perspective. But I must admit, there's definitely some panic when I think about finding work after my contract is up, and considering how much more slowly my trapeze work is going than I had hoped, I've had some pretty ferocious moments of doubt about the whole endeavour. And knowing how hard it is to find work with wheel, and having struggled for two years to do so in the past, being told by my coach that most people just quit the discipline he taught me doesn't exactly fill me with hope.

I've said it before and I'll say it again, quel vie de cirque!

The Immortal

In honour of the premiere of Micheal Jackson The Immortal World Tour by Cirque du Soleil (held in Montreal last night), the cast and crew of Quidam organized a little Micheal Jackson flash mob! Huge props to project manager Meaghan Wegg. I never thought I'd see the classic characters of Quidam (Zoé, Target, John, Boum Boum...) busting a move to Micheal Jackson. Enjoy!

Roadcase for the Win!

Les Journées de la Culture 2011

Holy smokes! How could I forget this?

Ladies and gents, if you're in Montreal this weekend, or anywhere in the province of Quebec for that matter, you need to get your butt into town for the 15th anniversary of Les Journées de la culture! It runs from, um, yesterday, until tomorrow!

What is Les Journées de la culture, exactly? Just what the name suggests. Three days of committed to providing greater access to art and culture to all! There are numerous free activities so that citizens can explore the hidden side of art and culture. There are workshops, demonstrations, guided tours and performances.

So says their website:

"Long considered to be the most important movement for the democratization of culture in North America, the concept of the Journées de la culture was used as inspiration and today extends throughout Canada under the name the Culture Days which will hold its 2nd edition with the same dates as the Journées de la culture."

How awesome is that? Go Quebec!

So if you're looking for something fun to do this weekend, look no further. I know that Cirque du Soleil always participates, and the National Circus School of Montreal opens its doors to the public for tours, and performances by this year's third year students. Eloize usually participates as well, often by offering free 'classes'.

The Journées de la culture website provides a nifty search engine for finding activities based on your interests.

Now get out there and access yourself some art and culture!

By the way, these really awesome images are from Journées de la culture 2008, but they are my all time favourites (I actually have the viking poster at home) and I just had to dig them up so that more people could experience their awesomeness.

Career 2.0

After a summer of training, secrets, and a post or two out of left field, it's time I share the news I've been keeping under my hat and launch this next phase of my career! For those who have followed this blog for a while, or who have at least rummaged through the archives, you'll know that as a circus artist I specialize in German wheel. And while wheel will always be my first love, there's a new apparatus in town. Ladies and gentleman, this acrobat has gone aerial and is now ready to kick some ass on trapeze!

Like I said in this post, that may not be exciting news for some. But you need to understand that when I started circus school, it was as an aerialist. Only after two months, it was clear that tissu was not for me. By some very gracious act on the part of the circus gods, German wheel rolled into my life. But from that point on, the circus school made it pretty clear that I would never find my way onto an aerial apparatus again.

Seriously.

As such, I developed quite a complex about the whole thing. Which is doubly sad if you take into account that my dream when beginning circus was to be an aerialist. And so, close to a decade after being told that I would never achieve this and best stick to the floor like a good little acrobat, I've taken hold of my dream once more and spent the summer transforming myself into a bad ass trapezist.

And if I may say so, things have gotten off to a pretty good start!

I should probably clarify what I meant by trapeze, considering there are so many different variations. Seeing as wheel takes up so much space, I wanted a discipline that takes up as little space as possible so that I can work in as wide a variety of places as possible. As such, I chose static (or fixed) trapeze.

Whatever preconceptions you may have about static trapeze, you can leave at the door. I'm not a bendy girl, and dainty was never my thing. My goal is transform this discipline that is so often about acts of flexibility, pretty poses, and a soft touch into something dynamic, acrobatic and with a little more guts.

I'm quite pleased with the level of technical skills I managed to master in two and a half months, and even more pleased that I no longer look like a mountain troll when trying to move on the damn thing. I still have a long way to go before my act is ready to show to an audience, but I think it's impressive that I even have an act after two and a half months!

Amazingly, the one thing I've had the most difficulty with is considering myself an aerialist. I still can't seem to refer to myself as such. I guess I still feel a little bit like a fraud. But this summer, I had the privilege of training at the best trapeze studio in Montreal (and possibly the world). I was even added to their secret Facebook group! If that doesn't qualify my as a real deal aerialist and genuine trapezist, I don't know what does!

My identity as an artist is changing, and quite soon the contract with the company I have been working with for almost four years will be coming to an end. In a nutshell, it feels like the little circus tent I've been building in my heart these past few years is about to come tumbling down. But you know what? Writing this post and announcing this change has lifted a lot of the panic I've been feeling. And for the first time, I actually feel a little excited about the new things to come.

Thwack!

Oh, I do loves me some quality skill clowning action! I hope you enjoy it too!

My Summer of Training and a New Chapter as an Artist

This summer has been very different from pretty much every summer since I graduated from circus school. For the most part, all I did was train, and train very hard at that. But... not on German wheel. I did a bit of that, but I think most people would be a bit scandalized to learn how little wheel I did in three months. Especially since when I head back to work, wheel is what I'll be doing.

Ah, work. I leave tonight for France, over a week before I actually resume the tour. Once again, France was slow on the uptake and my new carte de séjour was not ready before I left the country in the spring. Only this time, I escaped being held hostage and managed to get a new temporary visa. It was a small victory as I still had to change my flight dates in order to get back into the country before bad things happen. But that is all beside the point.

Training.

I head back to France a different artist.

For a wide variety of reasons, I have been sitting on this news for months. Since the end of April, to be exact. I know that for most people, this news that I find so exciting will likely be met with just a shrug. But for me it's a big deal. I was hoping to unveil my news in conjunction with some other big news, but that fell through and I then I could never seem to find the right moment to make my announcement.

And now this post is getting a little long and I still haven't said anything. What I really wanted to share are the following three photos. For me, they represent my summer projects and the long, long commute to the training studio every day. So I guess I'll sit on my news a moment longer, so that I can give it its own post. And one that isn't so linked to my feelings of leaving home yet again.

In the meantime, here is my summer as represented by the shabby little garden at the Dorval bus terminal.

July

August

 

September

I think that sums it up nicely, don't you?

Cookie Jar Menagerie

By sheer coincidence, after stumbling upon the adorable caravan cookies, I seem to have happened upon the menagerie of the cookie circus! Will chance lead me to the performers of the cookie world? Here's hoping!

Found on Epicute

Caravan Cookies

The ultimate dessert while on tour!

From Bake at 350

More Iris

Ah yes, another post about Cirque du Soleil's Iris. I swear, I have no special interest in the show, I just happen to have a number of friends performing in it so these little clips do find their way to me quite frequently. I can't help but post them! And if you're anything like me, there's little chance of heading to L.A. in the near future (or Vegas for that matter) so I rather like to see these clips and to get an idea of what these far away permanent shows are like.

That being said, here is an excerpt from Iris that aired on the finale of America's Got Talent 2011.

Did anyone else immediately think of Quidam when the faceless character entered in the beginning, or was it just me?

Raising the Bar

The following video shows the evolution of the uneven parallel bars in women's gymnastics from the 1950s to around 2005. It is very, very cool. It is absolutely amazing to see how much the sport has evolved in the last 60 years! I can't imagine how incredibly unpleasant it must have been to learn all the wraps: aside from repeatedly landing on your hips with great force, originally, women's uneven bars were performed on the same bars the men used. If ever you've been on a really old set of parallel bars, you'll know that they're not so much round as a slightly pointed ovals. Not to mention made of a very hard wood. Ouch. When my former head coach retired from gymnastics, some of his gymnasts from the 70s were talking about learning wraps and the horrible bruises they would receive. They called them 'strawberries'...

Anyway, impressive as uneven bars is now, I must admit, I really love the old school style. I think bars became most interesting when the distance  between the high and low was increased enough to allow for more release moves, but were still close enough together for wraps.

I know that the gymnastics world will never return to that style of bars, but I would love to see someone transform it into a circus act! I know it can be difficult for an audience to look at what is so obviously a gymnastics apparatus and accept it as a circus discipline, but if the high bar act in Corteo has taught us anything, it's that such an apparatus can be transformed into something super badass. I, of course, have no intention of pioneering this. I have quite enough bruises to be getting along with, thank you very much.

And so, without further ado, the evolution of women's uneven parallel bars!

I only just noticed that there's an updated version of this video! The maker seems to think it's better, but the styles of the clips used are quite different and the content varies enough that both are worth watching. Besides, who doesn't want more old school uneven bars in their life?

You Call That a Carabiner?

THIS is a carabiner!

The Gap

I came upon this quote today quite by accident. It's a good thing I did, though, as these are words I very much needed to hear. I won't explain why just yet, but you can bet that all will be revealed sometime in the future. In the meantime, I hope you can take as much away from this as I have. All emphasis is my own.

"Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through."   - Ira Glass

Now That's an Act!

Ta-daa!

Paul Vachon, the Noble Clown

A trailblazer in the Quebec circus community, Paul Vachon passed away from cancer of the esophagus in in the wee hours of the morning on Saturday, August 27th.

I did not know him personally, though I did have the opportunity to meet him at Remp’Arts, a three day international conference on the art of clown, where I was lucky enough to perform. When I think of Paul Vachon, I immediately think of dwarfs, clowns, cupboards, and a cramped room in Quebec City. It's probably best that you don't ask...

The following is a link to an article (in French) from cyberpresse.ca regarding the career and passing of Paul Vachon. Let's all take a moment to pay tribute to this important figure in Quebecois circus history.

The Passing of Paul Vachon

From the press statement released by En Piste:

"It is with great sadness that we learned of the death of our friend and colleague Paul Vachon, who passed away last Saturday night.

Paul Vachon was part of the artistic community since 1970 when he founded the company called Chatouille, Cézard et Chocolat with Rodrigue Tremblay. As a clown, acrobat, actor, musician and director for 40 years, Paul Vachon greatly contributed to the development of Circus Arts and Clowning in Quebec. As chief executive and artistic director of the Theatre L’Aubergine de la Macédoine, a company he founded in 1974, he led the creation of more than fifty productions (principally aimed at young audiences) which mixed Theatre, Circus Arts and Clowning. His productions have been presented in Quebec, Canada, the U.S., France, Spain and Mexico.

He also participated in founding the National Circus School, En Piste, the National Circus Arts Network, the École de cirque de Québec as well as Cirque du Monde where he worked since 1995 at transmitting Clowning to rehabilitating youth. During more than 8 years, Paul Vachon served as administrator and president on the Board of Directors at En Piste. During his various terms, Paul Vachon worked hard towards the recognition of that discipline.

Last November, the Conseil des arts et des lettres honored him with the award Prix à la création artistique during the 24th edition of the Prix d’excellence des arts et de la culture which took place at Quebec City Hall.

Details regarding the tribute ceremony will be sent later on."

Performance Is Everything

The following video is a truly fascinating (and sometimes difficult to witness) look behind the scenes of the Shanghai Circus School. I consider my time in circus school among the most challenging of my life. But compared to these kids, I spent three years going to a day spa.

Sweat push-up, indeed...

For the German Wheelers in the Crowd

ARCHICIRC

The other day, while looking for a very specific photo from my show using Google images, I somehow ended up on a website entirely about circus tents. It's full of photos and schematics from a wide variety of big tops and cirques en dur or permanent circus spaces. The photos are gorgeous and offer a really unique look into spaces that you otherwise would likely never have a chance to see! They also have a Facebook page with many other photos of circus spaces around the world!

If you have an interest in circus, and if you've found this blog I suspect you do, you should definitely check ARCHICIRC out!

For their website, go here, and for their Facebook page, go here.

Dragon Volant - Ecole nationale des arts du cirque de Rosny-sous-Bois

Words of Wisdom From Captain Frodo

Lessons from the Way of the Showman - 21

"Failure is inevitable if you're doing something complicated.

If you try something and get it the first time - complicate it and do it whilst doing something else and you might have the beginning of an act."

Don't know who Captain Frodo is? You're seriously missing out.

Behind the Scenes of IRIS with Eye on L.A.

Incredible Circus

If you thought this picture was awesome before, imagine how awesome it will be on your very own t-shirt!

Circus Street Art

This post has been up for well over a month, but I just discovered that this piece of street art is by Montreal street artist, Roadsworth. Being a Montreal girl myself, I must admit the level of awesomenss of this piece just went up a notch for me. You can find this little gem in Baie St. Paul, Quebec. Well done, sir!

Harry Potter Would Like to Tell You a Joke

ZING!

Zzzzz...

Things have been a bit slow here at Kicking Sawdust. With the festival finished for this year and my company on break for the summer, I don't have all that much to share. But more than anything, I've been training like there's no tomorrow and have had very little time for posting.

Because I don't want to leave hungry circus affectionados in a lurch, I do have some fun odds and ends to post.

July was content heavy. August looks ripe for fun and frivolity...

Stay tuned!

What is Rhoenrad?

If you speak German, all will be explained! If not, it's still a pretty cool video.

Methode Naturelle

Here's a fun look at parkour's grandpappy, la methode naturelle!

This clip is taken from the American docu-film, Gizmo. The man in the first half of the video is John Ciampa, born and raised in Brooklyn, New York.

What's that expression about nothing being new?

Le Carré Curieux - MCC 2011

The last show of the festival that I was able to see was Le Carré Curieux by up and coming Belgian company, Carré Curieux What is most impressive about this show is that it was created by such young artists. I'm the same age as they are, if not a little bit older, and I don't feel that I'm in a place in my artistic career where I could create an entire show, market it, and tour it internationally. I have a hard enough time selling my act! Seriously, hats off to you, boys.

But on to the show...

Being a young company made up of young artists, you really can feel their youth, which works both for and against them. The strong points are very strong. The best moments in the show are engaging, creative, well thought out, and clever. The weaker moments show the inexperience of the artists in the sense that the pacing is off, scenes are too long or lack clarity, or the artists just don't have enough theatre experience to do the moment justice.

The beginning of the show is absolutely fantastic. It is surprising, invites the audience into the world the artists are creating, and takes the time to introduce each character and how he fits into the puzzle. It's smart and instantly endearing. Their set design is simple, functional, and put to excellent use. Each element of the set has a character of its own and seems to reflect the artists themselves.

There are a few moments that are a tad long. The group juggling act was long and the transition into the next part of the show was quite slow as a result of certain artistic choices made in the act (Balls everywhere! Chaos! One person to pick everything up... in silence...) Another interesting choice was the structure of the pole act. The apparatus itself is very interesting as it is free standing and requires the artists not climbing on the pole to support it. However, the act is structured in two parts. First, with only two artists, then with the entire group. It gives the impression of two different acts on the same discipline, performed back to back. It was a little long and I definitely noticed my thoughts drifting elsewhere by the end.

For me, the stand out in the show was Kenzo Tokuoka. Although the youngest member of the troupe, I felt he showed the most maturity on stage. With a stage presence that was far more understated than his colleagues, I felt he was somehow able to draw the audience much further in while performing. I think it's fair to say that his unicycle act stole the show and took more than a few breaths away.

The only thing that I found really grating was Vladimir Couprie's character, who reminded me very strongly of the actor-desperately-trying-for-an-academy-award in this video. A harsh comparison, I know. But by the end of the show, I would start to cringe any time that particular character started to get going. And yet it must be said that Vladimir's skills as a diabolo artist are spectacular. During his diabolo act, where the 'character' side of his character took a backseat to his outstanding diabolo skills, he really did shine. With some refinement and a little balance, he could be truly great. But right now, he's this guy...

Catch phrase!

 

All in all, this is an extremely impressive young company that you most definitely should keep an eye out for. They're an very likable group of guys and you can really see the tenderness with which they perform, and the care they show one another and their craft. For more information, check out their website.

And that, ladies and gentlemen, about wraps up our coverage of this year's edition of Montreal Completement Cirque! We will now return to our regular circus adventures...

Le Chant du Dindon by Compagnie Rasposo - MCC 2011

This is going to be a tough show to write about. Mostly because words fail. What can I possible say? And yet I'm sure I run the risk of rambling on and on because there is just so much to say about this show. So I will start with the most important thing. That way, if I get a little long winded and you give up on this post, you'll at least surf away with what, for me, is the most telling point.

I have not felt this way about a show since I first saw Loft by les 7 doigts de la main back in 2003. And that was when it was all the original cast and the show was all shiny and new. Until that time, the only circus I had ever seen was Cirque du Soleil. And my reaction to Loft was "Eff Soleil. This is what circus can be."

I'm a little older now, and without the strong and snooty ideas of a student, so there was no telling anyone to 'eff off' this time around. But my ideas of circus were definitely challenged and my perspective on circus turned on its head. I feel like I'm a student again, and a very humbled one at that. I don't want to say that a brand new side of circus has magically appeared, but it's definitely a side I forgot existed. Or forgot that it could exist. At any rate, Le Chant du Dindon has left me feeling inspired, elated, and like I have a long, long way to go on my journey as an artist.

There is definitely a very strong family atmosphere at Rasposo, as well there should be. Five members of the troupe, including the director and writers of the show, are family. There's even the family dog(s)! Combining the theatre background of the parents with the circus prowess of the kids has resulted in a seamless blend of two art forms and a more powerful piece as a result.

Simply put, this show is magic. Le Chant du Dindon is a contemporary circus show with a traditional feel. It begins as the public enters, and from the moment you step into the tent, you feel that you are being invited and welcomed into the home of these artists. Ever so slowly, the circus element weaves its way in, and the audience is invited to share the experience with those in the ring.

Everything in the show is presented in a fun and clever way, and nothing is ever presented as is. Every act has a unique touch that elevates it from a technical display to something more. I don't want to say 'art'. That just seems pretentious. It would be more fair to say that, depending on the scene, it becomes a battle, the expression of a dream, an outburst, or a party. And I can't even begin to explain how cleverly the acts are incorporated into the show. Especially the Russian swing at the end. I've now spoiled that surprise for you, but I can assure you, you still won't see it coming.

This may seem a rather uninteresting point to make, but it needs to be made as it's something that makes a huge difference in a show. The transitions, the pacing and the placement. These things may all fall under the category of 'theatre technique', but if you're going to make a more theatrical circus show, it's something that needs to be addressed. And sadly, this is often neglected or poorly executed in many contemporary circus shows. And only once you've seen it very well done do you realize what effect its absence has on a show. So credit really must be given where credit is due.

For me, Marie Molliens was the star of the show. A powerful presence on stage, she brought some real weight to the piece. An excellent flyer in both hand to hand and aerial cradle, she also performed wonderfully on tight wire. This is the kind of multi-talented circus artist that makes you doubt yourself as an artist. And if you've read this entry, then you know that a strong female artist will be tops with me every time.

 

Marie Molliens

Marie was wonderfully countered by Bruno Lussier, Julien Scholl, Jan Oving, and the very charming Luca Forte. Katell Le Brenn, the other female acrobat, seemed a little young and inexperienced compared to her colleagues, specifically with her interpretation skills.Of course, these slightly weaker moments are to be expected. Especially when the strong points are as strong as strong as they are in Dindon .

Vincent Molliens, the 'clown' in the show, seemed a little out of place as far as character goes. His interpretation seemed a little 1st degree or inexperienced in the sense of his clown not being mature. Though it must be said that as a skills clown (meaning a clown who performs acrobatics in a comedic way), he was phenomenal. He really was. While I may not have always enjoyed his clown when he was strictly performing clown, his cloud swing act was definitely a highlight of the show. And that's only one of the many circus skills he performed wonderfully.

Marie and Vincent Molliens

I question the inclusion of the magic act. Vincent Mignot, the magician, seemed completely out of place. I don't know that his act was really necessary, and his character seemed very rigid compared to the rest of the troupe. Though it should be said that the lead in to his act was well thought out (there were many references to rope tricks preceding his act), so at least he didn't come completely out of left field.

All in all, the acrobats are incredibly skilled, the actors spot on, and the whole of the piece a wonder not to be missed.

I realize this post comes off as somewhat academic, which is exactly the opposite of the feeling you get while watching the show. The only way I can think to explain that is through a sentiment expressed by many of my colleagues after seeing they show: they didn't want to see it a second time, they didn't want to buy the music, they simply wanted to keep that perfect feeling of wonder, awe, and merriment in their hearts, and keep it there untarnished by any over-thinking a second exposure might cause. So I ran through this post as quickly as I could so that I could relay my thoughts without having to give up too much of those rare and glorious feelings.

As such, I'm going to stop here. But before I go, I will answer the one question I'm sure is burning in your mind: Yes. There is indeed a turkey!

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