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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