Monday, July 30, 2012
Friday, July 27, 2012
Tuesday, July 24, 2012
Sunday, July 22, 2012
Up Up Down Down Left Right Left Right B A Start
Wii fit has released Shawn Johnson Gymnastics, a video game where you rise from the ranks of amateur gymnast to world champion. Zoo Entertainment, Inc., the company behind Shawn Johnson Gymnastics, states that the game offers a truly realistic experience. While I kind of doubt that ("This arm waving feels exactly like a layout full!) I still think it's pretty cool that there's a gymnastics video game on the market.
Is it bad that I picture rival gymnasts playing this game and purposely making her tank?
Friday, July 20, 2012
Overheard During Training
"Excellent. I could see the glitter and sequins shooting out of your fingertips!"
Wednesday, July 18, 2012
May All Your Days Be Circus Days
"When I created the phrase in 1968, my simple
wish was for the special joy of Circus Day to enrich every day of your
life. That wish still holds for all you terrific Children of All Ages." -
Jack Ryan
Monday, July 16, 2012
I Lied
Okay, I know I said that that was that for the circus festival, but I just came across this wonderful video (again from Montrealfestimania) about Undermän and I simply had to share it. Once again, well done boys! Seriously though, I need to go pack!
Break Time
I hope you've enjoyed this year's coverage of the Festival Montreal Completement Cirque! For the next few weeks, things are going to be pretty quiet around here as I'm heading off to Argentina and Brazil! There are a few fun posts scheduled for the coming weeks, though. I mean, how can you go from two weeks of non-stop circus action to radio silence? It just can't be done!
So here's one last little clip from the festival before we return to our regular programming. Video brought to you by Montrealfestimania.com and les 7 doigts de la main! Enjoy!
So here's one last little clip from the festival before we return to our regular programming. Video brought to you by Montrealfestimania.com and les 7 doigts de la main! Enjoy!
And That's a Wrap for MCC 2012!
And that, ladies and gentlemen, is that for the festival Montreal Completement Cirque for 2012! As much as I love the circus festival, I'm glad it's over. It's amazing just how exhausting it is to run around the city seeing shows, catching up with old friends, and training your butt off.
Overall, I was a little disappointed with the festival this year. Of the nine shows I saw, I only really liked four of them. The passport was frustrating and kind of a hassle, and definitely needs to be retooled for next year. And the scheduling was kind of a mess. Many shows had incredibly short runs and all of the show times seemed to be about the same. It seemed like a lot of shows had to compete against one another for a public. And why on Earth were there no matinees on the second Saturday?
I was very happy to see Scandinavian circus get so much attention, and in my opinion, they were the toast of the festival (I'm looking at you Petit Mal and Undermän). I have some thoughts on Canadian circus right now too, but I feel like that's going to need a post all its own.
Overall, I was a little disappointed with the festival this year. Of the nine shows I saw, I only really liked four of them. The passport was frustrating and kind of a hassle, and definitely needs to be retooled for next year. And the scheduling was kind of a mess. Many shows had incredibly short runs and all of the show times seemed to be about the same. It seemed like a lot of shows had to compete against one another for a public. And why on Earth were there no matinees on the second Saturday?
I was very happy to see Scandinavian circus get so much attention, and in my opinion, they were the toast of the festival (I'm looking at you Petit Mal and Undermän). I have some thoughts on Canadian circus right now too, but I feel like that's going to need a post all its own.
A part of the aftermath...
The festival is still young and continues to evolve every year. While this year may not have been my favourite, it's great to see that the organizers continue to shake things up, allow things to grow, and really make an effort to get the community (both circus and non) involved. Here's hoping that they take a look at what worked and what didn't work this year, and that next year's edition continues to prove that Montreal truly is a world capital of circus arts!
Sunday, July 15, 2012
MCC 2012 - Undermän
What happens when three porters (or 'undermen', in Swedish) lose their partners in performance (and in love) and find themselves having to deal with the crisis of having to create something alone? Apparently they band together and create one of the hottest shows to be seen at the Montreal Completement Cirque festival!
Undermän was simply outstanding. It was poignant, honest, and funny. I was worried that it would be some kind of a 'man show' about how awesome it is to be a dude. And while there were definitely some very manly moments, it was never macho. If anything, it showed a tenderness that is rarely expressed by men on stage. They even made me cry. Add to that the fact the these undermen were their own musicians (with a little help from cellist Andreas Tengblad), and you have an impressive and inspiring evening.
The show is casual. It begins slowly with each artist arriving in their own time (Andreas, late) and beginning to play music. There is no rush and the audience is left to keep chatting. When the moment is right, the shift can be felt and the show begins in earnest.
To set the tone, Mattias Andersson tells the story of how he met his love and his flyer. It was beautiful, funny, very romantic, and all the more heartbreaking when it falls apart. Each underman tells his story at some point in the show. This could have become very old very fast, but each story is told in a unique way and varies from quite long and detailed, to quite short. I absolutely adored how Peter Aberg jumped between solving a rubik's cube and the complicated and frustrating communication game with his ex. He continues to explain the many variations you need to know in order to solve the problem depending on how it presents itself, and that that was the last four and a half years of his life.
And while the music, staging, and theatre of the piece are all wonderful, there's still the question of what it is three porters are going to do without a flyer. The easy answer is other disciplines. And there's a bit of that. But they most definitely take the idea of porter-without-flyer to heart and exploit it brilliantly.
The first thing that comes to mind is the kettle bell juggling. I know a number of porters who use kettle bells for training and so the idea of flinging kettle bells around fits perfectly. And when you find out that the damn things weigh between 24 and 32 kilos, it's all the more impressive.
Undermän was simply outstanding. It was poignant, honest, and funny. I was worried that it would be some kind of a 'man show' about how awesome it is to be a dude. And while there were definitely some very manly moments, it was never macho. If anything, it showed a tenderness that is rarely expressed by men on stage. They even made me cry. Add to that the fact the these undermen were their own musicians (with a little help from cellist Andreas Tengblad), and you have an impressive and inspiring evening.
The show is casual. It begins slowly with each artist arriving in their own time (Andreas, late) and beginning to play music. There is no rush and the audience is left to keep chatting. When the moment is right, the shift can be felt and the show begins in earnest.
To set the tone, Mattias Andersson tells the story of how he met his love and his flyer. It was beautiful, funny, very romantic, and all the more heartbreaking when it falls apart. Each underman tells his story at some point in the show. This could have become very old very fast, but each story is told in a unique way and varies from quite long and detailed, to quite short. I absolutely adored how Peter Aberg jumped between solving a rubik's cube and the complicated and frustrating communication game with his ex. He continues to explain the many variations you need to know in order to solve the problem depending on how it presents itself, and that that was the last four and a half years of his life.
And while the music, staging, and theatre of the piece are all wonderful, there's still the question of what it is three porters are going to do without a flyer. The easy answer is other disciplines. And there's a bit of that. But they most definitely take the idea of porter-without-flyer to heart and exploit it brilliantly.
The first thing that comes to mind is the kettle bell juggling. I know a number of porters who use kettle bells for training and so the idea of flinging kettle bells around fits perfectly. And when you find out that the damn things weigh between 24 and 32 kilos, it's all the more impressive.
Photo by Mattias Edwall, Mats Bäcker
I also found Mattias Andersson performing his old hand-to-hand routine without his flyer to be a particularly poignant moment. At first, it was silly. And as a circus artist, I could tell through his actions what moves he was executing. Suddenly, it was like he was doing his act with a ghost and the effect was quite moving.
It wasn't all sad songs and pining, of course. The club juggling act was technically great, and just loads of fun. And the music! The lyrics (Super duper and artistic, robot, robot, spin, twist) just slayed me. It's nice when a show doesn't get too caught up in itself.
But most impressive of all was the hand to hand. Yes, these three big burly porters did hand-to-hand with each other. There was a brilliant group act where they performed a lot of the classic artistic transitions you see in most hand-to-hand acts (hilarious) as well as actual skills. And while there was an obvious choice of who would take on the role of flyer, that choice was promptly ignored and every one of them acted as both porter and flyer.
Photo by Ludvig Duregård
One comment I heard from others who have seen the show is that they would like to get the women's perspective on the failed relationships. And I can see that, but I didn't feel like the men were really blaming their former partners for what happened. Well, Peter made it sound a little more like his ex-girlfriend was high maintenance, but Mattias' story just sounded like a love that fell apart. And Matias really only mentioned that he's not as angry as he once was. Then there was Andreas... he couldn't tune his ukulele so he dropped a kettle bell on it adding only that he too had issues... For me personally, I'm comfortable not knowing the women's side of things and I feel that there were treated fairly. After all, broken hearts are far from black and white.
This show was the last of the festival for me, and I couldn't have asked for a better way to cap it off. A truly beautiful show that left me feeling really inspired. To say that we need more shows like this would defeat the purpose, but I really feel that it's important that there be a show like this out there right now. Thank you so much, undermen. And if you have the opportunity to see Undermän, don't miss it!
Saturday, July 14, 2012
MCC 2012 - Petit Mal
I first saw the promo video for this show a couple of years ago, and when I saw that it would be a part of this year's edition of the festival, I literally gasped and covered my face with my hands. I was that excited. But seeing how the shows I've been most excited to see have so far left me disappointed, I admit that I was a little worried that after years of anticipation, Petit Mal would let me down.
All I can say is... finally. Montreal Completement Cirque, this is what I've been waiting for.
Petit Mal is insane. It felt like a fly on the wall in some strange, isolated world where the people are incredibly disturbed and prone to exceptional acts acrobatics and violence. And it was awesome.
From the program:
"The show has no story, or plot, and not much sense to speak of. It does not tell a story, but certainly has its fair share of action. Petit Mal's building blocks are black humour and collisions. The traditional form, poetry and soft movement of contemporary circus are challened through randomness, dream-like logic and the menace of violence."
Don't let any of that fool you. Yes, it is aggressive, sometimes violent, and extremely rough. It is chaotic, and crazy, and there are many moments where all you can think is "No, no way... they wouldn't..." And then of course they do.
But the thing is, everything seems justified. Even the most aggressive moments. Nothing feels gratuitous, and it certainly doesn't seem like they take pleasure in their aggression. It just seems like in their world, that's how it's always been. They are fully committed to the Universe they've created and draw the audience in completely. And because they very clearly understand the world they're performing in, the audience understands as well, and we're with them every demented step of the way.
Even the most random moments somehow make sense. When Kalle Lehto transforms into a Mountie and kicks apart his horse, you don't really question it. When they come out dressed as Elvis (fat and skinny Elvis, I might add), well, why wouldn't they come out dressed like Elvis?
And don't even get me started on the acrobatics! I can't even imagine the research that must have gone into developing their skills. I've seen people try and do things with yoga balls before, but I've never seen anything come close to what these guys do.
And while the artists may have been trying to get away from the overly poetic and intellectual contemporary circus you see today, the show they've created is very much poetic. But unlike many shows I've seen as of late, it is sincere, and honest, and a raw.
And just when you think it can't get any more brutal...
Simply outstanding. If ever you have the opportunity to see this show, do not miss it!
All I can say is... finally. Montreal Completement Cirque, this is what I've been waiting for.
Petit Mal is insane. It felt like a fly on the wall in some strange, isolated world where the people are incredibly disturbed and prone to exceptional acts acrobatics and violence. And it was awesome.
From the program:
"The show has no story, or plot, and not much sense to speak of. It does not tell a story, but certainly has its fair share of action. Petit Mal's building blocks are black humour and collisions. The traditional form, poetry and soft movement of contemporary circus are challened through randomness, dream-like logic and the menace of violence."
Don't let any of that fool you. Yes, it is aggressive, sometimes violent, and extremely rough. It is chaotic, and crazy, and there are many moments where all you can think is "No, no way... they wouldn't..." And then of course they do.
But the thing is, everything seems justified. Even the most aggressive moments. Nothing feels gratuitous, and it certainly doesn't seem like they take pleasure in their aggression. It just seems like in their world, that's how it's always been. They are fully committed to the Universe they've created and draw the audience in completely. And because they very clearly understand the world they're performing in, the audience understands as well, and we're with them every demented step of the way.
Even the most random moments somehow make sense. When Kalle Lehto transforms into a Mountie and kicks apart his horse, you don't really question it. When they come out dressed as Elvis (fat and skinny Elvis, I might add), well, why wouldn't they come out dressed like Elvis?
And don't even get me started on the acrobatics! I can't even imagine the research that must have gone into developing their skills. I've seen people try and do things with yoga balls before, but I've never seen anything come close to what these guys do.
Rauli Kosonen
And Petri Tuominen executed some of the most stunning, fluid, and jaw dropping Chinese pole I have ever seen. Forget sliding down the pole and stopping inches from the ground. We're talking flinging yourself into the void, barely catching the pole, and slowing yourself down enough to gracefully roll to the floor. I have never seen anything like it.
And while the artists may have been trying to get away from the overly poetic and intellectual contemporary circus you see today, the show they've created is very much poetic. But unlike many shows I've seen as of late, it is sincere, and honest, and a raw.
And just when you think it can't get any more brutal...
Simply outstanding. If ever you have the opportunity to see this show, do not miss it!
Friday, July 13, 2012
MCC 2012 - Séquence 8
I'm tired. I have seen a lot of shows these past two weeks, and I am tired. But more than anything, I'm tired of being disappointed.
Before I say anything else, I want to make one thing perfectly clear: the level of circus in Séquence 8 is superb and beyond reproach. Every single acrobat in the show holds their own and there is never a moment where you think to yourself "That person is just there to be pretty."
That being said, I found the show to be long, one note, and as a result, kind of boring. The show just seemed so heavy, and life so hard! The artists kept pawing one another as they leaped achingly across the stage. The choreography, while beautiful, seemed like a variation of the same thing every time.
It felt to me that the artists were given very dramatic, emotional choreography, and that they executed it to the best of their abilities. But somewhere there was a disconnect and it didn't seem believable. It seemed like these young artists (they are all recent graduates of the National Circus School of Montreal) lacked the maturity and experience to anchor themselves in the emotional depth needed to really do the piece justice. Whereas previous shows by the 7 Fingers seemed to have some basis in the realities of the artists involves (Loft and Traces come to mind), the content at the core of this show seemed so far removed from the artists asked to interpret it that it felt incomplete.
It's not that they aren't good. Far from it. Every single person in that show is wonderful and does their job well. But as a whole, I have no idea what they were trying to express. And I could not connect with them on a deeper level because I didn't feel like they were connected to whatever it was they were trying to get across. They just aren't there yet.
As I mentioned above, the show is heavy. Everything seems like this insurmountable drama. The pace of the show drags on and on because one dramatic number is followed by another. Finally, while installing the Korean plank, the entire mood was lifted by getting the public to do the wave, but that energy plummeted just as quickly as it arrived because the Korean plank number, like pretty much every other number, was serious business. The few comedic moments in the show were definitely like breaths of fresh air, but the rhythm seemed off and I felt like those moments would fall a bit flat and lose their momentum.
By the middle of the show I just wanted to tell the artists to go get some fresh air, grab some ice cream and just get over themselves. I know it's not them, but the show that makes them that way. But seriously guys, lighten up a bit.
Colin Davis did a wonderful job as MC and definitely succeeded in the role of holding everyone together.
The Russian bar act was technically very good, but it was the staging that really made that act shine. Alex Royer danced across the bar and brought an elegance and poetry to a discipline that is typically more technical than artistic.
But the stand out act for me was definitely Eric Bates with his cigar box juggling. It's always a pleasure to see the more obscure disciplines, but it's even better when the person performing that discipline is exceptional. Not only was Eric a joy to watch, but his act brought a much needed lightness and change of pace to the show.
The funny thing is, this is in no way a bad show. I know it sounds like I'm really ripping into it, but it's not a bad show. There are just some seriously long moments, and it needs to have a little more lightness to balance out all that deep dramatic content. And personally, I would like to see the artists step back a little more. There is so much choreography and so many staged moments where all eight of them seem to be manipulating everything and everyone around them that sometimes things seem cluttered and you really just wish you could take a moment to breathe and focus on one person.
This is a brand new show and clearly it has some cutting out and tightening up to do. But I think the biggest challenge will be for these green artists to develop the chops necessary to truly express the world they are trying to convey.
Before I say anything else, I want to make one thing perfectly clear: the level of circus in Séquence 8 is superb and beyond reproach. Every single acrobat in the show holds their own and there is never a moment where you think to yourself "That person is just there to be pretty."
Photo by: Montréal Complètement Cirque
That being said, I found the show to be long, one note, and as a result, kind of boring. The show just seemed so heavy, and life so hard! The artists kept pawing one another as they leaped achingly across the stage. The choreography, while beautiful, seemed like a variation of the same thing every time.
It felt to me that the artists were given very dramatic, emotional choreography, and that they executed it to the best of their abilities. But somewhere there was a disconnect and it didn't seem believable. It seemed like these young artists (they are all recent graduates of the National Circus School of Montreal) lacked the maturity and experience to anchor themselves in the emotional depth needed to really do the piece justice. Whereas previous shows by the 7 Fingers seemed to have some basis in the realities of the artists involves (Loft and Traces come to mind), the content at the core of this show seemed so far removed from the artists asked to interpret it that it felt incomplete.
It's not that they aren't good. Far from it. Every single person in that show is wonderful and does their job well. But as a whole, I have no idea what they were trying to express. And I could not connect with them on a deeper level because I didn't feel like they were connected to whatever it was they were trying to get across. They just aren't there yet.
Photo :
Ann Pare - Le Devoir
By the middle of the show I just wanted to tell the artists to go get some fresh air, grab some ice cream and just get over themselves. I know it's not them, but the show that makes them that way. But seriously guys, lighten up a bit.
Colin Davis did a wonderful job as MC and definitely succeeded in the role of holding everyone together.
The Russian bar act was technically very good, but it was the staging that really made that act shine. Alex Royer danced across the bar and brought an elegance and poetry to a discipline that is typically more technical than artistic.
Photo: Bernard Brault, La Presse
But the stand out act for me was definitely Eric Bates with his cigar box juggling. It's always a pleasure to see the more obscure disciplines, but it's even better when the person performing that discipline is exceptional. Not only was Eric a joy to watch, but his act brought a much needed lightness and change of pace to the show.
Photo : Pedro Ruiz, Le Devoir
The funny thing is, this is in no way a bad show. I know it sounds like I'm really ripping into it, but it's not a bad show. There are just some seriously long moments, and it needs to have a little more lightness to balance out all that deep dramatic content. And personally, I would like to see the artists step back a little more. There is so much choreography and so many staged moments where all eight of them seem to be manipulating everything and everyone around them that sometimes things seem cluttered and you really just wish you could take a moment to breathe and focus on one person.
This is a brand new show and clearly it has some cutting out and tightening up to do. But I think the biggest challenge will be for these green artists to develop the chops necessary to truly express the world they are trying to convey.
Thursday, July 12, 2012
Video of Jeu de Cirque and Minutes Completement Cirque
If you're like me and haven't been able to make it to Place Emilie-Gamelin for the Minutes Completement Cirque or Jeu de Cirque, I have some good news! The video montage is up and waiting for you to view it! They'll be performing until the end of the festival, so if you like what you see, go check 'em out!
For more info and show times, go here.
For more info and show times, go here.
MCC In the Press
I just came across this tid bit from a news article about Montreal Completement Cirque festival favourite La Soiree.
"La Soirée's a booze-fuelled, buff bodied, sex-drenched bash that ain’t afraid to take the piss out of itself."
Nightlife.ca, you hit that nail square on the head!
For the full article, go here.
"La Soirée's a booze-fuelled, buff bodied, sex-drenched bash that ain’t afraid to take the piss out of itself."
Nightlife.ca, you hit that nail square on the head!
For the full article, go here.
Traces Perform on America's Got Talent
Last night the New York cast of Traces performed on America's Got Talent. How fitting for the Fingers' 10 year anniversary! Good job, Traces!
Well Played, MCC, Well Played
When I first saw that Undermän would be presented at the Montreal Completement Cirque (MCC) festival this summer, my first thought went something like this: "Great, another completely male dominated circus show about the awesomeness of being a dude."
Then I remembered that Amaluna is also a part of the festival and I couldn't help but applaud the folks at MCC. As far as I'm concerned it was a very clever move on their part to have a counter point to the female centric Amaluna.
I've yet to see Undermän, so I can't really comment on it just yet. But I have seen Amaluna and they did an excellent job creating a show about women without coming off as trying too hard, being at all preachy, or even too one dimensional. I think that on its own, a show like Undermän could run those risks. Though from what I've heard, that's not at all the case. In my opinion, having both shows in the same festival gives each of them more merit and more weight. Especially since the themes are being expressed by different companies from different parts of the world. I've seen an institution do multiple shows where one cast was all male and the other was all female. But coming from the same source, each show was similar in feel and style. Seeing a four man show from Sweden vs. a huge scale production by Soleil should be pretty interesting,. And I for one look forward to seeing both.
Then I remembered that Amaluna is also a part of the festival and I couldn't help but applaud the folks at MCC. As far as I'm concerned it was a very clever move on their part to have a counter point to the female centric Amaluna.
I've yet to see Undermän, so I can't really comment on it just yet. But I have seen Amaluna and they did an excellent job creating a show about women without coming off as trying too hard, being at all preachy, or even too one dimensional. I think that on its own, a show like Undermän could run those risks. Though from what I've heard, that's not at all the case. In my opinion, having both shows in the same festival gives each of them more merit and more weight. Especially since the themes are being expressed by different companies from different parts of the world. I've seen an institution do multiple shows where one cast was all male and the other was all female. But coming from the same source, each show was similar in feel and style. Seeing a four man show from Sweden vs. a huge scale production by Soleil should be pretty interesting,. And I for one look forward to seeing both.
Minutes Completement Cirque III
Photo by Renald Laurin
Gisle Henriet, photo by Renald Laurin
Nicolas Boivin-Gravel, Jean-Philippe Cuerrier,
Samuel Roy, and Gisle Henriet, Photo by Renald Laurin
Photo by Renald Laurin
Photo by Renald Laurin
Wednesday, July 11, 2012
Happy Anniversary, 7 Doigts!
Ten years ago today, Isabelle Chassé, Shana Carroll, Patrick Léonard, Faon Shane, Gypsy Snider, Sébastien Soldevila, and Samuel Tétreault took the stage for the first time under the collective name Les 7 doigts de la main. Today the company consists of 70 artists and has five shows.
The first time I saw them they were barely a year old. But even then, they were my greatest inspiration and a shout out to the world of what circus could be.
Happy Anniversary, Fingers! And here's to another decade of turning circus on its head!
The first time I saw them they were barely a year old. But even then, they were my greatest inspiration and a shout out to the world of what circus could be.
Happy Anniversary, Fingers! And here's to another decade of turning circus on its head!
MCC 2012 - La Cuisine de Pan
What to say about La Cuisine de Pan? The most obvious answer is that this is not a circus show. La Cuisine de Pan is a dance show with a bit of Chinese pole integrated into it, and a little bit of acro from time to time as well.
But a circus show?
No.
I had to wonder what a show like this was doing in a circus festival. Fortunately, there was a Q & A after the show and a rep from the festival mentioned that one of the goals at the festival is to showcase how circus integrates into other art forms as well. Oddly enough, once I heard that, I seemed to warm up to the show a little more. Weird, right?
I would very much like to somehow offer feedback on this show, but the truth is, dance shows don't really do it for me. And considering I have no experience in the field, I don't really feel like it's my place to comment.
However, I can say that unlike most dance shows I've seen, I didn't feel bored and wish I could leave. In fact, there were a number of moments that I thought were really great. They did a wonderful job incorporating theatre and story into their work and I really felt like there was some kind of evolution over the course of the show.
That being said, I think it's something I could have skipped. It's not really my cup of tea, though I would be curious to know a dancer's thoughts on the performance. Frankly, I'd rather the festival have the goal of showcasing the best circus out there. Keyword being circus. Maybe flip the goal around so that it's about how the circus arts incorporate other art forms into their shows rather than how other art forms hang a tissu and suddenly promote themselves as circus. Not to say that La Cuisine de Pan did anything remotely like that (they didn't). They'd be the first to tell you that they were quite surprised to find themselves invited to a circus festival.
If you like dance, particularly hip hop, this might just be a show you want to check out. If not, then I'd say shop around for something else.
But a circus show?
No.
I had to wonder what a show like this was doing in a circus festival. Fortunately, there was a Q & A after the show and a rep from the festival mentioned that one of the goals at the festival is to showcase how circus integrates into other art forms as well. Oddly enough, once I heard that, I seemed to warm up to the show a little more. Weird, right?
I would very much like to somehow offer feedback on this show, but the truth is, dance shows don't really do it for me. And considering I have no experience in the field, I don't really feel like it's my place to comment.
However, I can say that unlike most dance shows I've seen, I didn't feel bored and wish I could leave. In fact, there were a number of moments that I thought were really great. They did a wonderful job incorporating theatre and story into their work and I really felt like there was some kind of evolution over the course of the show.
That being said, I think it's something I could have skipped. It's not really my cup of tea, though I would be curious to know a dancer's thoughts on the performance. Frankly, I'd rather the festival have the goal of showcasing the best circus out there. Keyword being circus. Maybe flip the goal around so that it's about how the circus arts incorporate other art forms into their shows rather than how other art forms hang a tissu and suddenly promote themselves as circus. Not to say that La Cuisine de Pan did anything remotely like that (they didn't). They'd be the first to tell you that they were quite surprised to find themselves invited to a circus festival.
If you like dance, particularly hip hop, this might just be a show you want to check out. If not, then I'd say shop around for something else.
Tuesday, July 10, 2012
MCC 2012 - L'Impro Cirque
It breaks my heart to say this, it truly, truly does, but last night's edition of L'Impro Cirque was underwhelming at best.
I am a huge fan of L'Impro Cirque. The first time I saw it, I thought it was the most brilliant, revolutionary bit of circus I had seen in ages. I even changed a ticket for some other show I was supposed to see so I could go back the second night. Since then, I have been to every evening of Impro Cirque I was in town for and have advised everyone I know to do the same. I actually stopped random strangers in the street yesterday and advised them to go see Impro Cirque last night! So believe me, I'm not being an overly critical circus artist right now. Just a disappointed fan.
There's no way to really pin point what was amiss. Overall, the night felt chaotic. Things didn't seem to flow as smoothly as in the past and while the night is meant to be wild and fun, things seemed to go past the frivolity and start to veer off toward self-indulgence.
As with the last match I saw, the absence of co-creator and head ref extraordinaire Philippe Trépanier was deeply felt. This new ref (I didn't manage to get a program to take home and I don't have access to anyone's names...) was very inefficient. It seemed to me like he was trying too hard to be the star of the show instead of actually doing his job. In my opinion, he failed to maintain order and did a very poor job of enforcing the rules. Where were the penalties? Why was the time limit so often disregarded? And why, why did the artists get away with completely ignoring the themes?
I couldn't believe the dance trapeze improv. While the Blue team's player clearly had never done trapeze before in his life, he at least respected the theme (eternal rest) and tried to do something with it. But the Red team? That girl didn't even give the theme a second thought and just acted all cute and smiley while speeding through some trapeze moves. Dreadful.
And why did the Blue team not have a single aerialist when there were two aerial improvisations in the show and two aerialists on the other team? The boys who went up made a valiant effort, but I've never seen such an imbalance in the two teams. It was pretty disappointing considering the level they've had in the past.
But the most horrifying moment of all was when one of the Cyr wheel artists lost control of his wheel, went out of bounds, crashed into a table, and hit three members of the audience! Those things are very large, and very heavy. The artists on the Blue team were incredibly apologetic, and the staff of Cirque Eloize (the host venue) addressed the incident immediately, that's something that should never happen. And it could have been much, much worse...
There were, of course, good moments as well. The Blue team's graphic Abominable Snowman improv was pretty funny. And the Blue team somehow having to duplicate the Red team's acrobatic bicycle act was absolutely brilliant.
And while I'm pretty sure those in charge immediately regretted the decision to have a Top Chef themed improv complete with real vegetables, the resulting madness was outstanding.
From what I understand, both nights will feature the same artists. I suppose it's good that they'll have a second chance, and will probably do better with a performance already under their belts. I was told that unlike previous editions of Impro Cirque, there was no workshop for the artists before hand. That seems to have a made a huge difference in the quality of the performance.
Every company is going to have its bumps in the road and it would seem that after 16 matches, Impro Cirque has hit its first big bump. It was a rough night and those in charge know it. I'm curious to see the steps that will be implemented to improve the overall quality of the show in the future.
Moments of weakness aside, I do need to congratulate the folks at Impro Cirque on one thing: part of their mandate is to include the whole of the circus community and to let everyone have a chance to play. In my experience, not everyone is cut out for improv. It's really hard. But more and more often in this town, people get hired because of who they know and a lot of really great artists just kind of fall through the cracks. And if you don't give people that chance, how will they ever grow? And who wants to see the same people on stage every time anyway? One thing I've loved about Impro Cirque is discovering new artists. So get those kinks worked, Impro Cirque! Not only does this town love you, but we need you.
I am a huge fan of L'Impro Cirque. The first time I saw it, I thought it was the most brilliant, revolutionary bit of circus I had seen in ages. I even changed a ticket for some other show I was supposed to see so I could go back the second night. Since then, I have been to every evening of Impro Cirque I was in town for and have advised everyone I know to do the same. I actually stopped random strangers in the street yesterday and advised them to go see Impro Cirque last night! So believe me, I'm not being an overly critical circus artist right now. Just a disappointed fan.
There's no way to really pin point what was amiss. Overall, the night felt chaotic. Things didn't seem to flow as smoothly as in the past and while the night is meant to be wild and fun, things seemed to go past the frivolity and start to veer off toward self-indulgence.
As with the last match I saw, the absence of co-creator and head ref extraordinaire Philippe Trépanier was deeply felt. This new ref (I didn't manage to get a program to take home and I don't have access to anyone's names...) was very inefficient. It seemed to me like he was trying too hard to be the star of the show instead of actually doing his job. In my opinion, he failed to maintain order and did a very poor job of enforcing the rules. Where were the penalties? Why was the time limit so often disregarded? And why, why did the artists get away with completely ignoring the themes?
I couldn't believe the dance trapeze improv. While the Blue team's player clearly had never done trapeze before in his life, he at least respected the theme (eternal rest) and tried to do something with it. But the Red team? That girl didn't even give the theme a second thought and just acted all cute and smiley while speeding through some trapeze moves. Dreadful.
And why did the Blue team not have a single aerialist when there were two aerial improvisations in the show and two aerialists on the other team? The boys who went up made a valiant effort, but I've never seen such an imbalance in the two teams. It was pretty disappointing considering the level they've had in the past.
But the most horrifying moment of all was when one of the Cyr wheel artists lost control of his wheel, went out of bounds, crashed into a table, and hit three members of the audience! Those things are very large, and very heavy. The artists on the Blue team were incredibly apologetic, and the staff of Cirque Eloize (the host venue) addressed the incident immediately, that's something that should never happen. And it could have been much, much worse...
There were, of course, good moments as well. The Blue team's graphic Abominable Snowman improv was pretty funny. And the Blue team somehow having to duplicate the Red team's acrobatic bicycle act was absolutely brilliant.
And while I'm pretty sure those in charge immediately regretted the decision to have a Top Chef themed improv complete with real vegetables, the resulting madness was outstanding.
Every company is going to have its bumps in the road and it would seem that after 16 matches, Impro Cirque has hit its first big bump. It was a rough night and those in charge know it. I'm curious to see the steps that will be implemented to improve the overall quality of the show in the future.
Moments of weakness aside, I do need to congratulate the folks at Impro Cirque on one thing: part of their mandate is to include the whole of the circus community and to let everyone have a chance to play. In my experience, not everyone is cut out for improv. It's really hard. But more and more often in this town, people get hired because of who they know and a lot of really great artists just kind of fall through the cracks. And if you don't give people that chance, how will they ever grow? And who wants to see the same people on stage every time anyway? One thing I've loved about Impro Cirque is discovering new artists. So get those kinks worked, Impro Cirque! Not only does this town love you, but we need you.
Quadruple Anniversary
Miguel Vazquez completed four somersaults in the air and was caught by his brother, Juan. Miguel was 17 years old.
Several days later, photographs taken by Deborah Gilbert (one of the Ringling clowns) of this first public “Quad” were featured on the front page of the New York Times.
The “Quad” was soon featured in a full page article in Time magazine and reported by Tom Brokaw to his nightly NBC news audience.
New York Times reporter Glenn Collins wrote: “The circus folk who described it to me said that the audience began to stir for the first time when the other performers in the show raced out to Ring One, shouting and screaming, pounding Miguel on the back and carrying him on their shoulders”.
The text from the article above reads:
Quadruple Flip is the First Ever
"Miguel Vazques whirling at 75 miles an hour during his quadruple somersault and being caught by his brother Juan. A crowd of 7,000 watched Saturday night in Tuscon, Ariz., as Mr. Vazquez performed a feat that has eluded trapeze artists for 123 years. "I always knew I could do it," he said, "but I can't believe I did it." "
Thanks to Philip Weyland for posting this to Facebook!
He lists this website below, so I'm guessing it's the original source.
Monday, July 9, 2012
MCC 2012 - Amaluna
It took three months, but I finally made it to Amaluna. I haven't seen a Cirque du Soleil show since Corteo premiered in 2005 and let me say, I'm glad I ended the drought with this show.
It amazes me that I find it very hard to comment on a Cirque du Soleil show. Having worked professionally for the last six years, having seen many shows, and basically having a better understanding of the milieu, I find that my perspective has completely changed. When I saw Cirque du Soleil for the first time 20 years ago it was a moment of absolute wonder. It really was like stepping into a magical world the likes of which I had never seen or imagined. Now when I see anything Cirque du Soleil, I immediately recognize it as a brand. You expect it to look and sound a certain way, and it does. I don't want to say that the magic is gone for me, but the tent seemed smaller and all the artists seemed remarkably human.
And yet...
It took me a while to enter into the world they were proposing, but enter it I did. I think it helped that I was familiar with the story going in. Knowing exactly what the director had intended made the show very clear and easy to follow.
Interestingly, none of the acts really stand out. Of course I had my favourites (chinese pole, unicycle, high bar) and there were some pleasant surprises (meteor icarian games hybrid, bone balancing), but unlike other shows that have one or two really stand out acts, Amaluna seemed to consist of numbers that were a part of a whole.
I talked a lot about Amaluna when it first premiered, particularly about how it is a show that focuses on women and femininity. There's always the risk of such themes quickly becoming cliche, preachy, or pedagogical. But Amaluna truly does succeed in showing many aspects of femininity from a place of strength and elegance. It was so wonderful to see such strong female characters on stage, not to mention such a variety of body types and personalities.
The main character of Prospera is inspiring. I can think of no way of saying this without sounding rude, so I'll just mention that that is in no way my intention... This artist is clearly a little older than the average cast member, but she is all the more radiant for it. It's so nice to see a more mature artist on stage and all that that maturity brings. Plus, she sings during her hoop act. I mean... come on.
I absolutely adored the centaur women and their high bar act. These women are clearly warriors. And when the men arrive in the show, swept in by a storm, the women hold their own and leave the men scampering away in fear. I know a lot of people aren't too keen on high bar acts, but as an ex-gymnast, I love them. I would have liked to see a little more technique, but I think I'm just being picky. What they did was amazing. Plus, they totally do some old school wraps on the bars, which I love, love, loved!
But there's also softness in the show. The bone balancing act is best described as monumental stillness. It's a truly captivating moment in the show that brings many images to mind. You can't help but think of Adam and Eve, only this time, Eve is building her own world from ribs. Or perhaps you focus on how fragile life is, or better still, how the tiniest piece of the puzzle is just as important as every other piece, if not more.
There were some weak moments as well, I'm afraid. I really didn't care for the white peacock character. This dancer may have her own solo but frankly, I wasn't at all impressed by her. I feel there are far more skilled dancers out there. No to mention far more exciting circus. The closing number is also pretty weak. Not because it's bad, it's just that for a finale, there isn't much to it. Three women do straps, only there's very little straps involved, just a whole lot of swinging back and forth. It's clear that only one of the three was actually trained in straps. Plus, there's a duo straps act in the beginning so it seems a little repetitive. And the clowns... the clown act in that show is by far the most messed up thing I have ever seen. It mostly involves pregnancy, multiple births, and football babies.
The show still has a lot of growing to do, but that goes for any new show. I think that once it really finds its legs and has time to evolve, it will be a really great show in the same sphere as classic shows like Quidam. I'm so happy that Soleil decided to have a women centric show, but more than anything, I am so impressed by how well the subject was treated. I mean, yes, they do still fall into some kind of love story, and everyone does seem their man in the end. But I think the idea wasn't so much that a woman needs a man as it was that men and women are a compliment to one another, and it's by creating that kind of relationship that we continue to evolve. But then, it's also just a circus show and maybe we all just like a happy ending...
Congratulations to all the cast and crew of Amaluna!
Cirque du Soleil at the old port of Montreal
It amazes me that I find it very hard to comment on a Cirque du Soleil show. Having worked professionally for the last six years, having seen many shows, and basically having a better understanding of the milieu, I find that my perspective has completely changed. When I saw Cirque du Soleil for the first time 20 years ago it was a moment of absolute wonder. It really was like stepping into a magical world the likes of which I had never seen or imagined. Now when I see anything Cirque du Soleil, I immediately recognize it as a brand. You expect it to look and sound a certain way, and it does. I don't want to say that the magic is gone for me, but the tent seemed smaller and all the artists seemed remarkably human.
And yet...
It took me a while to enter into the world they were proposing, but enter it I did. I think it helped that I was familiar with the story going in. Knowing exactly what the director had intended made the show very clear and easy to follow.
Interestingly, none of the acts really stand out. Of course I had my favourites (chinese pole, unicycle, high bar) and there were some pleasant surprises (meteor icarian games hybrid, bone balancing), but unlike other shows that have one or two really stand out acts, Amaluna seemed to consist of numbers that were a part of a whole.
I talked a lot about Amaluna when it first premiered, particularly about how it is a show that focuses on women and femininity. There's always the risk of such themes quickly becoming cliche, preachy, or pedagogical. But Amaluna truly does succeed in showing many aspects of femininity from a place of strength and elegance. It was so wonderful to see such strong female characters on stage, not to mention such a variety of body types and personalities.
The main character of Prospera is inspiring. I can think of no way of saying this without sounding rude, so I'll just mention that that is in no way my intention... This artist is clearly a little older than the average cast member, but she is all the more radiant for it. It's so nice to see a more mature artist on stage and all that that maturity brings. Plus, she sings during her hoop act. I mean... come on.
Triple threat
I absolutely adored the centaur women and their high bar act. These women are clearly warriors. And when the men arrive in the show, swept in by a storm, the women hold their own and leave the men scampering away in fear. I know a lot of people aren't too keen on high bar acts, but as an ex-gymnast, I love them. I would have liked to see a little more technique, but I think I'm just being picky. What they did was amazing. Plus, they totally do some old school wraps on the bars, which I love, love, loved!
Here come the....boys? Oh dear...
Centaur women on high bar
But there's also softness in the show. The bone balancing act is best described as monumental stillness. It's a truly captivating moment in the show that brings many images to mind. You can't help but think of Adam and Eve, only this time, Eve is building her own world from ribs. Or perhaps you focus on how fragile life is, or better still, how the tiniest piece of the puzzle is just as important as every other piece, if not more.
Bone balancing
There were some weak moments as well, I'm afraid. I really didn't care for the white peacock character. This dancer may have her own solo but frankly, I wasn't at all impressed by her. I feel there are far more skilled dancers out there. No to mention far more exciting circus. The closing number is also pretty weak. Not because it's bad, it's just that for a finale, there isn't much to it. Three women do straps, only there's very little straps involved, just a whole lot of swinging back and forth. It's clear that only one of the three was actually trained in straps. Plus, there's a duo straps act in the beginning so it seems a little repetitive. And the clowns... the clown act in that show is by far the most messed up thing I have ever seen. It mostly involves pregnancy, multiple births, and football babies.
What did I just watch?
The show still has a lot of growing to do, but that goes for any new show. I think that once it really finds its legs and has time to evolve, it will be a really great show in the same sphere as classic shows like Quidam. I'm so happy that Soleil decided to have a women centric show, but more than anything, I am so impressed by how well the subject was treated. I mean, yes, they do still fall into some kind of love story, and everyone does seem their man in the end. But I think the idea wasn't so much that a woman needs a man as it was that men and women are a compliment to one another, and it's by creating that kind of relationship that we continue to evolve. But then, it's also just a circus show and maybe we all just like a happy ending...
Congratulations to all the cast and crew of Amaluna!
Hear us roar!
Sunday, July 8, 2012
MCC 2012 - La Soirée
I first saw La Soirée six years ago. At that time it was still known as La Clique, and it was it's first time playing in Montreal. Since then, I've somehow managed to see it every three years. Having already seen it twice before, I'd pretty much written off La Soirée as a show I could see if I had time, but it was no big deal if I missed it.
On my way back from the disappointing evening that was LEO I ran into a friend of mine who convinced me that, even though it was starting in 10 minutes and I would have to run home for my festival passport and then come back, I should see La Soirée this very night! I'm staying quite close to the Olympia and didn't really want to end my evening on such a sour note, so I figured I'd give it a shot. I don't know that I've ever been so grateful for the inability of live shows to start on time.
As for giving La Soirée a pass, I don't know what I was thinking.
Holy moly, I love that show! Do you like really good circus and burlesque? Do you like to laugh? Do you like your humour a little blue? Then what are you doing at home instead of at the Olympia watching La Soirée?
I admit, I was a a little curious to see how the show would be without two of its fixtures (Miss Behave, and Captain Frodo). I even thought (wrongly) that it wouldn't be as good. But the masterminds of La Soirée seem to have a special stock of hilarious, talented, sexy artists and this version was every bit as wonderful as the two versions I've seen before (though I did still really miss Frodo).
Familiar stand outs include Denis Lock and Hamish McCann as the English Gents, and the always titilating Ursula Martinez. New to me this time around and easily capturing my heart, Le Gateau Chocolat. I never thought I would hear a saucy version of Nessun Dorma. But here we are. And I must make special note of the talented Mooky. I had only ever seen her in Varekai and I must admit, I hated what I saw. But to see the actual Mooky and not a Cirque-du-Soleil-approved Mooky turned out the be a wonderfully hilarious gift!
I also feel the need to mention that while Nate Cooper is described as follows: "Try to imagine Charlie Chaplin tap dancing on roller skates whilst juggling razor sharp machetes and you will only be scratchig the surface of what Cooper has in store for you.", that right there doesn't even begin to scratch the surface of what Cooper has in store. His act was probably one of the weirdest things I have ever seen in my entire life.
All that to say that if you're in Montreal right now, or will be in the next week, get your butt over to the Olympia for a night of debauchery and laughter the likes of which you've never seen!
La Soirée is an absolute must see and runs until Sunday July 15th (dark on Monday), 18 years +. Times vary, so check the MCC website for more details!
On my way back from the disappointing evening that was LEO I ran into a friend of mine who convinced me that, even though it was starting in 10 minutes and I would have to run home for my festival passport and then come back, I should see La Soirée this very night! I'm staying quite close to the Olympia and didn't really want to end my evening on such a sour note, so I figured I'd give it a shot. I don't know that I've ever been so grateful for the inability of live shows to start on time.
As for giving La Soirée a pass, I don't know what I was thinking.
Holy moly, I love that show! Do you like really good circus and burlesque? Do you like to laugh? Do you like your humour a little blue? Then what are you doing at home instead of at the Olympia watching La Soirée?
I admit, I was a a little curious to see how the show would be without two of its fixtures (Miss Behave, and Captain Frodo). I even thought (wrongly) that it wouldn't be as good. But the masterminds of La Soirée seem to have a special stock of hilarious, talented, sexy artists and this version was every bit as wonderful as the two versions I've seen before (though I did still really miss Frodo).
Familiar stand outs include Denis Lock and Hamish McCann as the English Gents, and the always titilating Ursula Martinez. New to me this time around and easily capturing my heart, Le Gateau Chocolat. I never thought I would hear a saucy version of Nessun Dorma. But here we are. And I must make special note of the talented Mooky. I had only ever seen her in Varekai and I must admit, I hated what I saw. But to see the actual Mooky and not a Cirque-du-Soleil-approved Mooky turned out the be a wonderfully hilarious gift!
Denis Lock and Hamish McCann
Ursula Martinez
Le Gateau Chocolat
Mooky
I also feel the need to mention that while Nate Cooper is described as follows: "Try to imagine Charlie Chaplin tap dancing on roller skates whilst juggling razor sharp machetes and you will only be scratchig the surface of what Cooper has in store for you.", that right there doesn't even begin to scratch the surface of what Cooper has in store. His act was probably one of the weirdest things I have ever seen in my entire life.
All that to say that if you're in Montreal right now, or will be in the next week, get your butt over to the Olympia for a night of debauchery and laughter the likes of which you've never seen!
La Soirée is an absolute must see and runs until Sunday July 15th (dark on Monday), 18 years +. Times vary, so check the MCC website for more details!
MCC 2012 - LEO
After seeing LEO tonight, I came crashing down from my Vague de Cirque high. There has been a lot of hype surrounding this show, which only contributed to my disappointment. In a nutshell, LEO is a guy rolling around on the floor for an hour while his actions are simultaneously filmed and projected onto a screen right next to him. The resulting images give the audience the impression that the titular character is somehow defying gravity.
This goes on for one hour.
While I can appreciate the amount of research that must have gone into this, and that Tobias Wegner clearly left no stone unturned, the show is a good 53 minutes too long. There were some very clever moments, certainly. And even some touching moments. But hardly enough to warrant a full length show. The whole world-flipped-upside-down video projection thing is hardly a new concept. And I must admit, it strikes a nerve that this is in a circus festival when there's barely any trace of genuine acrobatics. The incredible feats are all an illusion. For me, the odd handstand or valdez doesn't qualify a show as circus. And since I'm already being kind of a jerk, I think it's also a stretch to publicize that the artist "excels at drawing". I'm not saying he's bad at drawing, but to say he excels? And why is that even a selling point for a circus show?
I know, I know... I'm being really harsh. But I left that show angry. I was angry about having to sit through it, and I was angry that the audience seemed to eat it up.They loved it! They laughed for reasons I don't understand, and seemed to be utterly dumbfounded by what they were looking at. So maybe it's just me. But I overheard a festival employee talking about the show afterward. He was even less generous that me. I'd give LEO a seven minute act. This guy figured it only merits five.
LEO runs Sunday July 8th and Tuesday July 10th. Go see something else instead.
Ta daa!
This goes on for one hour.
While I can appreciate the amount of research that must have gone into this, and that Tobias Wegner clearly left no stone unturned, the show is a good 53 minutes too long. There were some very clever moments, certainly. And even some touching moments. But hardly enough to warrant a full length show. The whole world-flipped-upside-down video projection thing is hardly a new concept. And I must admit, it strikes a nerve that this is in a circus festival when there's barely any trace of genuine acrobatics. The incredible feats are all an illusion. For me, the odd handstand or valdez doesn't qualify a show as circus. And since I'm already being kind of a jerk, I think it's also a stretch to publicize that the artist "excels at drawing". I'm not saying he's bad at drawing, but to say he excels? And why is that even a selling point for a circus show?
I know, I know... I'm being really harsh. But I left that show angry. I was angry about having to sit through it, and I was angry that the audience seemed to eat it up.They loved it! They laughed for reasons I don't understand, and seemed to be utterly dumbfounded by what they were looking at. So maybe it's just me. But I overheard a festival employee talking about the show afterward. He was even less generous that me. I'd give LEO a seven minute act. This guy figured it only merits five.
LEO runs Sunday July 8th and Tuesday July 10th. Go see something else instead.
Saturday, July 7, 2012
Minutes Completement Cirque II
From the Montréal Complètement Cirque Facebook page:
Photo by Luce Tremblay-Gaudette
Photo by Luce Tremblay-Gaudette
Photo by Luce Tremblay-Gaudette
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