Get it while it's hot, folks! For what I can only presume is a limited time, Arte is showing pretty much the complete version of Cirque Eloize's latest production, Cirkopolis. Enjoy it while you can!
Showing posts with label Shows and Events. Show all posts
Showing posts with label Shows and Events. Show all posts
Tuesday, December 31, 2013
Tuesday, May 21, 2013
Knitting Peace
Every so often I come across a trailer for a circus show and know that there is no question, I simply must see it. This is one of those shows...
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!
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.
Wednesday, July 11, 2012
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.
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
MCC 2012 - Carrousel et Corde à Linge
Due to the frustrating limitations of the circus passport, I was unable to see LEO tonight and had to see Carrousel et Corde à Linge instead. As it turns out, I couldn't have hoped for a better stroke of luck!
Created by Îles-de-la-Madeleine company Vague de Cirque, Carrousel et Corde à Linge is two hours of circus that will not only make you smile, but is bound to impress even the toughest of circus critics. This show packs some seriously big circus into a seriously small space. The result is an intimate evening that guarantees that the audience is right in the heart of the action.
This show is silly. It is delightfully, wonderfully silly. And what makes their silliness so wonderful is that it isn't forced. No one is playing the buffoon. The absurdity comes from within and so even the most 'serious' of characters will still leave you laughing. It's a remarkable balance that leaves the audience completely under the artists' silly spell.
Where to begin? Part of me wants to ramble on like a five-year-old and mention every captivating detail. But the rest of me really wants you to have a chance to see the show yourself, so I don't want to give away all the surprises.
I can say this though, the cast is impressive. I've learned that the show came together in only two weeks! And one artist was only integrated into the show yesterday! That recent integration can be felt, however. While the rest of the troupe appears on stage as one, this new addition seems to come out of nowhere and disappear just as quickly, making you wonder what she's doing there at all. Not that she isn't skilled. There's just more serious integration work that needs to be done. Aside from that and a few first performance kinks, the show was a smash.
I particularly liked Yohann Trépanier's character. What could have been your clichéed nerdy clown quickly became my coup de coeur. And this boy is skilled. Aside from a duo juggling act (the weirdest, most ridiculous juggling act I have ever seen, and loved), and a hat juggling act, not to mention all the group stuff, Yohann managed to do a technically impressive acrobatic bicycle act on a stage that was only 16 feet in diameter! For those who aren't in the know, usually the double is required for such an act!
Pauline Bonnani won me over with her absurd character and impressive acrobatic skills. We all know I love to see a woman represent when it comes to acro, and Pauline did just that. Banquine, acro solo, and teeterboard flyer, she left no doubt that she was there to execute some serious skills. And her character... her character! Forget the girly girl, or the bitch. Pauline's character wasn't a tomboy, but wasn't trying to be terribly feminine either. It seemed like an endearing if not socially awkward girl just trying to do some backflips, damnit. And it was awesome.
Holding the show together was comedic character Raymond Raymondson, created and portrayed by artist Gregory Lackovic. Let me tell you, it is very easy to have too much of a clown. It is very easy to wish that the clown would just get off stage already and let the acrobats do their job. In fact, I would say it's very easy to hate the clown. But you would be hard pressed to feel anything but enchantment with Gregory Lackovic. Not only is character really funny and absolutely solid, but he brings a much needed maturity and obvious experience to the entire show. You could feel that that maturity has rubbed off on the other artists and the entire production is better for it.
Vague de Cirque was a wonderful discovery for me and the perfect way to kick off the festival. I really look forward to seeing more from them in the future, and I highly recommend you see them while you can!
Carrousel et Corde à Linge runs in their chapiteau next to the Tohu on Saturday July 7th at 16h and 19h, as well as Sunday July 8th at 19h.
After that, you'll have to make a trip to the Magdalen islands. Which really doesn't sound all that bad if you ask me.
As for LEO? I'm seeing it tomorrow.
Stay tuned for more MCC coverage!
Created by Îles-de-la-Madeleine company Vague de Cirque, Carrousel et Corde à Linge is two hours of circus that will not only make you smile, but is bound to impress even the toughest of circus critics. This show packs some seriously big circus into a seriously small space. The result is an intimate evening that guarantees that the audience is right in the heart of the action.
This show is silly. It is delightfully, wonderfully silly. And what makes their silliness so wonderful is that it isn't forced. No one is playing the buffoon. The absurdity comes from within and so even the most 'serious' of characters will still leave you laughing. It's a remarkable balance that leaves the audience completely under the artists' silly spell.
Where to begin? Part of me wants to ramble on like a five-year-old and mention every captivating detail. But the rest of me really wants you to have a chance to see the show yourself, so I don't want to give away all the surprises.
I can say this though, the cast is impressive. I've learned that the show came together in only two weeks! And one artist was only integrated into the show yesterday! That recent integration can be felt, however. While the rest of the troupe appears on stage as one, this new addition seems to come out of nowhere and disappear just as quickly, making you wonder what she's doing there at all. Not that she isn't skilled. There's just more serious integration work that needs to be done. Aside from that and a few first performance kinks, the show was a smash.
I particularly liked Yohann Trépanier's character. What could have been your clichéed nerdy clown quickly became my coup de coeur. And this boy is skilled. Aside from a duo juggling act (the weirdest, most ridiculous juggling act I have ever seen, and loved), and a hat juggling act, not to mention all the group stuff, Yohann managed to do a technically impressive acrobatic bicycle act on a stage that was only 16 feet in diameter! For those who aren't in the know, usually the double is required for such an act!
Pauline Bonnani won me over with her absurd character and impressive acrobatic skills. We all know I love to see a woman represent when it comes to acro, and Pauline did just that. Banquine, acro solo, and teeterboard flyer, she left no doubt that she was there to execute some serious skills. And her character... her character! Forget the girly girl, or the bitch. Pauline's character wasn't a tomboy, but wasn't trying to be terribly feminine either. It seemed like an endearing if not socially awkward girl just trying to do some backflips, damnit. And it was awesome.
Holding the show together was comedic character Raymond Raymondson, created and portrayed by artist Gregory Lackovic. Let me tell you, it is very easy to have too much of a clown. It is very easy to wish that the clown would just get off stage already and let the acrobats do their job. In fact, I would say it's very easy to hate the clown. But you would be hard pressed to feel anything but enchantment with Gregory Lackovic. Not only is character really funny and absolutely solid, but he brings a much needed maturity and obvious experience to the entire show. You could feel that that maturity has rubbed off on the other artists and the entire production is better for it.
Vague de Cirque was a wonderful discovery for me and the perfect way to kick off the festival. I really look forward to seeing more from them in the future, and I highly recommend you see them while you can!
Carrousel et Corde à Linge runs in their chapiteau next to the Tohu on Saturday July 7th at 16h and 19h, as well as Sunday July 8th at 19h.
After that, you'll have to make a trip to the Magdalen islands. Which really doesn't sound all that bad if you ask me.
As for LEO? I'm seeing it tomorrow.
Stay tuned for more MCC coverage!
Thursday, July 5, 2012
MCC Parade
Last night marked the opening of the Festival Montréal Complètement Cirque. Now I was all about heading down to Place Emilie-Gamelin to watch the opening parade, but after an exhausting day that ended in absolute panic and a tear-filled break down (thanks, France!) I decided not to go.
Lucky for you, the folks at Montreal in Pictures did go and have the pics to prove it.
The picture below is my favourite, but you can find the rest here.
Lucky for you, the folks at Montreal in Pictures did go and have the pics to prove it.
The picture below is my favourite, but you can find the rest here.
Photo by Martin of Montreal in Pictures
Sunday, June 17, 2012
Arlette Gruss
It turns out that we weren't the only circus in town when performing in Strasbourg. We shared the city with famed French circus, Arlette Gruss. It was pretty funny, actually. At the tram stop directly across from our Big Top was a poster for their show... oops. As luck would have it, we were dark one of the nights they were performing and so D and I went out to see the show. This was a little over a month ago, so bear with me if this seems a little jumpy.
Now I don't have too much experience with traditional shows, so in a lot of ways, I wasn't entirely sure what to expect. Would it be like the show in Hungary, or would it be full out trad?
The answer was in the first act.
There was netting all around the ring before the show even started so you could kind of tell the first act would involve the big cats. So I found it pretty strange when the lights started flashing and the show was announced only to immediately go to black to do the final installation for the cat act that was already obviously the first act. Weird.
As an artist that has only done more contemporary shows, I was amazed at how indiscreet the technicians were. No effort was made to hide any of the manipulations. Not even the poop sweeps. Though I suppose what they lose in discretion they make up for in speed. Also, poop sweeps?
All in all, the acts were quite good. There were far too many animal acts for my taste, though. Tigers, elephants, liberty horses, another horse act, a dog act, probably some more that I'm forgetting. While I do enjoy some animal acts, I must admit, I prefer seeing people do incredible feats.
The swinging trapezist was particularly good. He opened his act with full twist catch heels. Full twist catch heels! Outstanding! The handbalancer was also lovely. And there was a duo straps act, but not like the kind in Varekai. This was actually more of a static hand-to-hand act performed really high in the air. You know this move? Okay, imagine that, but the porter is holding himself in splits in the straps. And the two of them are a good 25m off the ground. They were awesome.
And who can resist the wheel of death?
And for the first time in my entire life, I saw a motorcycle cage! It was insane. Insane! They started off as
three and when two more cyclists came out you just had to ask "How will they all fit?" And that's when three more cyclists showed up! Now that's edge of your seat entertainment. But I really must ask, how do you even start doing that? Let alone find seven other guys to do it with you? And I cant' even begin to imagine the level of trust and concentration that you must have to perform such an act. Hats off, boys!
Definitely a fun and interesting experience, but once all was said and done, the show was far too long (almost three hours!) and a bit lacking in human performers.
Now I don't have too much experience with traditional shows, so in a lot of ways, I wasn't entirely sure what to expect. Would it be like the show in Hungary, or would it be full out trad?
The answer was in the first act.
There was netting all around the ring before the show even started so you could kind of tell the first act would involve the big cats. So I found it pretty strange when the lights started flashing and the show was announced only to immediately go to black to do the final installation for the cat act that was already obviously the first act. Weird.
As an artist that has only done more contemporary shows, I was amazed at how indiscreet the technicians were. No effort was made to hide any of the manipulations. Not even the poop sweeps. Though I suppose what they lose in discretion they make up for in speed. Also, poop sweeps?
All in all, the acts were quite good. There were far too many animal acts for my taste, though. Tigers, elephants, liberty horses, another horse act, a dog act, probably some more that I'm forgetting. While I do enjoy some animal acts, I must admit, I prefer seeing people do incredible feats.
The swinging trapezist was particularly good. He opened his act with full twist catch heels. Full twist catch heels! Outstanding! The handbalancer was also lovely. And there was a duo straps act, but not like the kind in Varekai. This was actually more of a static hand-to-hand act performed really high in the air. You know this move? Okay, imagine that, but the porter is holding himself in splits in the straps. And the two of them are a good 25m off the ground. They were awesome.
And who can resist the wheel of death?
And for the first time in my entire life, I saw a motorcycle cage! It was insane. Insane! They started off as
three and when two more cyclists came out you just had to ask "How will they all fit?" And that's when three more cyclists showed up! Now that's edge of your seat entertainment. But I really must ask, how do you even start doing that? Let alone find seven other guys to do it with you? And I cant' even begin to imagine the level of trust and concentration that you must have to perform such an act. Hats off, boys!
Definitely a fun and interesting experience, but once all was said and done, the show was far too long (almost three hours!) and a bit lacking in human performers.
Friday, May 11, 2012
Your Passport to the Circus!
Ladies and gentlemen, if you're anything like me, you'll be in Montreal this July to take advantage of all that the Festival Montreal Completement Cirque has to offer. And if, like me, your budget means being more selective than you would like when it comes to which shows you're going to see, do I have some exciting news for you!
New this year to the festival is the Passport Completement Accro! For $100 you can have your very own circus passport allowing you to see every single show!
That's 10 shows for $100! And considering the least expensive shows have an admission of $25, and others having the least expensive seats available at $35, that's a pretty sweet deal!
There are restrictions of course. Your magical pass means seats in the cheapest sections, but frankly, those are the seats I would have purchased anyway. And Amaluna, while part of the festival, is not part of this deal. I was also hoping it meant that I could see shows more than once (I would like to see both nights of Impro Cirque) but the passport allows only one entry per show.
The Passport Completment Accro is available only at La Vitrine.
New this year to the festival is the Passport Completement Accro! For $100 you can have your very own circus passport allowing you to see every single show!
That's 10 shows for $100! And considering the least expensive shows have an admission of $25, and others having the least expensive seats available at $35, that's a pretty sweet deal!
There are restrictions of course. Your magical pass means seats in the cheapest sections, but frankly, those are the seats I would have purchased anyway. And Amaluna, while part of the festival, is not part of this deal. I was also hoping it meant that I could see shows more than once (I would like to see both nights of Impro Cirque) but the passport allows only one entry per show.
The Passport Completment Accro is available only at La Vitrine.
Wednesday, May 9, 2012
The Program
I just finished a 15 hour day and I am beyond pooped. But this year's line-up for Montreal Completement Cirque was announced today, and that warrants immediate attention.
I mostly just skimmed through the names of the shows and recognized very few of this year's fare. Whether that's good or bad remains to be seen and I will have to look into what will be playing a little more closely in the following days.
But....
BUT.
There is one show that most definitely got a reaction out of me when I saw they'll be coming. I literally gasped and covered my face. Gasped and covered my face!
Race Horse Company is coming, and they will be performing Petit Mal.
I have been dying to see this show since I first saw the promo video of it a couple of years ago. It looks utterly brilliant and I am so, so, so excited that it's finally coming to me!
Check out the video and get excited, people! Race Horse Company is coming!
I mostly just skimmed through the names of the shows and recognized very few of this year's fare. Whether that's good or bad remains to be seen and I will have to look into what will be playing a little more closely in the following days.
But....
BUT.
There is one show that most definitely got a reaction out of me when I saw they'll be coming. I literally gasped and covered my face. Gasped and covered my face!
Race Horse Company is coming, and they will be performing Petit Mal.
I have been dying to see this show since I first saw the promo video of it a couple of years ago. It looks utterly brilliant and I am so, so, so excited that it's finally coming to me!
Check out the video and get excited, people! Race Horse Company is coming!
Monday, April 30, 2012
Wallmans
During my latest travels through Europe I had the wonderful opportunity of seeing a dinner variete in Copenhagen. I've been to a number of different variete theatres in Germany, from the very traditional to the more contemporary. But I've never been to a variete in Scandinavia, and certainly never to see a show that lasted 4 1/2 hours.
And inside? Well... Let's just say that if you're going to spend 4 1/2 hours at a show, things could be worse.
If ever you're in Copenhagen and feel like treating yourself, I say go to Wallamans! And if you feel like treating yourself in general, go to Copenhagen. It's a great city.
That's right, 4 1/2 hours. Wallmans is a dinner show and between each number a different course of the meal is served. And seeing as I opted out of the 120 euro meal (though I could have had the special 'friend rate' of only 60 euro) it made for a rather long evening. Lucky for me, the show was a lot of fun! But before I get to that, I want to talk a little about the space.
Wallmans Copenhagen is located in a permanent circus space (Cirkusbygningen) built between 1885 and 1886 next to the Tivoli amusement park. It was inaugurated on May 8th 1886 by the king of German circus, Ernst Jakob Renz. In March of 1914 a considerable amount of the circus was destroyed by fire, and in 1988 it was declared a protected historic site. [source]
Inside you can still see many of the attributes of its glory days of circus. The main storage area is the former stables and I'm told that there is a passage way in the floor leading to the basement where the sea lions were kept!
And inside? Well... Let's just say that if you're going to spend 4 1/2 hours at a show, things could be worse.
The show currently being performed is called Biz. The main focus of the show is music with a bit of dance and circus thrown in for good measure. But with six singers (three men, three women) it's pretty clear who the main stars are.
I have to say I was very pleasantly surprised by Biz. As I mentioned earlier, I've seen a lot of varietes, but Wallamans seemed to have a level of professionalism that was truly above and beyond. Why beyond? Of course everyone in the cast was excellent and clearly there was a lot of money invested in the decor and costumes. But it was the attention to detail and creativity that really got me. I feel like many shows of this nature are meant to be popular and don't really try anything too daring or innovative. But Biz? There was a burlesque scene complete with ostrich plume fans. A scene that seemed a Mad Hatter's tea party meets love story, meets the mending of a broken heart (beautiful). Then there was the tribute to Nirvana with kids in detention smashing desks. And of course the hommage to hit movie musicals of days gone by. Tie it all together with the men singing Lady Gaga, and a mash up of the Beatles done in the style of the Supremes (the Beatelles, and surprisingly amazing) and you have one hell of a show.
The immensely talented Kimmo Hietanen
And if all that isn't enough, the theatre goes the extra mile in making the audience feel special by having the artists visit tables between numbers, and announcing birthdays and anniversaries.
If ever you're in Copenhagen and feel like treating yourself, I say go to Wallamans! And if you feel like treating yourself in general, go to Copenhagen. It's a great city.
I have no idea what this means, but you've
got it Copenhagen!
Wednesday, April 25, 2012
iD - The Circus Goes to the City
During my last stay in Paris I had the good fortune to see Cirque Eloize's latest show, iD. It's difficult to know where to start with a show like iD. Following Nomade, Rain, and Nebbia, iD really does come as kind of a slap in the face. And I mean that in a good way.
I had come to expect a certain esthetic from Eloize, especially after the aforementioned shows. Seeing as the last three shows are considered a trilogy (the Sky Trilogy), it comes as a bit of a shock to see something so different. But I must say, I have nothing but respect for Eloize when it comes to iD. While the overall Universe of the show may not be my up of tea (more on that in a moment), the fact that Eloize dared to do something so radically different from a formula that has proven to be quite profitable, seems almost unheard of. I can think of a number of companies, the one I work for included, that seem to simply repackage the same show time and time again. It was a risk, and I applaud them for taking it. That being said, I didn't really care for the show. Not because it was bad, it just wasn't really to my taste.
iD is a very urban show. The decor is quite basic and elaborate lighting projections are used to create the different environments. The effect is really cool, though sometimes a little over the top. During the juggling act, for example, many bouncing balls are projected on to the decor and it's a little too much to take in. And I really do question the choice of having the weird voyage through space during the cyr wheel act.
The pacing is great and the audience is never bored. Like most Eloize shows that I've seen, there is an impressive amount of circus. Yes, the story is a bit thin, but the show still manages to create an emotional connection with the audience. And frankly, sometimes it's just really good to see a circus show where the focus is on circus and not artistic bits of fluff.
While I may not have cared for the overall feel of the show, there are many, many great moments. The relationship between the contortionist and the B-boy, the straps act that plays like a street fight between an aerialist and an acrobat, and the duet of tissu and rollerblader come to mind. And it was great to see some disciplines that don't get much attention, like BMX.
There were some parts that were hard to buy into. The artists in the show aren't all that credible as being 'street', not that I could do any better. There were a few acts that were a bit on the weak side (hoop, cyr wheel), and considering how important a role hip-hop dance plays in the show, I was surprised by how sloppy the dancing was. It didn't hit hard enough for me and seemed a little tired. Which may well have been the case.
The show did leave me with a few questions. There are some characters that simply disappear for extended periods of time. The hand to hand porter was in the first number of the show and didn't reappear until after intermission! And I really would have liked to see more women on stage. I don't recall exactly as I saw the show a month ago, but I think it was something like four women and ten men. Where did these people go? Why aren't there more women?
Finally, no review of this show would be complete without mention of the trampo-wall act. Hot. Damn. It is worth seeing this show simply for that number.
There's the main wall, two walls on either side, a middle wall that crosses the trampoline mid-way through the act, plus platforms that appear and disappear throughout. The act is fast paced and fun, impressive, and just plain dazzling.
iD may not be my favourite show, but if urban is more your style than poetic nostalgia, or if you want to see something a little different, then I'd definitely recommend seeing this show.
I had come to expect a certain esthetic from Eloize, especially after the aforementioned shows. Seeing as the last three shows are considered a trilogy (the Sky Trilogy), it comes as a bit of a shock to see something so different. But I must say, I have nothing but respect for Eloize when it comes to iD. While the overall Universe of the show may not be my up of tea (more on that in a moment), the fact that Eloize dared to do something so radically different from a formula that has proven to be quite profitable, seems almost unheard of. I can think of a number of companies, the one I work for included, that seem to simply repackage the same show time and time again. It was a risk, and I applaud them for taking it. That being said, I didn't really care for the show. Not because it was bad, it just wasn't really to my taste.
iD is a very urban show. The decor is quite basic and elaborate lighting projections are used to create the different environments. The effect is really cool, though sometimes a little over the top. During the juggling act, for example, many bouncing balls are projected on to the decor and it's a little too much to take in. And I really do question the choice of having the weird voyage through space during the cyr wheel act.
The pacing is great and the audience is never bored. Like most Eloize shows that I've seen, there is an impressive amount of circus. Yes, the story is a bit thin, but the show still manages to create an emotional connection with the audience. And frankly, sometimes it's just really good to see a circus show where the focus is on circus and not artistic bits of fluff.
While I may not have cared for the overall feel of the show, there are many, many great moments. The relationship between the contortionist and the B-boy, the straps act that plays like a street fight between an aerialist and an acrobat, and the duet of tissu and rollerblader come to mind. And it was great to see some disciplines that don't get much attention, like BMX.
There were some parts that were hard to buy into. The artists in the show aren't all that credible as being 'street', not that I could do any better. There were a few acts that were a bit on the weak side (hoop, cyr wheel), and considering how important a role hip-hop dance plays in the show, I was surprised by how sloppy the dancing was. It didn't hit hard enough for me and seemed a little tired. Which may well have been the case.
The show did leave me with a few questions. There are some characters that simply disappear for extended periods of time. The hand to hand porter was in the first number of the show and didn't reappear until after intermission! And I really would have liked to see more women on stage. I don't recall exactly as I saw the show a month ago, but I think it was something like four women and ten men. Where did these people go? Why aren't there more women?
Finally, no review of this show would be complete without mention of the trampo-wall act. Hot. Damn. It is worth seeing this show simply for that number.
There's the main wall, two walls on either side, a middle wall that crosses the trampoline mid-way through the act, plus platforms that appear and disappear throughout. The act is fast paced and fun, impressive, and just plain dazzling.
iD may not be my favourite show, but if urban is more your style than poetic nostalgia, or if you want to see something a little different, then I'd definitely recommend seeing this show.
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