By Karyn Lee Greig
Acting, character depth and narratives are specific developments of modern circus. In ‘Traditional circus’ (late 18th century to mid 20th century) the role of acting was minimal. When tents were huge, the only speech was usually the ‘booming announcements of the Ringmaster.’ (Wikipedia)
Then there was Nouveau Cirque – ‘Contemporary circus’ (1970s – 1990s) performers began using ‘character-driven movement to tell stories, borrowing from theatre and dance’. (Wikipedia) My experience of Cirque de Soleil however, does not concur with this. I still found it mostly reliant on the skills of the performers as well as the stagecraft and costumes. Speech and dialogue was not a big feature. Instead it relied on rather soulless music and gibberish, for global audiences, not needing translation.
Today we are more likely to see ‘Experimental circus’ (2000s – present) where acting is integrated into the performance. Acting is ‘built into the physical risk of the acrobatics’ (Wikipedia). The physical danger invites performers to show their real feelings and vulnerabilities about what they are doing on stage, in order to connect with the audience. This kind of acting has overtaken spectacle. Modern ensembles often use the spoken word to break the 4th wall and make social commentary, so the line is blurring between acrobatics and acting.
We certainly saw this in NICA’s inspired production of Behind the Veil by its 2nd-year students. Congratulations to Kate Fryer, the director. This is a beautifully crafted ensemble piece, which keeps us wanting more. This production indeed ‘celebrates circus not only as a display of exceptional skill, but as a human act of collaboration, resilience and resistance’. The piece addresses society’s idiosyncrasies in all its beauty and distortion.
This is aided by the stunning plaid, vaudeville-esque costumes by Reuben James. These are complemented by the superb sound/musical design by Christopher Lewis and the equally excellent lighting design by Eduard Ingles. Each scene is its own circus and sound world – sometimes rhythmic and other times melancholic but never predictable. Kate Fryer knows when not to have sound at all, by having various artists during the scene changes, comically interact with the audience.
Huge congratulations must go to the student artists themselves. All 15 of them leave their mark. The opening group scene of 8 on Chinese Poles superbly performed by Capri Palmer, Daniel Scrofani, Holly Muir, Tarnee Doye, Jaran Latona-Phasuk, Eliza Denlay, Lara Elliot and Imogen Smith is tightly choreographed with every move creating stunning patterns. Each of these students shine in their various feature pieces. As well, we enjoy the deft work by Elise Poulton on the rope and Kiera Fitzgerald on the Lyra (aerial hoop). James Wilson and Eliza Denlay work well regarding their acrobatic balancing feats. Kelsea Blackburn captivates as she contorts her way out of a large pile of paper rubbish. Shayla Ashton’s work on swinging pole and swinging trapeze with Kelsea Blackburn, is exhilarating. Nina Smith forms a great duo with Lara Elliot on the Cyr wheel. It is powerful and very funny moment of social commentary when they burst their inflated balloon breasts and buttocks, hidden under their costumes. Finally, Laiken Jackson’s stage presence as the central ‘clown’, with her diminutive physique, delightful facial expressions, mime skills and general sense of the ridiculous, is central.
The one thing I would hope to see in the future is that the whole ensemble would speak up when interacting with the audience, so their funny lines can be easily heard by all – an important aspect of acting generally.
Congratulations to the students and all involved in this lovely theatrical experience.
