S – Circa

Overview

We’ve got such a strong, stereotypical sense of what 'circus' is: lion-tamers, ringmasters, and glitter galore. So coming to S with no previous experience of seeing Circa’s work, I’m blown away by the company’s approach — one that puts the spotlight on the sheer, immediate physicality of acrobatics by stripping away the trappings of the big top. What’s remarkable is that it manages to do all this without losing circus’ fundamental appeal. Far from closed off, emotionally short-circuited contemporary dance, the movement on show is joyous and often playful.

Loosely themed around the sinuous curves of the letter S, the work is scored by a combination of recorded music from Kimmo Pohjonen, Samuli Kosminen, and the Kronos Quartet, together with occasionally incorporating live amplification. As well as book-ending the show, the mics are used to foreground the effort and strain that the acrobatics place upon the performers’ bodies. In one sequence, Casey Douglas has microphones strapped to his chest and the inside of his mouth before being pummelled by Kimberley Rossi.

Although most of S is made up of scenes in which the entire ensemble perform together, director Yaron Lifschitz breaks up the action with these more intimate moments, either complete scenes as above or having some performers (especially Brittannie Portelli) find moments within the action to inject moments of play. The brave display of acrobatics on show wows the opening night audience, made up largely of Melbourne’s close-knit circus community.

Based in Brisbane, Circa were founded in 2006; since then they’ve toured in 29 countries, and at the beginning of this year they picked up the prestigious Sidney Myer Performing Arts Award. With a show like this, it's easy to see why.