Hold the thrills, this is thinking-person’s circus
Acrobats explore the meaning of humanity in Circa’s new show, directed by Yaron Lifschitz.
When Circa takes circus into unexpected realms, it is unbeatable. The company’s visionary leader, Yaron Lifschitz, directed a thrilling Orpheus and Eurydice for Opera Queensland in 2019, in which the Circa performers were inextricably woven into the staging. Their presence powerfully and memorably illuminated the onstage drama.
Perhaps even better was 2015’s Il Ritorno, inspired by Monteverdi’s 1639 opera Il ritorno d’Ulisse in patria, which delivered a heart-wrenching vision of dispossession and the struggle to return home, or find one.
Circus is seen in a new light in such contexts. It is not simply about thrills and the moment. It enlarges our view of life.
Physical strength, which is helpful in difficult circumstances, also evokes personal and moral courage. When one person stands on another’s shoulders and then pulls up a third, this is not just an awesome feat of balance but a meaningful image of co-operation, trust and the sense that when working with others, one can see more, metaphorically speaking, than when alone.
Humans 2.0, new from Circa this year, aspires to this kind of reflection. It’s described as exploring “what it means to be human”. It’s a big ask for a piece as stripped back as Humans 2.0, which falls between the stools of pure circus entertainment and ideas-driven theatre. At the end there are no particularly fresh insights into humanity to take away.
In its quest for meaning, Humans 2.0 deliberately keeps the temperature cool, presumably so the senses aren’t overwhelmed. An aerial solo on ropes is almost languid, for instance, and a section devoted to hand balancing becomes a group activity in placing and removing the apparatus.
The trapeze work is similarly low-key, and towers of people come and go, absorbed into the flow. Humans 2.0 lacks the exhilarating climaxes that are so available in circus as if to drive home that this is serious; that the wonderful men and women on stage are not just show-ponies.
Unfortunately, this makes Humans 2.0 just a bit dull, which is rare for a Circa show. The 10 performers do indeed do remarkable things but there’s little room for the audience to savour the moment, enjoy the high, and applaud the artistry.
The show’s 65 minutes seem to pass slowly, even with some welcome sonic and visual changes in mood from the hands of composer Ori Lichtik, lighting designer Paul Jackson and costume designer Libby McDonnell.
Still, if one Circa show doesn’t quite live up to expectations, there’s always another coming along soon. This is an astonishingly busy company and Lifschitz, who directs all the work, has eclectic tastes.
Next week, Circa opens Sacre in Wollongong in a world premiere billed as the first circus setting of Stravinsky’s Rite of Spring. Circa has previously used the music in other productions from 2018, one called Rite of Spring, but Sacre appears to be a longer, revised version with extra music by Philippe Bachman.
A new work for children, Shaun the Sheep’s Circus Show, opens in Brisbane in March, based on the beloved Aardman Animations characters.
And in yet a different vein, Sydney gets a second serve of Circa in February when Circa’s Peepshow, a piece from 2018, opens at the Sydney Opera House. It promises a blend of circus and cabaret with an emphasis on play and sensation. There will be hoops.
Uncomplicated fun, in other words. Sometimes it’s great when circus is just circus.
Tickets: $50-$65. Bookings: online. Duration: 65min, no interval. Ends January 21.
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