Duck Pond review | Princess Theatre

Circa return to Melbourne with Duck Pond, a reimagining that fuses two timeless tales, Swan Lake and The Ugly Duckling. In the former, a cursed princess trapped in a swan’s body finds love with a prince, only for deception and obsession to lead to tragedy. In the latter, an outcast mocked for his difference endures cruelty and loneliness before discovering he was a swan all along. These parallel narratives form the backbone of Duck Pond, a production that uses circus as both spectacle and storytelling.

Acrobatics are seamlessly integrated into the plot, with silk routines, lifts, throws, and balances doing as much narrative work as the text itself. Through its movement, the show connects Swan Lake and The Ugly Duckling around ideas of flight, vulnerability, and transformation. The tossing, jumping, carrying, and leaping are shaped by the journeys of the Black Swan and the Duckling rather than circus grandness for its own sake.

Jethro Woodward’s sound design and score play a crucial role in shaping the tone, naturally weaving motifs from Tchaikovsky’s Swan Lake into a contemporary, atmospheric soundscape. In one scene, a lullaby-like melody is paired with a sudden lighting shift by Alexander Berlage, enveloping the stage in a deep blue wash as a slow-motion pillow fight unfolds. It’s a beautifully executed sequence that instantly alter the mood and emotion of the piece. Director Yaron Lifschitz consistently demonstrates an ability to change the environment with precision, allowing the characters’ highs and lows to coexist harmoniously.

The performances are anchored by an exceptional ensemble, including instances of strong acrobatic pairings. Darby Sullivan and Jordan Twartz share a brief but striking duet, while Sophie Seccombe and Maya Davies are compelling as the Ugly Ducking / White Swan and Black Swan respectively, their physicality clearly differentiated and emotionally charged. Libby McDonnell’s costumes are aesthetically captivating with full-body white and black swan designs with varying degrees of sparkle and subtle variation. It is the duck outfits, however, that steal the show, with glittering visors, flippers, and exaggerated lower halves adding a cheeky dose of comedy.

Told in three acts, the second act concludes with a powerful, life-affirming finale, where lighting and music once again align perfectly to deliver a deeply satisfying resolution. Unfortunately, this impact is undermined by a perplexing third act that unleashes everything at the audience, including fourth wall breaks, slapstick antics, dismantling the stage, and performers removing their costumes. While a few tricks and gags land, the section ultimately feels messy and unnecessary, diminishing what would have been a far more electrifying ending had the production trusted the clarity of Act Two.

Duck Pond is a visually and physically adventurous reimagining of two classic tales, combining breathtaking acrobatics, inventive design, and moments of theatrical wonder. While the finale's chaotic energy undercuts the emotional resonance of Act Two, the creativity, humour, and daring feats captivates at every turn.

Venue: Princess Theatre, 163 Spring St, Melbourne
Season: Until 25 January | Thurs & Sat 7pm, Wed - Sun 2pm
Duration: 70 minutes
Tickets: $45 - $135
Bookings: Duck Pond Melbourne

Image credit: Daniel Boud