There can be no greater feeling than that of loving someone and being loved back. However, sometimes that gift can also be a curse. In the The Carnival of Lost Souls, ill-fated love and the afterlife are explored through the blending of circus and musical theatre. Performed in the Melba Spiegeltent, the show tell the story of a gypsy fortune teller and a giddy clown who despite being meant to be together, are destined to be apart.
A late 1800s carnival ambience is immediately established through Jason Bovaird's effective lighting design and Clockwork Butterfly's highly detailed Victorian Gothic and Steampunk costumes. As such, the acts themselves retain a simplicity in style and are more about showcasing the skill of the performers rather than distracting you with the razzle-dazzle of a large-scale circus.
It's interesting how much uncomfortable conversation sex and nudity can create and how people can easily feel confronted by seeing a breast or a penis. So when you're watching a performance art piece in which the dancers are nude for the entire show, it can lead to some awkward moments. However, Mette Ingvarsten is well aware of this fact and in 7 Pleasures she immediately knocks down the obvious issue before the performance has even begun, or before anyone in the audience is given a chance to realise it has begun.
Ingarsten's work explores the pleasure - and the pain - the body can provide and the difficulty in being able to enjoy one's own body when faced with constriction and conflict. The set design for 7 Pleasures is simple and familiar, a living room with a few chairs, a table, coffee table and a pot plant. Its familiarity is what sets you at ease...except for the giant sculpture of naked bodies forming in a back corner.
When choreographer Wayne McGregor, composer Jamie XX, and visual artist Olafur Eliasson come together for a new contemporary dance production, expectations are high. Taking inspiration from Jonathan Safran Foer's 2010 book, Tree of Codes, this production of the same name is a stunning collaboration of movement, lighting, sound, and stage design.
Interestingly, Foer's book was inspired by another book, Bruno Schulz's The Street of Crocodiles, a collection of short stories of a merchant family in a small town. Schulz story is full of metaphors, mythology and a blurring of fantasy and reality, and for his book, Foer cut out a large number of words and sentences from Schulz's stories and re-arranged them to form new stories and ideas. Even the title itself is made up of the letters from Schulz's book title.
Not many people think about 65 year-olds having an active sex life. Even Hollywood films rarely have characters of that age talking about sex, and when it does happen, it's usually emphasised for comedic value. However, in All The Sex I've Ever Had, Mammalian Diving Reflex and director Darren O'Donnell bring six people over the age of 65 together and have them share their memories from their birth right up until the present day - to a roomful of strangers.
All The Sex I've Ever Had has toured around the world and what makes this a unique experience is that it is always performed by locals to that area, so each season is going to be completely different as the stories shared are based on the performers' own life. The structure is simple enough with the six cast - Beatrix, Brenda, Lionel, Noel, Philip and Suzie - sitting behind a table, and as our 20 year-old MC and sound designer, Moses Carr announces each year through a microphone, they share with us important moments of their lives. The fact that we are able to get a real picture of who these people are through a few sentences for each year is a testament to the collaborative efforts between the creative team and the performers in threading six narratives together that are engaging and meaningful to the audience.
Just when you think you've seen all that is possible in circus, along comes Backbone (by Adelaide company Gravity and Other Myths) that makes you think again. Presented as part of the Melbourne Festival, this show examines the need of strength and support from those around us, and a need to be able to come together as a unified front if we are to ever succeed in life wonderfully represented through some mind-boggling acrobatics.
There's a strong ritualistic aesthetic in Backbone as the performers pour buckets of sand early in the show onto the stage in varying patterns. They begin to move left to right across the floor in a repetitive rite of passage while executing captivating twists, flips, balances, jumps and turns
that I've never witnessed before. These bodies are doing things that
should be physically impossible and it's baffling as to how they keep
their energy and momentum going for the entire 75 minutes.
The strength, teamwork, flexibility and trust that lies within this troupe (Martin Schreiber, Lachlan Binns, Jascha Boyce, Jacob Randell, Lewie West, Lewis Rankin, Joanne Curry, Mieke Lizotte, Lachlan Harper, Jackson Manson) is clearly evident, as bodies are thrown from one side of the stage and caught on the other and three person human towers are constructed. Boyce's hypnotic suit and rock act has her fixing her sight out towards the audience, remaining expressionless throughout her act so even as she stands precariously on the shoulders of one performer and being passed to another, her eyes stay locked and she remains calm, knowing everything will go according to plan.
It's interesting how much uncomfortable conversation sex and nudity can create and how people can easily feel confronted by seeing a breast or a penis. So when you're watching a performance art piece in which the dancers are nude for the entire show, it can lead to some awkward moments. However, Mette Ingvarsten is well aware of this fact and in 7 Pleasures she immediately knocks down the obvious issue before the performance has even begun, or before anyone in the audience is given a chance to realise it has begun.
When choreographer Wayne McGregor, composer Jamie XX, and visual artist Olafur Eliasson come together for a new contemporary dance production, expectations are high. Taking inspiration from Jonathan Safran Foer's 2010 book, Tree of Codes, this production of the same name is a stunning collaboration of movement, lighting, sound, and stage design.
Not many people think about 65 year-olds having an active sex life. Even Hollywood films rarely have characters of that age talking about sex, and when it does happen, it's usually emphasised for comedic value. However, in All The Sex I've Ever Had, Mammalian Diving Reflex and director Darren O'Donnell bring six people over the age of 65 together and have them share their memories from their birth right up until the present day - to a roomful of strangers.
Just when you think you've seen all that is possible in circus, along comes Backbone (by Adelaide company Gravity and Other Myths) that makes you think again. Presented as part of the Melbourne Festival, this show examines the need of strength and support from those around us, and a need to be able to come together as a unified front if we are to ever succeed in life wonderfully represented through some mind-boggling acrobatics.