Airborn babies, wine violins and an unusual linen basket – discover the world of Felicity Hesed’s Cara Vita: A Clown Concerto, which has its European premiere at VAULT Festival in February. Check out the production images, then book your tickets.
Cara Vita: A Clown Concerto, which explores the joys, sorrows, and hilarity of contemporary adulthood through music, circus and magic, will be seen in Europe for the first time this February as part of VAULT Festival. Book your tickets now.
If your day is lacking a little awe, take a look at these production images from Flight Paths. The gallery of images depicting the show which fuses circus with narrative, music and the performers’ personal stories is awesome. Explore the gallery then book your tickets for this touring show!
You would probably expect to find crash mats, silks and a host of technical-looking people in the rehearsal room for new show Flight Paths, which combines aerial performance, music, narrative and creative audio description, but a very cute dozing dog? Take a look at what went on in the creation of the show in our gallery
Aerial, music, narrative and creative audio description will combine in Flight Paths, the new production from Yellow Earth and Extant that embarks on a UK tour this spring. The ground-breaking production features a cast of four blind performers weaving together their own stories.
Playing cards, hidden predictions, juggling balls and knives all make an appearance and, during a cups and balls routine, I find myself laughing along with everyone else as the hilariously bamboozled audience participant.
Opening this year’s CircusFest, Pirates of the Carabina’s Relentless Unstoppable Human Machine offers gentle delights at the Roundhouse.
I’ve been thinking a lot lately about the sensuous experience of watching a circus show, and how reviews – coming generally from a theatrical tradition – usually privilege the conceptual meaning of a production over the sensational meanings written through our physiological responses. This is an attempt not to do that!
In August it all kicks off, the 70th anniversary of Edinburgh Festival Fringe. For three weeks, Scotland’s capital, welcomes an explosion of creative energy from around the globe.
Each critic will see a minimum of 15 performances within their specialist area, and their responses may include traditional written reviews, blogs, vlogs, podcasts, tweets and visual responses. Last year, over 400 reviews were produced by 19 participating critics, as well as additional social media content and reportage.
When it comes down to it, children are pretty shit at most stuff. As adults, especially as relatives, we sit through their talent shows, their sports games or their music recitals as they scratch away at the violin, miss an open goal or belt out Ariana Grande (even though the backing track is for a Taylor Swift song).
From caravans in little greens and fields, Velasquez figures emerge into the hastily erected big Top in silks and plackets, ruffs and feathers and frilled pantaloons and cloth-of-gold cloaks: more Renaissance costumes than you’ll see in a week of modern Stratford.
Originally from Quebec, Flip FabriQue deliver Attrape Moi; meaning Catch Me; in London as part of an international tour to Tenerife, Edinburgh, the USA and Quebec Canada. For seventy-five minutes, performers Christophe Hamel, Bruno Gagnon, Hugo Ouellet Côté, Jérémie Arsenault, Camila Comin and Yann Leblanc, showcase a range of skills that are, (if a little tenuously at times), threaded together by a loose theme of travelling with friends.
Last time I saw circus mixed with flapper era razzle-dazzle and golden-age Hollywood themes, it was in the Broadway musical debut of Cirque Du Soleil, Paramour. Now, Gostinitsa – the outstanding new show from Moscow State Circus – takes the same glamorous aesthetic but eschews attempts at plot, setting its high-skill acts within the comings and goings of a fantasy hotel.
Short and sweet, this half hour lunchtime show feeds feisty and giggly kiddies with a banquet of characters performing a range of tricks. A bearded ring master charms a female acrobat snake out of a trunk, and two musicians run around in monkey and pyjama costumes as their underage audience scream and shout at them.
It’s Not Yet Midnight is devised to highlight the success of collaboration and the danger of trying to accomplish everything solo. Working together, the acrobats build towers four people tall; they somersault and flip and vault high into the air knowing that their fellow performers are waiting to catch them as they fall back down to earth.
The world premiere of SOHO – a thrill ride of circus, street and theatre performance, re-creating the exciting, edgy and voyeuristic world of London’s Soho – created by rock’n’roll global powerhouse Stufish, opens at West End’s Peacock Theatre from 6 to 20 May 2017.
Outside it’s damp, and dark by 5pm, making the coloured lights and vibrant temptations inside the Gandey’s tent even more enticing. This is a traditional show (sans animals, as is the current fashion) and, after passing through the foyer tent with its hot and cold concessions stand, my first thrill comes from heading down the blue canvas corridor, sides crossed with bunting, to emerge into the main arena filled with feel-good modern pop music.
The half-term holidays signal the return of John Lawson’s Circus to the West Hagley garden centre and, this year, I’m off work so I get to visit. I am expecting a show for children with the hour-long running time – to fit in three shows a day – and am pleased to discover that this doesn’t mean a half-hearted entertainment as it sometimes can.
Assembly Hall, Edinburgh Festival Fringe; 9th August 2015 Even without the projected dictionary definitions that start the show, it’s understood that the 360 of the title is all about revolutions of a circular sense; within a very short while, it’s also clear that this Australian show revolutionises the traditional circus form for a youth culture of today, […]
- Page 1 of 2