Carousel and Clothesline
Reviewed by Annie Waters
Dust swirls in the white lights; a girl hangs from a thick rope, clad in jeans and a simple top. She wraps the rope around herself once, twice – around her neck – the audience is silent in uneasy anticipation. She drops, spinning. The music jolts to a stop – she unravels herself and works her way back up the rope. Gasps and applause fill the tent.
The Little Big Top is the perfect setting for this quirky Canadian circus troupe. The sparse, no-frills tent compliments the homely feel that these acrobats give off; you could almost be forgiven for thinking that you’ve stumbled into a rehearsal space. With few props and very little use of lighting, the performers let the gymnastics speak for itself.
Reminiscent of an early 20th century travelling circus, the eight Vague de Cirque performers each have their own special skill and their own idiosyncratic personalities. From the tiny, muscled, moustachioed diva who is thrown around by men twice his size to the placid and unbelievably bendy contortionist, each performer has a strongly defined sense of character and purpose. The jaw-dropping trapeze finale enacts a love-story in two defined parts. The balance of trust and independence exhibited by the pair of performers is truly touching.
The music chosen throughout the show was impeccably matched to each act, enhancing the old-world feel of the show. The introductory sequence is performed to a Baroque-style lute; a corde lisse act is accompanied by a sultry 20s tune; a rollicking see-saw scene with huge flips and spins is set off by a Wild West piano roll number. Silence is also used to poignant effect, even if somewhat marred by the thumping music intruding from a nearby show.
This is a highly polished spectacle, whose members clearly have a great feel for comedy, atmosphere and tension. You will hold your sides laughing, hold your breath, hold back tears; but whatever you do, don’t hold out on seeing this show.
