CIRCONOLCLASM - NICA

Always in for a treat, NICA delivers an enjoyable romp with a message from its second-year student ensemble.

Directed by David Woods (Ridiculusmus Theatre Company, London), Circonoclasm is a sharp and fun take down of the sacredness of the arts space. In the National Australia Gallery, the artwork’s shelf life is brief as elastic thieves swing, bounce and flounce between the bored security guards. As the nation collectively yawns, bored by the art perhaps, or bored by the way in which it is displayed, the capable hands of thieves go to work.

“Not our fault” is repeated by a gussied-up Maya Davies, who in a transatlantic accent delivers a history of all the failed attempts to preserve past works. In Woods’ own words, the “deadpan physical theatre schtick” is the mode for which iconoclasm is explored by the students in this 70-minute performance. The messaging is clear: the arts has given way to excuses and corporate sponsorships, where art for art’s sake is preferred to quality. One could say we experience Circonoclasm as shtick for schtick’s sake, but I like that Woods has injected something deeper into the showcase of NICA’s talent.

The talent is indeed on display, which is a hard feat to pull off when you have a 23 strong ensemble with their own unique skill to showcase. We cycle through Seurat (with a magical nod to the circus), Michelangelo and Munch to name a few, as works of art come to life through the physical expression of the performers.

Dominating the performance is a series of heists that toy with physical boundaries, but the plot thickens (as does the humour) with enquiring characters, a dog-pigeon, and some fantastically mind-bending backtracking. In an attempt to uncover the architects of the heist, we are treated to a series of hysterical vignettes where the guards interrogate one another. Notable mentions to Dean Moran’s compelling relationship with an orange, and Harrison Sweeney’s great seduction.

Overall, I was enthralled with NICA’s talent and Woods’ vision.

Circonoclasm was performed at the National Institute of Circus Art. For more about NICA visit https://www.nica.com.au/

This review was first published for Theatre Press.

NICA'S COMPANY 18

I was lucky to bear witness to last year’s National Institute of Circus Arts (NICA) showcase, and the astonishing talent left me breathless. I am always absolutely thrilled by circus arts, so I was a little surprised to see that the focus this year became more of a variety show of occasionally awkward (albeit sometimes spot on) jokes from Jan Van De Stool, and a closing song by Queenie Van De Zandt that could rival Eurovision without the fire and lasers. What a pandemonium…

Aside from the variety elements, and the occasional focus on theatre over circus for some acts, I was still impressed with the talented group. These amazing circus artists are elite-level athletes with three years of training behind them. Company 18benefited from a new NICA initiative that provided individual artistic consultation sessions. Aside from the excellent networking opportunities this provided, Company 18 also had the benefit of discussing and honing their preferred skills with those at the top of their field.

The opening act of Jordan Hensley-Twartz performing diablo was certainly a jaw-dropping beginning. Hensley-Twartz’s ability and concentration was a very strong start to the night. It’s always difficult as the first act, as it sets the tone of the night – and on this occasion the bar was set high. As the night progressed, performers told stories through their bodies and choice of song. Notably, the joyous folk-hop as Hayley Mills circled the stage in her Roue Cyr was followed by a startling and dark performance by Ellen Henry on loop straps. I really began to enjoy the variety provided on the night.

As the night progressed, some real standouts emerged. Poppy Fairbairn and Zion Martyn were mesmerising with pointe adagio and risley. The choice of costumes by the pair and their play on the marionette made for incredible entertainment and a showcase of their skill. I could barely look when Fairbairn on one pointe balanced herself on Martyn. One would think the following act would struggle to keep up after such a crowd favourite, but Adam Malone absolutely smashed it with his hula hoop act. Malone’s blend of meditative dance and use of lighting made for an excellent alternate experience to the previous act.

For something a little different, the audience loved Shay Bowskill who had a large focus on comedy and physical theatre, which was less circus-focused. I was also delighted by Georgia Deguara on her aerial chair with the showgirl feel she injected as she performed to Rolling on a River.

Post-interval began with death-defying ferocity as Karla Scott tantalised on a swinging trapeze. I was delighted to see Elanor Nunn follow on tissu, which was absolutely gorgeous to watch; Nunn was able to stand between the soft materials in an incredible feat I did not think physically possible. This segment also brought something out of the ordinary in Zoë Marshall’s contortion carpet spinning. Marhshall’s performance was completely beautiful, and showcased both her poise and unique skill. Brooke Duckworth and Lyndon Johnson performed together in an endearing set of acrobatics, which they undertook with an ease that might tempt audiences to perform at home (don’t). An ethereal and powerful Emily Chilvers (on rope) and an elegant Liam Dummer (on straps) were in perfect form as they scaled incredible heights in their individual acts, representing in my opinion, circus excellence.

As Company 18 awkwardly smiled through the final sing-song, I have high hopes for next year’s talent, which given the excellence of NICA and its pupils, should remain more circus, and less variety show.

Images by Aaron Walker

NICA presents CIRCOSIS

Circosis is the coming together of the National Institute of Circus Arts (NICA) final-year students. It is a solo performance showcase for the students to perform their skills after three intense years of studying their art.

Director Kate Fryer assisted students in crafting their solo works and created a hospital/warehouse theme as a backdrop, where students donned doctors’ uniforms and shuttled pieces and props offstage. Interspersed amongst solo performances, the group would create vignettes that were telling of their own skills and stories, some humorous and others downright disturbing.

Due to the large number of graduating students now coming through NICA, Circosis was split into two separate groups labelled the Left Brain/Right Brain. I attended the opening night of the Left Brain, and had an absolutely fantastic night.

The solos opened with Nelson Smyles – a last name befitting the Port Macquarie native whose clowning with hoops suspended in air was charming and breathtaking. Watching Smyles effortlessly leap through the hoops before him as they playfully bounced and wiggled out of his way was a delightful start to the night. Following Smyles were two very differing acts; Phillip Island’s Harley Timmermans performed a powerful and fluid piece with aerial straps and Maya Tregonning hailing from Perth treated us to a rambunctious day in the life of a wild-animal circus trainer in some clowning that sent the audience into fits of laughter.

A more nostalgic work followed with New Zealand’s Emily Gorewho took us on a sentimental ride in using the rotating ring apparatus. Isaac Lawry’s energy was palpable, but almost at odds with the haunting blue lantern that swung from the ceiling, sending him diving perilously away from it. One thing was clear from some of these works, there were definite energies and experiences they were calling upon – loneliness, desperation to grasp joy, or escaping from some force. The final piece before interval was therefore the shock factor brought by Brisbane’s Ela Bartilomo, whose anti-fur campaign began as a fashion-model photo shoot suspended in air before a contortionist act with a grotesque twist.

Post-interval revealed acts that only continued to raise the bar. Canberra’s Elizabeth Jackson balanced herself with breathtaking strength upon the Chinese pole, recalling an almost proletkult theatre-style. Jack Wilde also hailing from Canberra delivered a glitzy number whilst flirting with the crowd balanced on a ladder. Ulladulla’s Luke Thomas followed in what was one of the standout performances of the night: an ethereal piece that saw him suspended in the air in circus tissue. Thomas’ work captured the concept of rising above circumstances beyond our control as he fluidly ascended the tissue and plastic bags fell from above him. Sutton’s Sandra Lee took us to an even darker space as she hand-balanced and contorted her body to a recording of performance artist Marina Abramović discussing her experience of the piece Rhythm O, where she allowed the audience to inflict pleasure and pain upon her body. Listening to Abramović’s recording was harrowing and distracted a little from Lee’s movements – but overall Lee’s performance was a marvelous show of elegance and physical strength.

The last two performances of the night were very much about showmanship. Ulladulla’s Riley McDonald’s performance on the swinging trapeze as he embodied a deranged seducer/madman was very tongue-in-cheek and risqué, while Melbourne’s Jessie McKibbin’s performance on the roue Cyr (Cyr wheel) was a beautiful finish for the evening, and one of the most memorable performances of the night. McKibbin managed a multitude of costume changes in the few minutes whilst controlling her Cyr with effortless grace.

To wind up the night the performers came together in their doctors’ uniforms for an exciting finale – capping off an incredible evening from the up-and-coming circus talent in Australia.