No clapping, we were instructed, should interrupt the flow of the performance at the Royal Festival Hall, obscuring the music from the London Philharmonic Orchestra, BBC Singers and conductor Edward Gardner – Circa’s game collaborators. This, it was made clear, wasn’t circus in any traditional sense; it was art. Thing is, I’m not sure that’s true.
Circa’s acrobats perform with the London Philharmonic Orchestra (Photo: Pete Woodhead)There may not have been a lion tamer or a big top, but this was good old-fashioned entertainment – trading physical feats for heart-pounding pay-off. Circa’s acrobats are endlessly skilful and strong, but as a conversation with Ravel’s two expressive scores they had little to say.
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There were visual nods to themes – the endless sensuous permutation of two partnered human bodies, male rivalry and dominance in Daphnis, disintegrating structures and collapse in La Valse – but they lasted little longer than the contortions that conveyed them. By the end, we were left wrung out by nervous tension, thrilled by daring and extremity, but emotionally under-nourished, maybe even longing for a pirate or two.
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