We sat down with Yaron Lifschitz, director of Australian contemporary circus company Circa ahead of the UK Premiere of Duck Pond, their reimagining of Swan Lake opening this Christmas at Royal Festival Hall.
How does it feel to have Duck Pond premiering here in the UK?
Amazing! Royal Festival Hall at Southbank Centre is an iconic space and London is a great cultural capital. So, bringing the UK premiere of Duck Pond is thrilling. What an opportunity to show this beautiful, exciting vision! And for the season we are making the show bigger, shinier and better than ever before. We can’t wait to share Duck Pond with London audiences and are excited to be working with the Roast and Southbank Centre team to bring this show to life.
What do you hope audiences here will take away from it? Is there a particular message you want people to receive?
This is an exuberant show full of joy, amazing skills and sumptuous textures. It is fun, moving and engaging. As its core it is a tale of identity and becoming – an ugly duckling becomes a swan, people search for their true loves and true selves. And of course, everyone needs an army of ducks to cheer them up!
Can you tell us a bit about the journey of Duck Pond – how did the idea come about?
I’m particularly interested in fairy tale myths that have resonance today. I started to look at Swan Lake, perhaps the greatest romantic ballet of all time. And I thought about it in relation to the story of The Ugly Duckling. I came up with the idea of a swan who is cursed to be a human, or conversely a human who is cursed to be a swan, who thinks it’s a duck. Those two stories seem to be tales of identity, of discovery and of self-knowledge, all with resonance. And I wondered what might happen if we put them together?
At the same time, I’m interested in how circus can read, interrogate and reinvigorate the canon. Grappling musically with the work of composer, Tchaikovsky, with the performance tradition of classical ballet and the fairy tale traditions of Hans Christian Andersen seemed to me to be resonant and timely. I wanted to do something that was unashamedly glossy and beautiful. Our recent work has been physically muscular in body and a little bit gritty and tough. I thought it would be nice to scrub up for a while!
Were there any specific challenges you faced during the making of the show?
Learning how to reference the grace, line, beauty and poise of ballet and trying to abstract that into circus has been challenging and also enlivening. A few years ago, I did an opera in Lyon in France which is based in tango, but we didn’t dance any tango we just abstracted the moves. In this production we worked with a ballet dramaturg to pull apart some of the codes and figures of ballet and help us figure out how to infuse our acrobatics with its essence.
The one thing I said was that there would be no mocking ballet, there is a tiny flash of some aspiring ballerinas in the back end but mostly this is a very respectful and exuberant take on Swan Lake.
Do you have a favourite scene in the show?
It’s like asking if I have a favourite child! They are all wonderful if often messy and occasionally challenging!
What advice would you give to anyone aspiring to be a circus performer?
Train, train, train and embrace culture – read books, see plays, watch movies listen to music. Be open to the world. And train.
A whimsical yet moving portrait of a life away from home.
In the bustling auditorium of Jacksons Lane theatre in Highgate, amidst the gentle hubbub of the waiting audience, Tom Gaskin stepped casually to the front of the seats and began to very slowly ‘post’ a letter through a mail slot held up by a willing audience member. The audience quietened as if a switch had flipped; even before he took the stage, Gaskin had captured the attention of the room. In Filibuster, a new work by the circus company Kook Ensemble, Gaskin stars as Bertie, who flees to an isolated cottage to escape a rapidly-encroaching war.
The set seems simple as the show begins, with white fabric thrown over a few indistinct shapes, and a scattered paper design marking a plain black background. However, it quickly becomes clear that there is more than meets the eye here, as the set itself reveals an impressive array of secrets. The bulk of the action takes place in Bertie’s cottage, which is filled with suitcases; these are a convenient way to store the show’s various props, but they also paint a picture of a displaced life lived out of bags and cases. As well-off as Bertie seems in his cottage hideaway, he is still fleeing a war which has driven him away from his home and into this retreat. Gaskin’s performance is underscored by the show’s playful and absorbing sound design. As the show begins, insistent strings are overlaid with the sounds of trains, boats, and cars to bring Bertie on his long journey to the cottage. As he experiences the highs and lows of isolation, from dancing exuberantly as he cleans the cottage to dejectedly listening to the ticking clock, the music helps change the tone on a dime.
As Bertie tries to settle into this new and uncertain home, he toys with the idea of dating, and comes to terms with a (creatively puppeted) butler who can be, in Bertie’s opinion, overly familiar. Several of these scenes bring audience members onstage to fill in for various supporting characters, and these interactions lead to some of the show’s most delightfully playful moments. Gaskin also shows off some truly impressive juggling skills in the show’s lighter scenes, engaging the audience with an almost cabaret-like flair. The heart of the piece, however, lies in Gaskin’s full physical commitment to storytelling. This show was designed as an homage to iconic silent movie stars such as Buster Keaton and Charlie Chaplin, and Gaskin brings a fresh and modern energy to this style while still evoking the classic aesthetic of the twenties. He embodies each emotion right to the tips of his fingers and toes, creating visually captivating physical theatre. As foolish and flawed as Bertie can be, audiences will still be rooting for him as they’re swept up in this whimsical adventure.
Filibuster’s current UK tour will end with a performance in Sheffield on 9 November.
We sat down with Sean Kempton and Michaela O’Connor, co-founders of Kook Ensemble. A newly formed company whose founders bring decades of international circus experience, including with Cirque du Soleil who Sean still collaborates with.
What inspired you to start Kook Ensemble?
Sean: Michaela and I have been creating work for over 20 years in many types of settings. Both as creative directors, choreographers and comedic designers. We have built work in spiegeltents, outdoors, traditional theatres and any other setting you can imagine. All this time we had been developing our own creative process and understanding the type of contemporary circus we would like to create. It has taken a while for us to fully develop how we work with artists to draw out the emotional response and fully integrate a story world into the physicality of circus. It felt like now was the time that we should lump all our work under one banner and present the work and stories we wished to tell. Whilst we still work for others at times, Kook Ensemble allows us to keep the control of our creative vison and an opportunity for us to get back home to North Devon and find a place to create work.
Filibuster is inspired by silent movie legends like Charlie Chaplin and Buster Keaton. How did the idea come about, and what do you love most about silent movie comedy?
Sean: Filibuster has been mulling in Tom and my head for a while. Tom Gaskin (who is the co-creator and performer of the show) approached me a few years ago to build a solo show for himself. He wanted to create about a person who has isolated himself and to conquer his boredom creates joyful diversions.
It was clear from early on that we both had similar reference points for the show from Buster Keaton to P.G.Woodhouse. This combined with Toms extraordinary period look and amazing physicality led us to the romantic poets and the early 20th century. We investigated why he isolated himself and began looking at the build-up to the first world war, it seemed to us there were many similarities to today’s world and the pressures that young people are facing. This seemed the perfect tapestry to land our world.
When I was growing up, I would race home as BBC two would show Harold Lloyd and Laurel and Hardy movies. This led me to Buster Keaton who I think is an acrobatic clown master. The fact that the world around him is constantly trying to defeat him is a fun set up. His dead pan reactions and strong physical approach was a great template for Filibuster. Comedy was also filmed differently, much less cut aways and just letting the action play out. The games were often very clear and simple, you see the set up ,the development (the make it worse make it worse) and some sort of conclusion. Beautifully clean simple and clear
Your second show, Sand, deals with themes like dementia and coastal erosion. Why did you choose these subjects for a circus show?
Sean: Over the past few years I’ve been working a lot with people living with dementia. Mostly through performing with the brilliant Vamos Theatre company, where they were going into care homes. Then during covid for the London Mime Festival I co devised Love Through Double Glazing with Rachel Savage, Vamos artistic director. It was performed outside care home windows. It was a challenge of keeping the audience fully engaged and playful even through a physical barrier. The experience was both profoundly moving and completely joyful in equal parts. There was something so immediate in what they were doing and a beautiful connection to the people to whom they were playing. There is also a book called “Creating Moments of Joy” by Jolene Blakley which sat with us. It is a tough world to dig into but the moments and pockets of clarity and joy that people have seemed like it would sit perfectly into our circus world.
Michaela: As we are in beautiful North Devon and very much a coastal environment, dementia and coastal erosion seem perfect partners for an emotional and physical exploration. We are interested in taking physical and emotional references to weave our images and stories into an acrobatic world. It is important to us to have a strong starting point in which to explore the circus form. Our research from this informed our creative practice and has begun to build some new and exciting ways to look at manipulation and acrobatic storytelling.
How do you balance humour and serious themes in your performances?
Michaela: We believe that they are very similar dance partners and sit comfortably side by side. Often the humour will come out of an honest situation and the audience recognise the fragility of the moment or the human failing. All we have to do is make sure it is believable, play with the rhythm and musicality of the moment. The humour in “Filibuster” and “Sand” are quite different in tone but the approach is the same. We don’t pull the punches on where the character is emotionally going and the humour pops out. Having worked as clowns for many years we can dance that fine line and trust to find the right balance.
You’ve worked internationally with Cirque du Soleil and many others. How do those experiences influence the work you do with Kook Ensemble?
Michaela: One thing that sticks with us is a comment Franco Dragone said to us when working on a big budget show. We would present something and he would wait in silence and then through a microphone in the dark ask, “Was that worth $180 (the cost of a ticket). No? Come back again then.” So we aim to make every aspect of what we do be worth at least $180 to the audience from every aspect of a show no matter what the budget.
The repetition of doing so many shows allowed us to understand who we were as makers and performers and how to joyfully fail and rebuild work. It also gave us the privilege to work with some extraordinary artists and creators from whom we could watch learn and develop.
Kook Ensemble opens rehearsals to the local community. Can you tell us more about that and why it’s important to you?
Sean: This initially came from us discovering the viewing area at the National theatre. There is a windowed area and gantry around the side where you can view the workshop and sets being built. It seemed such a clear way to demystify the secret rehearsal world.
Where we rehearse in Ilfracombe it has wrap around windows and doors. So last summer we opened up everything and put posters up describing what we were doing. It was such a positive experience. We had people sitting in all day, kids coming in, chatting and giving some of the best feedback we could have imagined. It was a direct connection to the local community who would normally never engage with performance.
What do you hope people will take away from watching a Kook Ensemble show?
Sean: That they felt ‘held’. By this we mean the wonderful magic where the audience can fully immerse into a theatrical experience. We want the audience to come away smiling with tears in their eyes and excited about going to watch another live performance.
“Show Pony” by the collective still hungry highlights the impressive skills of three circus performers as they push back against the industry’s ageism.
What happens when circus performers hit middle age?
This is the question posed by “Show Pony”, the new circus focused show from the collective still hungry. Hailing from Berlin, the collective consists of Romy Seibt, Anke van Engelshoevn and Lena Ries, three women who are beyond the ages that the industry deems fit to remain performing and they are having none of it.
A dissection of circus practises and the industry itself, the audience is taken through the stages and rules of a typical circus show, demonstrating that even though they may be older but they can still do all of the tricks just as much as anyone younger. The injustices of the industry are plain to see in the demonstration of the fact that they are performing at Edinburgh Fringe.
Gravity defying rope acts, spinning on straps and contortionist bending all encompass the skills of each performer. But the show takes on its own stride once the trio delve into their childhoods and what brought them into the world of circus, presenting the audience with a fresh insight into this world. However, it does leave us wanting more to better understand the injustices of the circus industry.
Overall, the piece could have benefited from a tighter vision, as the pace of it did tend to drag across its runtime. It would have been great to see a further sense of satire of the circus industry too, as the sense of rage against it could have been expressed through the medium it is attempting to critique.
Still hungry’s “Show Pony” relents against the trio’s labelling as merely objects to tossed away and use the impressive skill and power of their bodies to do so.
Seatbelts ready for juggling like you’ve never seen before
In the cavernous Assembly Roxy, Wes Peden brought a juggling spectacle to life. Based on an childhood love of rollercoasters, and their pretzel shapes, we were presented with an hour of energetic movement and extraordinary skill in his ultra-modern pop-punk homage.
Beginning with a soundtrack of mechanical clanking depicting the creation of the rollercoasters and their tracks, Peden used his fluid and balletic movements to knit himself into various positions with a long transparent tube, sending balls spiralling around his body.
An automated-ish voiceover introduces the theme of the show, and reoccurred to excellent effect throughout – adding warmth and depth to the show, including a well timed tribute to computer game Rollercoaster Tycoon.
As the show progressed, more and more props were unveiled, to join him and his three huge blue inflatable structures, emblematic of the swooping rollercoaster tracks. These ranged from hoops, to juggling clubs, spinning plates, smoke machine, and rather sensational control of his own body too.
Such was his mastery, it seemed at times the air was thicker around him – placing his various objects into the air, at his willing and only coming coming out of orbit around him if strictly permitted. If a ball had been left suspended in air, defying gravity, I wouldn’t have been surprised.
The frenetic energy of the “Seatbelt” section is a comical example purportedly why performers sometimes need a back-up plan if things don’t go their way. A carefully choreographed routine oscillating between the ‘success’ cymbal, and ‘failure’ disco light, and the clear delight of the performer, had the audience entranced.
For the juggling newbie, dismiss all your preconceived ideas about what this show will be about – this one surpasses anything you have seen before. Surging miles beyond the typical circus-like entertainment, this unforgettable spectacle resulted in a well deserved standing ovation.
A tender, thrilling and thought-provoking show. Prepare to be amazed!
This liquid-like performance comes from Canada’s Agathe and Adrien, a charming double act that intertwines acrobatics, story-telling and gasp-inducing moments.The topic: gender norms. The challenge: changing perspectives. The pair take us on a journey to dismantle societal archetypes and in the process, place us in awe as we watch them tumble, fly and land gracefully upon one another. There is a poetic softness throughout the show which is touching, poignant and highly skilled.
Agathe and Adrien swap roles throughout which shows us no matter what size you may be, or gender- there is nothing stopping you from achieving whatever you seek. A woman can be tough and strong, just in the same way a man can be soft and vulnerable. When speaking to the pair, Adrien declared he too likes to be cradled. This is important for us to acknowledge. We live in a society that places strict rules on gender, how we perceive them and what roles we should fit into. This show gracefully turns that on its head, encourages us to break free from these social norms and see how life can be whatever you choose, regardless of your gender.
You can catch this magnificent show at the Assembly Roxy, Upstairs on these dates: Aug 2-6, 8-13, 15-20, 22-25. It’s not one to miss!
An explosive celebration of West African culture and Afro-Jazz music
Daring acrobatics and soulful afro jazz fusion sounds Illustrate the daily life in Guinea. For a brief 90 mins we are transported from the South Bank Centre’s Queen Elizabeth hall to the streets of Guinea to witness the bustling lives of fisherman, market workers and construction workers in an energetic circus display of strength and joy. Cirque Kalabante is a west African circus company created by Yamoussa Bangoura who choreographs and designs their shows, This show marks their first time in London, and it is not to be missed.
The set design created a subtle nod to a village setting but the performers were always at the forefront leading the show. There was never a dull moment on stage as the musicians played continuously and became a part of the set; their composition and rhythms played throughout the performance so that even the brief moments of silence during transitions felt musical. The performers created a truly immersive experience by using their instruments as part of the set and building tall structures with their drums to perform acrobatics from.
A highlight of the show is the effortlessness of the musicians playing Afro-jazz and traditional music. The Kora, a traditional west African instrument, became a main character as its angelic sounds accompanied singing and created standout moments between the tricks and stunts.
This show feels as if each night will bring its own unique moments as audience interaction is encouraged and we are taught lyrics and chants to join in with the show at the moments of excitement and high tension when the acrobatics and contortionists perform the impossible. We are truly kept on the edges of our seat as anything can and will happen.
Each of the performers create their own individual clown characters and show off in front of the audience wearing bright colours and traditional West African patterns. Expect the unexpected as at any moment someone will flip across the stage. There is no limit to the imagination of these performers and what they can use to create magic on stage, not only are we mesmerised by gymnastics, acrobatics and contortionists but each stunt exists within a narrative and the energy of the show continuously builds to an explosive finish.
Do we still feel the land? Do we hear its history and spirit?
Your work Of The Land On Which We Meet explores contemporary Australia’s relationship to history, land, and spirit – What excites you about bringing the show to Scottish audiences for the Edinburgh Festival Fringe this summer?
The show sees 3 people who, by no real choice of their own, need to navigate a pretty complicated landscape – the actions of their ancestors and the tension that affects their lives. I think this is not just an Australian challenge, but a global one. The First Nations experience is thought to be very particular and individual – which it is in many ways – but it’s also pretty universal.
And that’s what we tried to capture in this show. Indigenous culture is not stagnant and we want to share modern culture and demonstrate its quality and value. Alongside this, the Australian Voice Referendum had global coverage, yet the impacts and implications didn’t and don’t get the same coverage. We wanted to share how this too has impacted the Australian context overall.
The show is a three-hander that communicates through three distinctly personal stories. How has this structure helped you to form the piece and what sort of story can audiences expect performers Johnny Brown, Bridie Hooper, and Manuela Kaydo-Nitis to tell?
The show begins in a very personal place: we get to hear stories from each performer’s past. Stories about their relationship to Country or defining moments from the places they grew up. From there the monologues shift to more present observations on the current context.
This is an intentional structural choice to first ground us in the individuals and show how their connection and history with the land has shaped them. It is essential to remind us that all people have a history and emotional connection to a place, before unpacking the more complex questions we face.
Na Djinang Circus’ work is known to be visually stunning. If you could describe the visuals of this performance in five words, how would you?
Earthy and bold in simple forms. We wanted to find an aesthetic that connected to the show’s themes, so we based it around industrial mining and used copper and metallic colours.
Circus is often thought of as a fairly accessible artform. What is it about this medium that translates to such wide audiences?
The reason for this is the lack of text to form the storytelling. Circus instead uses body language and connection between people, which makes it accessible across all cultures. Ironically, in Of The Land On Which We Meet, the reverse is true. Our work intentionally has text to help translate the Australian context clearly so audiences can decipher the circus.
The show discusses how we can become disconnected in our modern lives. How did you find your own personal connection when creating the piece?
I’m not sure we did. That’s one of the driving factors in making this show. The making process of this show reminds watchers that to belong is a core human need – to belong is just another way of saying to be connected to something. When you understand that you and everyone around you is just trying to do that, you can see people more clearly.
A testament to the transformative potential of artistic expression.
Transforming a novel from 1891 that challenged the sexual norms of late Victorian England while focusing on rural lower classes and addressing issues like privilege, class, poverty, agency, female desire, solidarity, and the necessity for non-industrialized agriculture is no small feat. By shifting the narrative to a female-led perspective and infusing circus elements to capture the physical essence of the story, Ockham’s Razor Tess emerges as a remarkable fusion of literature and circus artistry. It transcends the boundaries of conventional storytelling mediums, offering a sensory experience that parallels the depth of the original novel.
Through a masterful choreography that rivals the descriptive prose of the novel, audiences are drawn into an emotional journey that resonates long after the dazzling displays of skill and strength on stage. The creative vision of Tina Bicât’s set design, Aideen Malone’s lighting, and Daniel Denton’s video design breathes life into Wessex, crafting an atmospheric and dynamic backdrop that accentuates the power and resilience of the female body.
The ensemble cast, led by Macadie Amoroso, Joshua Frazer, Lauren Jamieson, Lila Naruse, Victoria Skillen, Leah Wallings, and Nat Whittingham, delivers performances that are mesmerizing in their adaptability and coherence. The doble act performing Tess Durbeyfield (Macadie Amoroso and Lila Naruse) embodied brilliantly both the physical hardships and the unwavering spirit of the character, while maintaining a crisp narrative voice that directly engages the audience.
Ockham’s Razor Tess is not merely a retelling of a classic novel—it is a testament to the transformative potential of artistic expression.
Ockham’s Razor’s production of Thomas Hardy’s canon sheds light on British new circus
What is new about new circus? This question is worthy asking when London, the birthplace of modern circus in the late 18th century, witnesses its own declination of circus art for decades. Are Cirque du Soleil and De La Guarda new? Hardly. They are definitely more glamorous and exotic, but they contribute little to the UK’s circus community, which has searched for its own identity for quite a while. Although it seems still quite impossible to get an absolute answer, Ockham’s Razor pioneers to explore. Directed by Alex Harvey and Charlotte Mooney, this production of Tess, with a performing ensemble of seven, denotes infinite potential of how new circus may find its own way. It is a production where circus ignites its chemistry with dance, physical theatre, devising theatre and of course, Thomas Hardy. In this production, many of the “traditional” spectacles of circus are hidden, but instead, seamlessly incorporated into the tragic story of Tess Durbeyfield, an innocent girl and noble-minded soul. It feasts our eyes as well as our hearts.
Tess is a story full of restless motion where people are always on the move from one place to another. This dynamism has been frequently reflected in the production, as the ensemble manoeuvres wooden planks aloft to represent symbolic pathways for the characters’ journeys. Such restlessness not only predicts Tess’s destiny, but also showcases exceptional acrobatic prowess and physical vigour of the cast. Lila Naruse embodies a pure, innocent Tess faithful to Hardy’s original story. A notable instance is her ethereal and sublime Spanish web to illustrate Tess’s hanging – a scene not described in the book, but beautifully incorporates the poignant moments in Stonehenge. As Naruse ascends, the background projection presents a serene picture full of starlight, the natural world’s solemn, and timeless presence. This scene does capture the quality of tranquillity of the story, appearing as a stark contrast to its earlier restlessness and turmoil of Tess’s life, symbolising Tess’s rising up soul as unblemished.
Besides this “physical Tess”, the production also arranges a “narrator Tess” (Macadie Amoroso), although it feels slight against the rule of “mime” (as part of MimeLondon 2024). By providing the audience with a clear storyline, Amoroso also serves as a “chorus” both within and outside the narrative. She sometimes joins the ensemble, but most of the time, she addresses us directly, providing a perspective of empathy. Amoroso’s powerful yet trembling voice perfectly complements Tess’s inner fierceness, challenging her destiny and the system’s injustices, adding another dimension to Naruse’s portrayal of Tess as vulnerable, and self-sacrificing.
Joshua Frazer plays the role of Alec D’Urberville, the wealthy yet uneducated playboy who actually has no noble lineage. Frazer distinguishes himself through his adept handling of a giant, glittering golden hula-hoop, showing extraordinary acrobatic techniques with grace, agility and flexibility. He seamlessly integrates dance and acrobatics, showcasing what he can do with the hula-hoop the same way as Alec showcases his wealth and overwhelming supremacy over Tess. This Hula-hoop gradually traps Naruse’s Tess in the middle, indicating that Tess has no choice but become an entrapped bird of him.
Nat Whittingham delivers a compelling portrayal of Angel Clare, bewitching us with his solo dance when Angel has heard of Tess’s past, capturing Angel’s shock, disbelief, disappointment and aloofness. Lauren Jamieson (Marian/Joan Durbeyfield), Victoria Skillen(John Durbeyfield/Retty), and Leah Wallings (Izz) present an incredible trio of ensemble showing no inferior to men in terms of energy and stamina. As the dairymaids, they mark a strong bond of sisterhood and unwavering loyalty to Tess. They also infuse the performance with moments of laughter and humour, such as the scene of squeezing milk, where the cows are represented by big, empty brown woven bags. In the scene of crossing river and wooing Tess, a girl gives Tess a sudden kiss because Angel kisses her shortly before.
Nathan Johnson does a brilliant job by choreographing grand scenes such as the domestic life in the Durbeyfield family, the fighting scene at the Fowl Farm, and the last elopement of Tess and Angel. The production also presents a palpable sense of spontaneous devising other than a pre-cook, fixated conceptual agenda. The ensemble’s synergy is evident as they assist each other putting on clothes (hanging onstage as ropes) and assembling stage set with these Lego-like wood planks. The set design remains minimalist yet poetic, with a large fence positioned at the stage’s upper right corner serving multiple purposes, from the ensemble’s climbing up and down, to the climactic representation of Tess’s gallows.
The performance also features scenes that are profoundly emotional and seamlessly integrated with skilful acrobatics. For example, following Angel’s jilt of Tess, the ensemble quickly assembles a wooden balance beam that sways from side to side. Naruse steps onto it, symbolising Tess’s struggle to find balance in her life—as a jilted wife, the eldest Durbeyfield daughter, and the object of Alec’s lust. Later, Naruse walks bent over in slow motion, while the ensemble places the wooden planks on her back, piece by piece…until she burdens all the wooden planks that becomes her dire situation: Angel’s betrayal, her own shattered heart, father’s death, and the Durbeyfield family’s financial reality. Eventually, the weight becomes overwhelming, and the wooden planks collapse. Naruse falls onto the ground. In this moment, Tess is left with no other option but resign to her fate, reluctantly accepting Alec for a second time in her life.
Tess is a production of “ambition, resilience, bravery, struggle and determination”, quoted here by producer Alison King. It has denoted a pathway how and where new circus can strive and thrive. Yet, there’s room for more profound exploration. I envision a Tess with a more pronounced feminist ethos, one that could not only put circus into a theatre context, but also could transform the theatre into a space ripe for provocation and offence. For instance, the scene of Tess stabbing Alec feels too haste, without demonstrating Tess’s internal struggle and controversy. It would be great if Naruse and Amoroso could collaborate a duo to present Tess in a more complex light: vocally as a figure of interrogation and defiance, and physically as one of emotional depth and vulnerability.
Tess emerges as a pioneering endeavour attempting to redefine the boundaries of new circus, blending it with literary canon, dance and physical theatre by paying homage to Thomas Hardy. While it may not be flawless, it is indispensable in the history of British new circus, and it paves the way for infinite future potentiality with more diverse theatrical landscape.
