Translated from French, the title of this production literally means either “Circus Lolly” or “Circus Good Good”, but is it really that sweet and delicious or so impressive that it deserves the adjectival repeat?
Its arrival in Melbourne follows a successful run in Brisbane. The troupe of contortionists, acrobats and dancers first started touring in 2021, performing in venues on Broadway, and in Las Vegas and London’s West End as well as on our own local shores. After learning that Cirque Bon Bon is the joint creation of former Cirque Du Soleil Assistant Creative Director Ash Jacks and choreographer Julieann Nuge, expectations were high.
The restricted stage arena of the Athenaeum precludes large-scale extravaganzas à la Cirque Du Soleil but the team of Cirque Bon Bon still manages to ply their art in the small space.
It’s led by a master of ceremonies who’s all leathered-up and bikie dressed, complete with fake moustache and faker French accent. Mario at first seems to be there simply to introduce the acts, but his skills extend beyond pleasantries. More of that later.
At an 80-minute run-time sans interval, the show quickly runs through its paces, offering us a selection of treats. The costumes are all glittery, the music is reconstituted pop songs and the lighting is as garish as you’d expect.
All the typical circus acts are showcased here: you have jugglers, aerial hoop contortionists, a hula hoop expert, a skating duo, an aerial strap and mouth hang performer (his poor dentist!) and even a quartet of dancers that, while not strictly circus, participate as a segue element between the acts.
Probably the most impressive performance is one that’s not often seen on the usual circuit: the seemingly rubber-limbed Shannen Michaela, who holds the Guinness world record for shooting an arrow the furthest distance … with her feet.
On opening night, gasps and groans of disbelief sighed through the crowd as everyone wondered how she could possibly manoeuvre her body into such unfeasible shapes and angles, let alone manipulate a crossbow so dextrously with her toes.
As with all circus professionals, feats of strength, agility, balance and endurance are shown with blazing smiles from each of the performers, their calm confidence belying the years of repetitive work it has taken to reach this level of mastery of form. You know they must be straining, sweating and hurting underneath the glamour, but nary a grimace is seen to spoil the illusion.
Back to Mario, the self-confessed tragic of the band Queen. Aside from the circus acts, he almost steals the show and probably deserves his own comedic spotlight outside Cirque Bon Bon. His extroverted antics involve a lot of audience participation, including on opening night my poor friend, who was unwittingly chosen and coerced on stage so she could see him strip to a short leotard at close quarters, before being hoisted on his shoulders as he attempted to ride a unicycle. Later, another victim was picked to play air guitar and sing karaoke. They later had a duel involving spitting bananas. It was as ridiculous and hilarious as it sounds.
Mario has charm and his exuberance quickly endeared him to the audience; the evening ended with everyone waving their phones in the air in a sing-a-long to ‘We are the Champions’.
So, with all that on offer, the night’s array of treats can indeed be said to be très bon. It’s a short-season run so if you’re after pure spectacle and fun, get to it.
Cirque Bon Bon will be performing until 13 July 2024 at the Athenaeum Theatre, Melbourne. Tickets: $59-$109
It will tour to Canberra Theatre Centre from 22-24 August 2024.
