The overuse of certain words often only becomes clear when a situation that demands the truly appropriate use of said terminology occurs. Spectacular is one such word, and there have been few occasions that have called for its use more so than upon experiencing Spiegelworld’s circus/burlesque/comedy production, Empire.
Staged in a Spiegeltent atop Crown Casino, the show harks back to the raucous and casual cabaret circus shows of yesteryear, before theatre began its slow metamorphosis into an informal intellectual arena for the upper and middle classes. That’s not to say the show lacks intelligence; the stagecraft and playbill are screaming testimonies to the contrary. An anthology of exquisite contortionism and extreme grace, it’s a wonder that there’s enough oxygen held over for the audience to catch their breath once the stage has cleared.
Empire bucks the recent trend in international circus performances by refusing to stamp the piece with any semblance of narrative or theme. The only real message to be gleamed from the experience is that a combination of great talent, practice, craft, sound and lights can be damn entertaining. The tricks need no justification or, for the most part, proper introduction. It’s a show that speaks for itself, and has no trouble whatsoever in finding the courage to do so. Even the tent harks back to a bygone era, a heritage piece from Belgium with mirrors and velvet booths, and thankfully, small enough that even those in the back get a genuine sense of the action.
However, Empire is nothing if not a contemporary theatrical production. Infused with a delightfully crass, self-aware sense of humour and aided by a bar that’s kept open throughout the performance, the show has worked hard to earn its M rating. There’s even a sprinkle of full frontal nudity here and there to keep anyone not already satisfied by the parade of brawny shirtless men and svelte, scantily clad ladies satiated (save perhaps heterosexual males).
Most of the performances are stunning examples of pain-defying physical stunts packaged into tidy, high adrenaline vignettes, supported by throbbing beats and colourful lighting. Among the most memorable were the Addis Brothers, an Ethiopian duo with foot strength and precision balance to rival the biceps of championship boxers; roller-skating daredevils Deniis Petaev and Meriia Beisembetova, whose act could literally take out ten or more audience members were they to slip up; and Yasuaki Yoshikawa, who puts every hamster in a wheel and every playground roundabout to shame with his wheel-based antics. It would also be remiss not to mention the two MCs, husband and wife duo Oscar and Fanny, played with immaculate timing by Jonathan Taylor and Anne Goldmann, whose wily commentary and sexually-charged audience interactions steer the show into the highbrow side of the gutter where it belongs. However, perhaps the most beguiling act is that of ‘Stick Guy’ Memet Bilgin, whose act almost defies description.
This odd act is bemusing and a little sickening, but perhaps the greatest feat of Empire is that it manages to pull back from the brink of overkill at every turn. By the show’s end, all hats are primed for tipping not only to the incredible performers themselves, but the masterful direction of Terence O’Connell and world class producing that made the show happen.
Rating: 5 stars out of 5
Empire
Presented by Nine Live and Spiegelworld
Directed by Terence O’Connell & created by Ross Mollison
Featuring Elena Lev-Bakkar, Deniis Petaev & Meriia Beisembetova, Addis Brothers, Olga Pikhienko, Trio Bingo, Jonathan Taylor & Anne Goldmann, Memet Bilgin, Lena Hall, Ludvine Furnon & Nicolas Besnard, Yasuaki Yoshikawa and Miss Purple
Choreographed by John O’Connell
Sound design by Jamie Siegel
Lighting by Martin Kinnane
Crown Casino, Melbourne
14 March – 12 May
Spiegeltent, Brisbane
24 May – 8 June
