Leo

Leo involves one performer, Julian Schulz, and one simple improvisational motif – man enters room with briefcase and waits. The genius of the production lies in how he waits. In this case, using a charming piece of cinematic trickery possibly first introduced by Charlie Chaplin, he uses the floor of a three-sided room as if it is the wall. His actions are filmed by a camera set at a 90 degree angle, and simultaneously projected onto a giant screen so that we can also see his life size image looking and behaving as if he is standing and moving upright, although strangely attracted to one wall of the room. It sounds weird, and at first it is quite hilarious to watch.

Schultz is a wonderful athlete and I suspect dancer; his movements are simple and finely choreographed. The illusion on the screen is so perfect that our perception gradually shifts and the new reality takes over. So when the young man waiting for – who knows what? – absent-mindedly lifts both his feet, and realizes he is floating in mid-air, the break with reality is quite shocking for us, as well as for him.

There are a lot of acts around these days with their origins in circus techniques and acrobatics, but this one has more charm than most, without sacrificing skill. Schultz manages to make what he is doing seem effortless; his control and physical grace are quite astonishing.

The suitcase proves to be a cornucopia of useful objects, as well as the source of some wildly eclectic musical interludes, that provide opportunities for explorations in dance-based acrobatics. Some cute moves with chalk on the far wall lead to interactions with animated beasties, and a fairly predictable underwater sequence.

This is an ingenious performance, based on an original idea by Tobias Wegner and directed by the Montreal actor and director Daniel Brière. It has been performed in New York, Berlin, Montreal, London, Moscow, Sydney, and looks to have a grueling schedule of a world tour lined up for next year.