Dark Circus, Stereoptik for the Melbourne Festival, Beckett Theatre, Monday October 9th 2017
"Dark Circus" by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, on Monday October 9th 2017
"Dark Circus" by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, and we saw their final show on Monday October 9th 2017.
Sadly no programme was available to tell us about these master artists.
The two performers Romain Bermond and Jean-Baptiste Maillett stand either side of the stage with a projector projecting images onto a large white screen. Romain Bermond appears to be the painter while Jean-Baptiste Maillett appears to be the musician. We will be challenges as Romain Bermond begins drawing a scene of a circus tent at the back of a city to the musical accompaniment.
Gradually we are challenged that the pictures will be also made from sand and wiping away the sand to create shapes and give the picture's texture. Later the pictures will be animated. The equipment they use looks like an overhead projector - yet wait - there is more to what the eye tells us.
We are introduced to the ring master - who speaks to us and introduces each act. The shadow puppets become puppets with moving eyes and mouths. The puppet is turned over to occasionally become colour.
There are overhead lights that are turned on and off. Shadow puppets change from black and white to colour. There are at least two rollers that produce continuous moving scenery. One moves horizontally and the other vertically. One is colour and one is black and white. A drum is used to create more drawings with an aerialist. The aerialist flips between both artists as their pictures change.
The cannon ball man is blown out of the cannon and into outer space. Again the view switches between each of these artist's work spaces. While one produces some action, the other is preparing the next scene or shot of a scene. Such incredible mastery and timing as they produce a live show using some prepared materials and most of which is produced live.
A lion is revealed behind a cage, which are drawn lines for the cage. Then it transitions and is revealed as the strings of the guitar. This is such a magical transition. The Lion Tamer is later revealed the arm of the guitar. The Lion Tamer gets attacked by the lion. Yes it is dark - but it is innocent fun.
The horses are presented as shadows as they move across the screen. Another scene is drawn and a horse is drawn into the scene. Gradually the horse starts to move. How? It is animated into the scene as Romain Bermond continues to change the landscape. The horse does a circuit and is enclosed into the drawn lines of a fence. Gradually one side of the fence is wiped away and the horse "has bolted". Magical!
There is a knife throwing couple. Again the two artists prepare their pictures for the transitions between the scenes. The knife is thrown from one artist to another - as if cut-a-way shots from a film. We are witnessing editing live on stage with the flick of a switch or the adjustment of a lamp or the inclusion of a puppet.
There is the juggler with his balls. The ball changes to colour - a red ball.
A section looked as if Romain Bermond was painting with a clear substance that looked like glue. I was fascinated as he refilled his brush with the clear substance. He was meticulous and specific and accurate in his determination. I was intrigued, as were other audience members. Then he changed his brush to black and dropped a dollop of ink onto his clear drawing. Wow! The ink captured what I think was glue and created the image of a man as per 49 of the Melbourne Festival Brochure. This drew instant applause from the audience. This section was breathtakingly good. Sheer brilliance!
Gradually we are challenged that the pictures will be also made from sand and wiping away the sand to create shapes and give the picture's texture. Later the pictures will be animated. The equipment they use looks like an overhead projector - yet wait - there is more to what the eye tells us.
We are introduced to the ring master - who speaks to us and introduces each act. The shadow puppets become puppets with moving eyes and mouths. The puppet is turned over to occasionally become colour.
There are overhead lights that are turned on and off. Shadow puppets change from black and white to colour. There are at least two rollers that produce continuous moving scenery. One moves horizontally and the other vertically. One is colour and one is black and white. A drum is used to create more drawings with an aerialist. The aerialist flips between both artists as their pictures change.
The cannon ball man is blown out of the cannon and into outer space. Again the view switches between each of these artist's work spaces. While one produces some action, the other is preparing the next scene or shot of a scene. Such incredible mastery and timing as they produce a live show using some prepared materials and most of which is produced live.
A lion is revealed behind a cage, which are drawn lines for the cage. Then it transitions and is revealed as the strings of the guitar. This is such a magical transition. The Lion Tamer is later revealed the arm of the guitar. The Lion Tamer gets attacked by the lion. Yes it is dark - but it is innocent fun.
The horses are presented as shadows as they move across the screen. Another scene is drawn and a horse is drawn into the scene. Gradually the horse starts to move. How? It is animated into the scene as Romain Bermond continues to change the landscape. The horse does a circuit and is enclosed into the drawn lines of a fence. Gradually one side of the fence is wiped away and the horse "has bolted". Magical!
There is a knife throwing couple. Again the two artists prepare their pictures for the transitions between the scenes. The knife is thrown from one artist to another - as if cut-a-way shots from a film. We are witnessing editing live on stage with the flick of a switch or the adjustment of a lamp or the inclusion of a puppet.
There is the juggler with his balls. The ball changes to colour - a red ball.
A section looked as if Romain Bermond was painting with a clear substance that looked like glue. I was fascinated as he refilled his brush with the clear substance. He was meticulous and specific and accurate in his determination. I was intrigued, as were other audience members. Then he changed his brush to black and dropped a dollop of ink onto his clear drawing. Wow! The ink captured what I think was glue and created the image of a man as per 49 of the Melbourne Festival Brochure. This drew instant applause from the audience. This section was breathtakingly good. Sheer brilliance!
"Dark Circus" also included a section using water. A small tank was near the musical instruments on stage right. Jean-Baptiste Maillett begins to manipulate the water and we see swirling water on the screen to show it is real. Then he introduces an object and it appears to be a leg. We see mirror images as if reflections in the water. Jean-Baptiste Maillett was manipulating these images upside down due to the mirrored images. The images became split between both of the artists and it reminded me of the Victorian stereoscopes used at carnivals and side shows.
by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, and we saw their final show on Monday October 9th 2017.
The finale is a traditional circus parade - but it is as if all of the performers are in heaven or hell.
We finish with the red nose of a clown. Who has been fooled? Not the clown - but us - the audience by these talented magicians.
At first our attention was focused on the screen. Then, your focus is drawn to looking at each of the artists. Until eventually I tried to split my focus between the screen and each of the artists. Then I was trying to watch holistically. Then I was trying to flick my eyes between the screen and the artist. I did not want to miss any opportunity to be mesmerised.
Fifty five minutes was the perfect time for this show. It is better to leave an audience wanting more!
I would love to have seen a master class on how they performed such magical theatre.
The 2017 Melbourne Festival has a solid theme to challenge us with contemporary views on music, circus, vaudeville and burlesque in all of the shows that we have seen so far.
"Dark Circus" obtained a 9/10.
I rang up the Melbourne Festival and also posted the following onto my Facebook page:
"The Melbourne Festival Board and Jonathon Holloway should be "executed"! The Melbourne Festival Board should "EXECUTE" a new and extended contract for the brilliant Jonathon Holloway for creating such a wonderfully challenging and inspiring Melbourne Festival."
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