Papillon Unplugged.
Conceived and directed by Idris Stanton and Elena Kirschbaum. Le Petite Grande Spiegeltent. Petrie Plaza. Wintervention. Civic. July 13 – 22. 2018.
Reviewed by Peter Wilkins
Papillon Unplugged in the Le
Petite Grande Spiegeltent during Canberra’s Wintervention struggled to live up
to its marketing hype. By her own admission, co-director Elena Kirschbaum acknowledged that this version of the show, previously
seen in Canberra prior to the company’s international touring, is a pared down shadow of its original. On a
bitingly cold Canberra night, it was warm inside the small tent, but the show
could not hit the hots. This was not for want of trying. There were the
familiar acts, Amy Nightingale Olsen spinning a host of hoops thrown in from
the side of the miniscule stage by MC, Elle Bella; Kirschbaum’s strong woman
act with an axe over the unsuspecting Victpr from the audience, the petite war
head foot -tumbler, the juggling, the gymnastics and Peter Karmel ‘s naughty Blanc de Blanc inspired balloon
striptease. There was jazz singer,
Minnie Andrews with her soulful Billie Holiday Blues and a suggestive rude rendition
of Neck, Pussy, Crack and Back, apparently one to shock the older members of the audience .
For a show that promised “a spectacular and debaucherous buffet of circus, cabaret and comedy turning
typical circus on its head. “ Papillon
Unplugged fell short of the mark. The show opened with an apology and for
about fifty minutes four tentative performers strutted their stuff as though
they were at an audition for the National Institute of Circus Arts.
It was quickly apparent
that this company of performers was working against the odds. A small stage
cramped their style. Minnie’s recorded music was inaudible at times. Olsen’s hoops
went flying towards the front row.. And Karmel’s balloons blew around with a
will of their own. Outside in a sadly unlit Petrie Plaza, the night was cold
and dark, inviting audiences to keep away. Inside an appreciative and
sympathetic audience got into the spirit of the show, generously eager to
comply with the company’s requests for participation. This is an unpretentious
and unostentatious troupe, young performers, passionate about their art and
working hard to perfect their skills, but in an industry where audiences may be
familiar with Cirque de Soleil, Circus Oz, Blanc de Blanc and Briefs,
expectations run high, and compromise can be a dangerous companion.
Apology dampens the
spirit. It is pizzazz that sparks the creative fire. It is the magic ingedient
that transforms the ordinary into the extraordinary. This is the way the magic
works, not with a whimper but a bang. I have no doubt that these passionate
circus and cabaret performers in time and with a full company on a larger stage
with theatrical wizardry would have what it takes to thrill and delight the
audience. On a cold, dark and forbidding Canberra winter night, Papillon Unplugged was in need of a
director with an eye for talent, an instinct for excitement and a love of
showbiz sparkle and spangle.
Note: The photos included here are not from the current production. No programme was provided.
