DUCKPOND Circa The Playhouse, Canberra Theatre Centre.

Created by Yaron Lifschitz and the Circa ensemble.

Director & Stage Design: Yaron Lifschitz – Composer & Sound Design: Jethro Woodward

Costume Design: Libby McDonnell – Lighting Design: Alexander Berlage

Associate Director: Marty Evans – Dramaturg/Associate Choreographer: Rani Luther

Performed by: Oliver Layher, Tristan St John, Jordan Twartz, Harley Timmermans, Adam Strom, Darby Sullivan, Asha Colless, Anais Stewart, Clara Scudder-Davis, Maya Davies, Sophie Seccombe, Rose Symons.

The Playhouse, Canberra Theatre Centre September 18^th to 20^th 2025.

Opening night performance reviewed by BILL STEPHENS

There appears to be no limit to the imagination of Circa Director Yaron Lifschitz when devising creative ways of utilising acrobatics in his creations. Nor it seems in the supply of incredible acrobats willing to put their bodies on the line in extraordinary ways to interpret his ideas.

His forays into classical music include ground-breaking interpretations of Daphnis et Chloe, Beethoven 9, The Art of Fuge and Rite of Spring.  His re-interpretations of operas Orpheus and Eurydice and Dido and Aeneas have challenged opera lovers to rethink their response to these operas.  

This whimsical deconstruction of the most loved classical ballet in the repertoire shamelessly subverts both Tchaikovsky’s Swan Lake and Hans Christian Anderson’s The Ugly Duckling, together with a soupcon of burlesque and clowning, to create a hugely enjoyable entertainment that can be enjoyed equally by those with no knowledge of the source themes, as much as those familiar with both.  

In Lifschitz’s version, the principal characters are the Duckling, the Prince, the Black Swan and Cupid. However, although provided with the names of the 12 performers, there was sadly no identifying information to allow this reviewer to tell you who played which role.  

Apart from certain dot points, the plot bears little resemblance to either Tchaikovsky’s Swan Lake or Hans Christian Anderson’s The Ugly Duckling. Suffice to know that Cupid ensures that the prince falls in love with the Duckling who does indeed turn into a Swan. But surprisingly our Swan doesn’t end up with the prince, instead, the show ends with a surprise denouement which possibly wouldn’t have occurred to either Tchaikovsky or Anderson.

Lifschitz design has the stage surrounded by vertical strips which allow unobstructed entries and exits. Libby McDonald’s stylish costume design has the ensemble costumed in elegant, sparkly black velvet body suits, which are later replaced by similar outfits in white. Cupid wears Black and White wings, the Black Swan’s bodysuit is provocatively see-through, and the prince wears a crown and sparkly vest. The duckling is costumed in gold with a cute white tutu. Various elements are added and discarded depending on the requirements of the storytelling or the acrobatic feats.

Highlights include an energetic pillow-fight replete with flying feathers and much quacking; a delightful sequence referencing the dance of the cygnets from Swan Lake but with the cygnets replaced by ducklings wearing yellow clown pants, bejewelled flippers and carrying red mops, and an excruciating turn in which the Black Swan, wearing red stilettos, tramples over the body of her partner.

As expected of Circa’s productions, the acrobatic elements are spectacular, including stunning acrobatic duos, heart-stopping throws, three-high group pyramids, inventive routines on silks, cyr wheels and hula hoops.

Jethro Woodward’s sound design is peppered with tantalising references to Tchaikovsky’s Swan Lake, while Andrew Berlage’s lighting design ensures that no detail of the thrilling gymnastic feats is missed.

However, the biggest surprise occurs at the very end, when the cast, having portrayed the story and taken their well-earned bows, appear to rebel and begin to deconstruct the deconstruction.

To the bemusement of the audience, they proceed to dismantle the set, tear up the dance tarkett, strip off their costumes, revealing flesh-coloured undies, and perform acrobatics with various apparatus, climaxing with an eye-popping parade in which each performer is showcased posing cheekily in a wheeled costume trunk. Thereby providing a wickedly subversive ending to a memorably subversive creation.  

Created in 2023, Duckpond has already been seen internationally. It is currently enjoying another whip around Australia before heading off overseas again. Watch out for it when it comes your way.

                                                                  Images by Pia Johnson.

       This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au