DUCKPOND
Directed and designed by Yaron Lifschitz. Created by Yaron Lifschitz and the Circa ensemble. Composer and sound designer
Jethro Woodward. Costume Designer
Libby McDonnell. Lighting Designer Alexander
Berlage. Associate Director
Marty Evans. Dramaturg/Associate
Choreographer Rani Luther .
The Playhouse. Canberra Theatre Centre. September 18-20 2025.Bookings: 62752700
or canberratheatrecentre.com.au.
Reviewed by Peter Wilkins
The audience clapped, whistled,
cheered and stood in rousing ovation at the end of Circa’s performance of their breathtaking parody of Swan Lake. Duckpond is not a title that conjures images of balletic grace, acrobatic
precision or soaring feats of aerial elegance. And yet this is what Circa has
created in its cheeky reimagining of Tchaikovsky’s immortal ballet. Instead of
a princess to steal the prince’s heart we are presented with an ugly duckling
in Elizabethan pantaloon, hose and ruff. It is a liaison all too soon doomed to
failure. And yet it remains a tale of a broken dream until the duckling can
survive the tumbling rejection of the Corp de Swans in clinging black and
discover with feathered Cupid true love in the arms of the black swan. Sounds
crazy? It may be, but the entire daredevil performance by Circa is a tad crazy.
Instead of swans on points with
white tutus the stage explodes with acrobatic leaps, lifts, tosses and twirls.
The duckling must face obstacles to prove her worth in a struggle for survival.
She must endure being thrown across the stage into the arms of another or
hurled high onto the shoulders of another, standing on the shoulders of the
person on the floor. And then if that is not risky and scary enough her hope is
dashed as she falls through the airs into waiting arms. Trust was never
challenged to this degree.
The stage becomes a cascade of
tumbling bodies, somersaulting acrobatics and spinning cartwheels. Amidst the
aerial displays on a falling ribbon of cloth, the triad formations of balancing
bodies and the gasp-inducing perfectly timed physical feats of unbelievable
control Cupid provides a narrative thread to remind us of the duckling’s search
for true self and community. The percussive score tinkles at times like
swirling water or raindrops on the pond and then at the moment of acceptance
into the tribe, Tchaikovsky’s rich and deep music swells with portent. We are
reminded for a moment that Circa’s parody can still excite the sheer drama of
the search for self. It may be expressed through the astounding skill of
Circa’s brilliant ensemble but is still to be felt in the heart-stirring
danger of the circus.
A comedic highlight is the
ludicrously absurd parade of the ducks, dressed in oversized yellow dungaree
and sporting flippers and mops. Every circus has its clown but none that I have
seen has a Corp de Ducks to waddle their way in unison across the stage mopping
as they go. The sound of a young child’s laughter rang out in delight.
Like all good fairytales, Duckpond ends happily. Transformed,
black and white combine in loving harmony, but ruffled feathers are never far
away as a video of squabbling swans reminds us that every relationship will
have its trials and tribulations.
Transformation is the theme and
Circa surprises with a finale on a Cyr wheel and a hoola hoop routine on a
stripped-back stage. All too soon the evening ends with the cheeky tease of a burlesque
parade of each company artist. The
Ensemble returns to its true identity, a company of circus entertainers. Duckpond is a spectacular display of
thrills and acrobatic skills that will delight, amaze and enthrall. It is a
tale of resilience and survival in the quest to find acceptance and true love.
Above all, it is an evening of entertainment and amazement not to be missed
during its all too short season.
