Canberra Theatre – May 6 – 10, 2015.
Reviewed by Bill Stephens
The advent
of Cirque du Soleil in the 1980's changed the perception of circus
forever. No longer were audiences
satisfied with traditional circus, and new tradition of circus emerged, based
on spectacle and extreme physical skills. Among the variations is the highly
sophisticated cabaret cirque designed for presentation in theatres or spiegletents.
“Le Noir – The Dark Side of Cirque” is a
superb example of this new breed circus.
For “Le
Noir” the Canberra Theatre has been transformed, allowing a 360 degree view of
the acts. The more adventurous members of the audiences are seated on the stage,
around the perimeter of the raised circular performance area, in either tiered
seating or at black cloth-covered tables. Those not on-stage are seated more conventionally
in the auditorium.
A warm-up by
the genial Master of Ceremonies, Salvador Salangsang Jnr, involving some gentle
audience participation, makes a surprisingly low-key start to proceedings. However,
when a white circular curtain drops suddenly from the ceiling, and then,
following a couple of minutes of teasing light show, rises to reveal the whole
cast posed in an assortment of sexy glittering white costumes, the theatre
erupts.
Glamorous
showgirls pose, pout and strut the stage, amid ripped acrobats, floating
butterfly kites, revolving search lights, sparkling flitter-flutter and
pounding music, before attention is directed high above the heads of the
audience where, clad in a jewel-encrusted body-suit, Elena Gatilova is posed
suspended in a small silver hoop. Incredibly lithe, Gatilova proceeds to
perform a series of seemingly impossible manoeuvres with the grace of a prima
ballerina. It’s the act which sets the
bar for what is to follow.
 |
| David Matz |
All the acts
are world-class, and impeccably presented. Predictably, “Le Noir” director,
Mathieu LaPlante, claims that they are the best of their type in the world. Watching
David Matz’ masterful performance on the Cyr wheel, or the incredible skill and
strength of Anna Ostapenko’s hand-balancing act, or the heart-stopping stunts
of Daria Shelest and Vadym Pankevych flying overhead on silks, it’s hard to
dispute that claim.
 |
| Anna Ostapenko |
A dancer in a streaming red silk dress heralds a dramatic mood change, and another spectacular tableau, this time with everyone costumed in red for a heart-stopping routine performed on trapeze by Marie-Christine Fournier and Louis-David Simoneau. A graceful display of raw male strength from strong-men, Valeri Tsvetkov and Yani Stoyanov elicit gasps from the audience.
When the
show resumes after interval, all the performers wear black costumes. Valerii
Volynets and his diminutive partner Yuliia Lytvynchuk skilfully combine dance
and acrobatics to perform a sensual pas de deux.
 |
| Veleii Volynets and Yuliia Lytvynchuk |
 |
| Denis Ignatov-Radokhov |
Denis Ignatov-Radokhov makes
spectacular use of light for his dazzling shape spinning routine, and an act
which has Gediminas Pavlovicius balancing precariously on rolla bollas high
above the audience on an impressive piece of stage machinery, lead to the
thrilling finale in which roller skaters, Jeronimo Ernesto Garcia Medina and
Jessica Anne Ritchie, perform at break-neck speed on a tiny table.
 |
| Jeronimo Medina and Jessica Anne Ritchie |
The use of
an over-arching white, red and black design scheme justifies the enticing
subtitle “The Dark Side of Cirque”, and the quality of the individual acts is
impressive. But it‘s the presentation of these acts which makes “Le Noir”
something special. The addition of stylish showgirls, clever costumes to
highlight the spectacular physiques of the performers, the tightly
choreographed production numbers, as well as the involvement of the other
performers to add drama, polish and spectacle to individual acts, along with
excellent music choices, sets “Le Noir” apart from similar shows in delivering an
exciting and satisfying evening of high quality physical theatre.
