I’ve been attending the Big Apple Circus nearly every season for 20 years now…and lately every time I go I feel like the show I’ve just seen was the best ever. I’ve wondered aloud whether current artistic director Guilliaume Dufresnoy is one of the reasons I love it so much more now than I did in the ’90s. Now that I’ve seen several editions generated under his watch by various creators and directors I think I can say with some confidence that, yes, Guilliame has something to do with it. I simply prefer the aesthetics of the BAC as it is today….every artistic choice, from the music, to the script, to the costume design, to the scenery and lighting, all speak to me a great deal more than it used to. The show is rendered with more discretion, taste, and (ironically) more tradition. (The acts themselves have always been great of course. Their scouts go to Monte Carlo and other showcases and bring back some of the best circus acts in the world. I’ve never had any complaints about the jewels at BAC; I just never dug the settings).
We were proud to see our homeboys from Parallel Exit sign on to create this show (with Mark Lonergan as director, and Joel Jeske as writer/creator, and director of the clown bits). Downtown representin’! (Except they’ve also performed at the New Victory; they’ve enjoyed legit success for a while now). If you doubt my objectivity, you needn’t. If anything, as someone who also presents vaudeville, I have incentive NOT to be complimentary, and for that matter I have certainly written downright savage reviews of shows containing friends. So you’ll get fair dealing here.
And you can believe me when I say the show is flipping awesome, and I’ll probably go back to see it a second time (maybe on New Year’s Eve; it’s our favorite way to ring in the new year). This year’s show is lean and mean and moves along briskly — so efficiently and economically that perhaps for the first time at a circus I never looked at my watch. As I’ve written here many times, circus isn’t at the top of my list for theatrical forms. My orientation is vaudeville, and ya know what an acrobat is in vaudeville? The opening act. In the circus, acrobats comprise the bulk of the show — even more so now that larger animals are being pushed out. (I have very politically incorrect opinions on that subject, btw). The current show is not only well-curated and full of fast-paced acts, but (as should surprise no one who’s familiar with Parallel Exit’s work) chock full of fast and funny clowning by the duo of Joel Jeske (“Mr. Joel”) and Brent McBeth, (also of Parallel Exit, here billed as “Skip”). The theme of the show is a Grand Tour in the great age of travel (early twentieth century), so the pair are frequently cast as waiters, flight attendants, baggage handlers and so forth. Jeske’s precision, focus and bag of tricks are to die for. As with many great comedians (Oliver Hardy is my favorite example), you love him more for doing what’s expected, rather than surprises. The man is steeped in the ritual of comedy. Favorite moments included a slop act through a porthole, in which Mr. Joel gets doused with bucket after bucket of water — no matter how he tries to avoid it. And then there was a great game of musical chairs. Mr. Joel has rigged it to win, and he still loses. Also he and McBeth do a musical number, the old song “Istanbul (Not Constantinople)” — this might be the very first time I’ve witnessed singing in the Big Apple Circus, and it was highly welcome.
As was the dancing — the whole cast performed a Charleston in the charivari and in a closing number. As for the acts: Italy’s Chiara Anastasini performed a beautifully lit hula hoop act — the metal hoops acquiring a slinky-like visual effect the more and more she added. Alexander Koblikov juggled in a sailor suit, at one point keeping the impressive number of ten balls (by my count) in the air. International atmosphere was brought by China’s Energy Trio, an acrobalance outfit who looked very young; and the Zuma Zuma African Acrobats. The Belarussian Dosov Troupe did a fairly standard teeterboard act. Muscovite Sergey Akimov did a graceful, beautiful flight on aerial straps (with no safety wire or net from what I could tell).
Jenny Vidbel brought her critters back; dogs for the first act and horses for the second. The dogs fared better (my favorite gag was when they did a restaurant routine, the clown-waiters brought over some wine, and the dog covered his eyes with his paws when he didn’t like the vintage.) Dogs are smart and funny and you get the sense that they are actually performing. Horses are tougher. Originally the entire raison d’etre for the American circus, horses are not very bright and can only learn the simplest of tricks. Their presence under the big top (I feel) is best justified when it’s about the riders. So in this respect, I miss Katja Schumman’s outfit (and even so — the only time I have REALLY been excited watching equestrians has been at the Moscow Circus or at a western rodeo.) But for very small children, for whom the presence of horses is enough — they have horses. I would be more excited by giraffes (Barnum used to have ’em) but at least they have horses.
Lastly — the show closes the first half (as always) with their most exciting act, in this case, the Dominquez Brothers on The Wheel of Wonder (as opposed to the Wonder Wheel) . This act all by itself is worth the price of admission — and I made a lot of noises (yelps, cries, nervous laughter) as these two guys did their death-defying thing on this cray-cray apparatus. Can’t describe it , looks like this:
As I say, a great show and it flew by. We hope to catch it again before they blow town for their annual tour. Tickets and info here.