[written for The Public Reviews]
There seems to be a renewed interest in circus performance - now a legitimate artistic endeavour and a far cry from the tawdry big tops of our childhoods. Having attended numerous shows of this particular brand of performance art since the memorable circus festival at the Roundhouse in spring 2010, it would seem to me that these shows aim for entertainment and pretension in equal measure. Compagnie XY: Le Grand C at the Roundhouse, performed by 18 acrobats, was a breath-taking and gut-wrenching aerial display but the Aussie Propaganda was a bit too earnest when it came to ascribing deep existential meaning to the entertainment on stage. The French penchant for circus-style performance is in evidence again with Le Cirque Invisible; a delightfully cheeky double act whose triumph is their infectious sense of humour, their obvious life commitment to their art and their lightness of touch.
French whimsy is much in evidence here, we have the background accordion music and the obligatory surrealism, but Le Cirque Invisible is uniquely charming even if it does take us to familiar territory. Chaplin and Thiérré are less of a double act and more a pair of solo artists: they rarely inhabit the stage space at the same time. Victoria Chaplin’s ethereal costume manipulations are clever and mesmerising (she does something amazing with umbrellas and fans and has a skill for metamorphosing into any shape or creature) in contrast to Thiérré’s slapstick gags and visual comedy. And it is Thiérré who is the most original performer here; he has created character who is foolish and loveable, who wants to please and entertain. Never before has there been such a benevolent and happy-go-lucky clown.
Thiérré’s character is a poor excuse for a magician; his tricks fail or have unexpected consequences, he inadvertently shows the humble workings behind his shop-bought magic tricks and he can’t even juggle. His poor attempts at magic had the kids in the audience in fits of giggles. These episodes were the most surprising because, with the plethora of props it would seem that the act relied upon all the objects Thiérré pulls from his many suitcases but it is in fact his delivery and constant crowd-pleasing ‘hup, hups’ which really entertain. The highlights of the show included a musical number with a quaking duck, a skilful high wire performance from Chaplin, and a huge French horn which, after much blowing, omits only a feeble whistle.
It must take one hell of an effort to put this show on the road – there are so many extravagant props which are wheeled or brought on for a 10 second gag – no sooner has Thiérré walked on stage with a teapot marionette puppet and poured himself a cup of tea, he is off again and from the wings emerges an elaborate inversion of what we have just seen - someone dressed as a huge red teapot with a Thiérré puppet in tow. After a lot of enjoyable nonsense with rabbits, Thiérre drives across the stage in monumental motorised vehicle in the shape of a bunny. The scale of the gags is ludicrous but we get the impression that Thiérré and Chaplin are doing all they can to amuse rather than astonish.
This is a show for adults and children alike. Le Cirque Invisible is so compelling because it reignites the sense of wonderment we associate with out childhood. We aren’t convinced by the magic itself, not least because the magician is so incompetent, but we share the sense of amazement, so powerfully communicated by Thiérré, at the possibilities concealed within everyday objects and the utter joy of doing silly things with props for no more meaningful purpose than to raise a smile. And the cute rabbits are an added bonus!
Runs until 21st August
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