There is a lot to like about this show. Three strong, talented women displaying astounding skills of balancing, juggling, acrobatics to a soundtrack of 70s and 80s divas. The title (and poster image) points to an evening of female empowerment manifested through kick-arse circus routines and feats of strength.  

However in its current form it suffers from confusing dramaturgy and an undeveloped narrative. My first point of contention is the presence of the fourth (very talented and compelling) performer, a man. What is being advertised as a celebration of sisterhood in actual fact is something else. The male clown ‘summons’ the three divas of sisterhood to empower him.

O.K. Stop right there; so we’re placing a male character in the centre of this celebration of sisterhood? An apparently gay male but still a male. There is so much, if not wrong, then at least poorly thought out, with this premise.

A decision needs to be made here; whether this piece is a celebration of female empowerment through reclamation of the muscularity and strength of circus performance, or whether it is about the empowerment of the gay male, through diva worship (Judy…Barbara…Britney, anyone?). At the moment it’s not really committing to either.

The contrast between the strong, supple and dynamic bodies of the women, and Jackson’s lanky, deliberately awkward clown body does work well (even if he does occasionally fulfil the ‘expected’ role as a base for the women’s lifts and stands). But what does it tell us when three women are engaged to serve the needs of a man with nothing in return?

The climax of the show is centred entirely on the transformation of the male character. The women have not been empowered or changed through this process but have been (accidentally?) summoned to assist the man. There is a lot of confusing sexual politics in the show that the makers have not yet unravelled.

The choice to have the performers lip-synch to some of the songs has not been fully realised. The performers need to commit to the lip-synching as strongly as they commit to their physical feats.

Merely mouthing the words doesn’t cut it and dilutes the power of the characters. Occasionally the lip-synching fades away altogether as the performers pour all their concentration into the physical demands of the show.

The three women, introduced as Laura, Sofia and Rhyanne (there was no programme so I’m relying on inside sources for this information), come with a range of different physical skills and personalities. Whilst they get to display their skills in astounding ways, the show could benefit from developing their performance personalities to help flesh out the narrative and concept.

There are some basic stagecraft issues that could be addressed as well. The performers need to find their light more confidently and quickly; occasionally they stand on the edge of a spotlight, not allowing their faces to be seen. There is a disjointed overall rhythm to the work which lays bare its construction of a number of separate acts which have been stitched together in an attempt to create a whole. The costumes are a missed opportunity, adding very little to the theme of sisterhood. There is also a sense of nervousness on opening night that leads to the occasional wobble, missed lift and dropped apparatus.

HOWEVER; having said all this, I truly enjoy this show and I urge you to buy a ticket. At the moment it is a diamond in the rough in need of some strong directorial/dramaturgical assistance but this company is definitely onto something here. Women and their astounding physical skills deserve to be at the very centre of this totally enjoyable celebration of sisterhood.

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