The circus came to town this weekend but it may not be the one you thought it was. Many people have confused Le Grand Cirque – a circus comprised mainly of Asian acrobats, produced by an Englishman – with the French Canadian outfit Cirque du Soleil, which is also headed to town this year. The name may bear a certain similarity, as does the ringmaster clown who stumbles out between acts pulling audience members on to the Civic Theatre stage, but that’s about as close as the two productions get.

Presenting up to three shows a day, at close to two hours each, Le Grand Cirque doesn’t have time for intricate aesthetics or the profundities of an existential theme. Instead, it delivers a series of short, unrelated acts – largely based on traditional Chinese acrobatics – that are easy to digest and visually engaging, if perhaps not as polished as other touring troupes. [More] 

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It comes as no surprise to me that the producers of Le Grand Cirque, Spirit Productions, specialise in tribute shows: Spirit of Broadway; Dancing Queen; Frank, Dean and Sammy – to name a few.

While there is no denying Le Grand Cirque delivers on its promise of superb acts of contortion, acrobatic feats, and gravity-defying displays of balance and strength, I’m left with the ultimate feeling that the show is less a stamp of a new identity and more a well marketed package, that evokes reference to similar circus shows that have a theatrical backbone.

Certainly, it was a wise and timely move to capitalize on the international success of Cirque du Soleil and recent surge in popularity of burlesque, such as La Clique. But whereas these shows tell a story or create a mood or alter our perceptions through performance, Le Grand Cirque is more a series of impressive circus acts, loosely strung together like a highlights package or tribute show.

That said, the lack of story-telling and theatrical subtleties is replaced by an abundance of high-energy acts, by an incredibly strong, fit, dynamic touring troupe of contortionists and acrobats. Creative Producer Simon Painter, who also cast the acrobatic and specialist acts, has recruited an impressive ensemble from around the globe.

Every section of the show (with the exception perhaps of the somewhat ‘flat’ finale which was little more than a series of bows with a confetti canon and glitter drop thrown in) is incredible to watch. My personal highlights included the opening Chinese Pole Climbing; the timing of the tumblers through a series of silver rings; and the counter-balance and grace of the final male duo.

Vignettes of mischief from our cocky yet charismatic ‘ring-master’, whose bag of tricks include audience interaction, a fat suit and a huge yellow balloon, provide entertaining light relief between sections. Though I’m not quite sure why Director Alan Harding weaved our circus-host into some of the actual acts, as he looked out of place and redundant.

The pre-recorded musical arrangements by Evan Jolly and David Fitzgerald, are mostly fast and loud, with a driving beat put behind classics such as Greig’s In the Hall of the Mountain King, and the ubiquitous Bolero by Ravel.

Transitions between acts appeared to have added assistance from local dancers. But given their company and overall context, the locals’ skill, discipline and grace, was noticeably not always up to scratch, and at times, their presence felt superfluous.

Thankfully, Pete Kramer’s tidy and high-pace lighting design, which fully maximises moving light technology to great effect, keeps the focus on the talented troupe at all times.

While the costumes were colourful, at times they bordered on garish rather than the bold effect that was perhaps the intention of Specialist Costume Designers "Saff and Silky". It was a relief to occasionally see the cast dressed in plain white cotton or flesh tones.

With ticket prices more accessible than some international extravaganzas, Le Grand Cirque might just be the right circus showcase to take the family to. It’s a clean, crisp, guaranteed two solid hours of impressive acrobatics and entertainment.

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