Last night The Dust Palace circus troupe opened at the Hannah Playhouse, Wellington, with a confronting literary inspired work. It is intimate, evocative, and breath-taking. If you want to be privy to a night full of temptation – go to this. It’s a powerful performance.

From the moment you enter the theatre you are teased and touched. It is up close and personal. Life is a trap for the unwary – and the unwary we are. Sitting next to me a young woman is encouraged to stroke the inner flesh of a fig. ‘This is very intimate right now’ she whispers. And she’s correct. It is. 

The text ‘We must not look at goblin men, we must not buy their fruits’ by Christina Rossetti, Goblin Market, published 1862, is projected across the back of the theatre as the audience do just that – we look and we buy into this without a doubt. We discover a narrative that has stood the test of time. We explore sexuality, the female gaze, and the power of sisterhood.

This contemporary circus production is theatrically diverse. It combines double trapeze, aerial performance, and mask and movement, with music, film and acrobatics. It transcends across an understanding of experimental work with playfulness. This is storytelling at its best, merging text with a fluid sense of time.

Directed by Mike Edward, the show does a stellar job of drawing us into a world of private acknowledgement, focusing on universal themes, fully complimented by the lighting design by Michael Craven. The cast of Rochelle Mangan, Eve Gordon, and Jay Clement execute a compelling controlled performance that is visually impressive and provocative from beginning to end.

My only criticism is that the acoustics in the theatre sometimes make it hard to clearly hear the spoken word sections.

But that aside, everything is wildly infectious, profound, and deeply felt. The show has that kind of thrill to it.  See it. It will get you.

Copyright © in the review belongs to the reviewer

Drawing from Christina Rossetti’s epic poem Goblin Market, a ‘goblin’-masked performer contorted into a hunched shape welcomes the audience into the auditorium by. We see another masked performer, on stage upon a sturdy wooden plank rested atop two of four twisted metal stands which are utilised throughout the performance to provide different focuses. Yet another masked performer is inviting patrons to partake of the foods they have: beware of goblins offering food from the market.

As these performers move off to prepare for the evening’s main performance we are invited to send thoughts and aroha to Christchurch in light of the events of the day. We are reminded that a hate breeds hate, darkness begets darkness and we can only break this cycle with love and light. Kia kaha Christchurch.

A simple set of wooden chairs, the wooden planks and the exquisite twisted metal stands are joined by hoops, hanging silks, a trapeze bar and rope. These are expertly used to help tell the story, along with simple, effective film projection (featuring excerpts from the Rossetti poem) and music from many genres.

The three performers – Eve Gordon, Rochelle Manga and Jay Clement –take us on journey with their fantastic acrobatic dance, augmented by the occasional use of vocals.  The fine rope performance of Jay Clement’s Goblin is breathtakingly enthralling; his well-sculpted form is mesmerising.

As we move through the story, with its broad themes of seduction, addiction, loyalty and love, we find the Goblin seducing one of the female performers to join him on the trapeze where we are amazed by the agility, strength and sensuality of the two in a pas de deux of sorts in the air. Phenomenal.

Throughout the performance the strength, form, sexuality and stamina of all three performers marvels: they certainly earn their keep.

Another glorious dance of two is performed high in the hoop by Eve Gordon, Rochelle Manga, as the sisters we find in the poem. It is extraordinary and a fascinating display of delicate potent physicality.

It is a shame the house is not fuller but the performance is celebrated and appreciated enthusiastically by the audience. My one criticism would be diction, with some of the speech difficult to hear over the music, however this may have simply been a mixing issue on the night. A very small smudge on an otherwise entertaining and sublimely moving piece.  

A small programme, even just a single sheet, would also have been welcomed.

Go to the Goblin Market should it come near you – details here – just don’t buy the fruit. 

Copyright © in the review belongs to the reviewer

Immediately awesome! A full house, standing ovation and the most common word on everyone’s lips: Spectacular! 

Performance theatre can be a bit slow to grab your heart. Or it can be high in skill and low in story value. Not so with this show.  

The Dust Palace has the chemistry exactly right, a rare talent that makes for a great show. The strength and skill allow Eve Gordon, Rochelle Mangan, and Edward Clendon to hold their bodies in any position. It is visually captivating. Mangan’s ring work and Gordon’s balance are exceptional. All three move beautifully and sinuously through each other’s poses, a style I haven’t seen done as well since Torville & Dean on ice in the 1970s. Furthermore, that gymnastic circus training gives a refreshing approach to their work, especially if you are used to dance.

The drama of Christina Rossetti’s 1862 poem makes for a dark, delicious, dangerous undertone, made all the more wicked by the grinning malice and eye contact from the Goblin Clendon (such a naughty boy).  Above all, the poem adds depth; it is a skilled piece of storytelling, and you may enjoy reading it before you go: The Goblin Market.

Not that you need to. The acting is highly trained and experienced. I follow the plot more thoroughly than I expect to in these performances.  Their professional ability to hook the audience immediately makes the show an all round success

The music ranges from 1960s songs through to 21^st century instrumentals perfectly scored to augment the mood. It finally settles on classical instrumentals to lift the heart and relax the soul after the dramatic finale between the two ‘sisters’.

Even the stage props insinuate Art Nouveau’s twisting tendrils of the poem rather than the solid foundations for the beam-work that they really are.

As directed by Mike Edward, the polished performance of skilled bodies writhing in their prime, through feats of strength and agility, guided by excellent writing and an inspired music score, make this the best of the Nelson Arts Festival for me. 

Copyright © in the review belongs to the reviewer