As the Splore music and arts festival charges into its second evening of action, a costumed aerial rig just east of the Living Lounge becomes a vibrant arena as spectators take a seat on the grass bank overlooking the bay. What follows are heart stopping acrobatics, raucous banter, and frills and spills that encapsulate Fuse Circus’s extravaganza, The Navigators. 

A makeshift ship with rigging and sails sets the scene as a mix ’n’ match band of passengers and crew navigate the high seas in search of land. With comical and dramatic undertones throughout, this show dazzles as its performers demonstrate feats of dare devil proportions. Three vivacious women and two strapping young men cavort and tease one another during their adventures and the enthusiastic crowd goes along for the ride. 

The strength, skill and precision of the cast are evident. The women scale long yards of cloth (the ship’s sails) suspended from above. After weaving their torsos around the cloth they flip, spin and fall like raindrops to the ground below. As the trapeze comes into play, performers execute death-defying actions with style and ease. Two performers fly suspended through the air, one drops, the other catches and they skim over one another effortlessly on the trapeze, all the while smiling enthusiastically.

From one striking stunt to the next the audience gasps and then applauds as performers move with agility and precision through each routine. An assortment of catchy light hearted tunes enhances the mood.  

Wrestling, somersaults, powerful balancing acts and hoola hoop manoeuvres are woven throughout the show with brawn, brass and sassiness. However, amidst remarkable acrobatics the storyline is vague at times, and the correlation between stunts and dialogue is often indistinct. Yet the dynamic presence and panache of the performers ensures the audience is held captivated and entertained.

Receptive spectators provide plenty of cheering and clapping and the atmosphere buzzes. As the show nears its, end the grand finale leaves us in no doubt we have seen a high quality acrobatic performance from a group of talented professionals. To validate this, the crowd not only roars with applause but a standing ovation ensues.

Not having seen a performance of this kind for some time, it produces a wow factor. Noting a mixed crowd of children and adult spectators, The Navigators most assuredly appeals to all ages. As a young child was overheard commenting after the show, “That was really cool!” 
_______________________________
For more production details, click on the title above. Go to Home page to see other Reviews, recent Comments and Forum postings (under Chat Back), and News. 

Copyright © in the review belongs to the reviewer

There is nothing like a bit of character, relationship content and story context to take circus acts to another level. Fuse Circus’s The Navigators is a quantum leap from their earlier skill demonstration shows.

The Queens Wharf Square with its ‘sails’ is the ideal setting for this wacky shipboard show devised by the cast and directed by Willem Wassenaar with circus training from Deb Pope & Emmy, splendid costumes by Cathy Tree Harris, a stunning sound design by Thomas Press and excellent lighting (Tom Beauchamp & Willem Wassenaar).

As the Cabin Boy, who either gives himself orders or is channelling the voice of the unseen captain of the ‘Dry Rot’, Mason West could complain less about the audience’s lack of response (you’ve got to earn it Boy) but he keeps the show cracking along and his prowess with whatever he turns himself to – mostly involving acrobatics, balancing and juggling – is extraordinary.

Laura Hudson’ tea-sipping Lady and Rowan Heydon-White’s Lady’s Maid/Companion become wonderfully entangled in the hoisting sails and, as the voyage proceeds, enrich their spectacular aerial work by bringing their mistress/servant relationship into play.

As the Scarlet Woman who prefers the bottle to a teacup, Tanya Drewery brings a feisty quality to her wide range of skills: aerial, hoops and whip-cracking, not to mention screeching vocals. Her relationship with the Cabin Boy adds interest and comedy opportunities and could be developed further.  

Tom Beauchamp, a founder of Fuse and the company strong man in more ways than one, comes on board as a dodgy Merchant type with a treasure map, which is sort of coveted by others (and again, more could be made of that). When he’s not anchoring balancing acts or swinging high as a catcher he’s a tireless climber, counter-weighting the aerialists.

Highly skilled individuals all, they also work superbly as a team, which of course is essential when you are defying gravity and trusting each other to be there for you. Admirable!

There is high drama amid a storm and low comedy to add to the spectacle and fun – and it’s free! Except when the site of the treasure is finally discovered … be prepared to dig deep. They’re worth it.

Copyright © in the review belongs to the reviewer

With the Buskers’ Festival in full swing’ audiences can afford to be ruthlessly selective as to where they lean or recline. To the credit of this enterprising group of circus acrobat-artists from Wellington (lucky Wellington), the big lawn was comfortably full for the performance I attended. Slow to respond to the initial warm up exercise, the audience pretty soon settled to rapt attention.

The notion of a voyage sets the scene for adventures in the ‘sails’ and crow’s nest very neatly and the soaring figures framed by the stage structure against a background of green summer willows are a captivating prospect. At some stage as the minutes pass, the impossible, gravity -defying acts seem less remarkable but the verve and nerve of the five performers is unmistakable.

Their success lies as much in their theatricality as in their extraordinary physicality. For a start there is only the lowly cabin boy preparing the Dry Rot for departure but once he has succeeded in ringing the ship’s bell (way up in the sky somewhere and with one foot), a lusty ‘ All aboard’, is given. This brings the rest on deck and the voyage in search of new worlds is underway.

Of course the focus is squarely on aerial feats, augmented by some fine balance and hoop work, but there is also room for lightly sketched characterisation and dramatic make believe. For example a storm brings opportunities for controlled mayhem and the idea of treasure at the end of the hour sets of another round of joyous abandon.

The overwhelming impression they leave is of a group cleverly lacing dazzling accomplishment in the air with something more akin to true theatre, for they claim more than our fascinated gaze. In playing so wholeheartedly from their imagination they invite a response in kind.

Let us hope they come south again.

Copyright © in the review belongs to the reviewer