Duck Pond

Brisbane audiences were lucky enough to see the world premiere of Circa’s new Duck Pond for a few short performances. Although, I anticipate there will be many opportunities to enjoy this ensemble work as it is sure to be revived again and again as an iconic set piece in the Circa portfolio. Created by the Circa ensemble with Artistic Director, Yaron Lifschitz (who also directs and designs for the stage), Duck Pond takes the classic fairytale of Swan Lake and mashes it up (quite a lot!) with Circa’s collective expertise in acrobatics, balletic movement and mime. Combine with fabulously bold costumes by Libby McDonnell and audacious sound design and original composition by Jethro Woodward and you have the unique mix that makes Circa such a valuable asset on Brisbane’s (and the international) artistic landscape.

In Swan Lake, Tchaikovsky mixes up Russian folk tales with bits of opera and ballets he had previously written. And so Duck Pond is a delightful mash up of techniques in the Circa tools of trade. We have a slice of Andersen’s The Ugly Duckling and even a few frames of Aronofsky’s Black Swan. Composer Jethro Woodward adds a nod to Tchaikovsky by injecting hints of the memorable ‘Dance of the Sugar Plum Fairies’ (from The Nutcracker) as well as the ‘Dance of the Little Swans’ alongside his own electro jarring beats to create a totally unique soundscape. The atmosphere is bathed in gorgeous glow (and disco mirror ball!) courtesy of lighting designer Alexander Berlage. And of course, there is sleek costuming that combines sexy sequins, flunky flippers and glorious feathers (by wing maker Alice de Groot) to complete the visual feast. And the story – well no spoilers but while the Prince has his chance to attract the attentions of both the white swan and the black swan, in this take on the tale, he may not be the satisfied partner at the end of the ball.

As with all Circa performances, the human element is key – and this is a truly talented group of energetic performers with world-class balancing and stage craft skills that astound and amaze. There are many solos and pas de deux in acrobatic form that showcase the physical artistry, but also the mime and performance ingenuity of this talented troupe with outstanding performances by the whole ensemble: As the Prince and his swans, Zachery Stephens, Kimberley Rossi and Sophie Seccombe deserve special accolades, along with Georgia Webb for her outstanding hoop work and cheeky take on Cupid throughout the story. But there is also a faultless ensemble to thank, each with their own personality and movement style: Holly-Rose Boyer, Jon Bonaventura, Oscar Morris, Paul O’Keeffe, Violetta Van Geyzel, and Marty Evans (also Associate Director).

For me the final video of the swans fighting was a bit clunky and I’m sure more advanced visual projections could be incorporated in the future. Also, while it was amusing and jolting to see the reality of performing this dangerous material on stage, the ending took some time to get started, with performers ripping up the sprung floor to make way for a finale. After the enthusiastic applause at the exit of the black and white swans, this coda did seem a little extraneous, but was spectacular as a visual and allowed for more industrious floor work including hoops by Georgia Webb. There was also an installation of light boxes for a semi-erotic tableau (there were people of all ages in the audience along with many young children, but no one seemed phased by this content at all – or the earlier arrival of the black swan in her stilettos, although one chap did drag his child out of the theatre at one point). Perhaps it was another nod to artists like Tchaikovsky who struggled to have his work appreciated at first, and which has seen several alternative endings experimented with over the years. I’m sure the same will happen with Duck Pond, ensuring audiences the pleasure of seeing this piece again and again, perhaps as an annual treat – but maybe not for the whole family.

Find out more about Circa: https://circa.org.au

Beth Keehn

Photographer: Pia Johnson