Muse

A simple invitation to place a small stone on the edge of the stage introduced a showcase of well-developed physical theatre skills. Each student had time to shine and highlight their skills on their chosen apparatus. This is a thoughtful summation of the work each student has done.

Recorded ruminations about their artistic process, relationship with their equipment and performance adds a very personal and, at times, poignant element and provided the audience some insight into the performers’ motivations.

Zaelea Nolte opened the show as she explored the possibilities of dynamic movement over, under and around a low tightwire, and sounds created by her interaction with small rocks. Jesse Holden introduced some humour and a hand-made frame to demonstrate his hoop diving and strong floor work. Gabriel Walker caused gasps from the audience as he ascended and more importantly, descended the chinese pole. Gemma Jackson physicality and strength underpinned her hula hoop expertise. Aerial work with its danger and possibility for beauty was well represented. Rose Symons (aerial straps), Taylor Vogt (aerial rope), Jasmin Tait (swinging trapeze), Anais Stewart (aerial straps), Zaelea Nolt (static trapeze), Luca Trimboli (straps) all demonstrated the kind of strength, flexibility and assurance which only comes with years of patient and disciplined work. They treated the audience to heart stopping thrills and made it clear all the hard work was worth it for the magic floating moments. Merlene Hutt, using the cyr wheel defied gravity closer to the floor with strength and a good connection with the audience. Jasmine Poniris’ pushed handstands and flexibility well past the usual expectations of the human body in a well-planned sequence. Ty Wallent’s interaction with the diabolo and especially the lighted diabolo competently demonstrated its possibilities.

The soundscape of mostly natural sounds, music ranging through classical, Nordic and electronic funk matched each performer and added a layer of reflection. The lighting focussed attention and created mood with simple economy. As expected, the equipment changes were all done seamlessly.

Much of this performance was thoughtful, some of it was brave, and all of it demonstrated why the National Institute of Circus Arts is a national treasure.

Ruth Richter