Caitlin Marion Tomson-Maylan and Spencer Craig get airborne. Photo: Carly Sare
Awe-inspiring and fun. Those are the key takeaways from an evening of pure entertainment, courtesy of Strut & Fret’s Blanc de Blanc Encore at one of Sydney’s newest venues, the Grand Electric (formerly known as the Performance Space.) The show does not fit neatly into a box. It’s part cabaret, part burlesque, part circus, and all of it is delivered with tongue-in-cheek, risqué humour. It’s not often you see a warning that the performance you are about to see contains, among other things, ‘… one tonne of ethically sourced white feathers, full frontal nudity and references to alcohol consumption’. Pillow fight, anyone?
German-born Remí Martin (‘acrobat, actor astronaut’, says his website) and French Canadian Félix Pouliot (circus artist, Chinese pole), who compere Blanc de Blanc Encore, are also fine comedians as the audience, seated around a circular stage, soon discover. Not only does the show take place ‘in, above and around you’, patrons are quite likely to be drawn, some more willingly than others, into it. (And don’t think you will be safe by avoiding ringside seats.)
The other members of this eight-person troupe, each of whom have their own special talents, are aerial duo Spencer Craig (Canada) and Caitlin Marion Tomson-Maylan (US), New Zealand’s Emma Phillips (foot juggler extraordinaire), Canadian Léah Wolff (aerial hoop) and our very own top-notch singer/dancers Rechelle Mansour and Melanie Hawkins.
As you might expect, given the title, there is a certain homage to white wine and drink delivered here in music, song and dance that is contemporary and upbeat. The humble grape itself features heavily in one sketch (no spoilers); in another, audience champagne glasses are filled by an aerialist. The atmosphere is altogether celebratory, with the entire troupe coming together to sing, dance – and raise a glass, or two.
Quite what drives a person to be a foot juggler and spin parasols and tables above one’s head, and spend years refining this art in specialist Chinese schools, is an unanswered question but Phillips is extraordinary. Not something to try at home, but certainly memorable. Likewise, the aerial feats performed by Craig, Tomson-Moylan and Wolff, whose airborne antics and acrobatics inspire wonder in in ordinary mortals. Towards the end of the show, Martin and Pouliot show us what they can do on the Chinese pole.
Back on earth, Martin’s coyly naked delivery of a specially composed piece of electronic music is hilarious (and reminded me of that other long-gone offering The Puppetry of the Penis). And another unanswered question revolves around the ballsy opening routine. (Again, no spoilers.)
The lighting (Philip Gladwell) within the space is moodily dark and reminiscent of a Spiegeltent; costumes (James Browne) are all glittery (and minimal) nightclub raunch; the choreography is courtesy of Kevin Maher with music by Steve Toulmin, and the whole show is conceived and directed by Scott Maidment.
A couple of hours of fun and frivolity – complete with breathtakingly difficult acts and jaw-achingly comic skits – Blanc de Blanc Encore is a perfect way to chase away everyday woes. And, yes, there is a pillow fight!
In Sydney until 4 March.
Tickets from $80-$145 . Details at www.blancshow.com
