Wunderkammer by Circa at The Barbican

Wunderkammer by Circa at The Barbican

20 July, 2011
by: Naima Khan

Naima Khan reviews Wunderkammer, the latest offering from Circa at The Barbican

The stage at The Barbican almost imposes itself on the crowd. A shiny block of brown, it looks more like a box than a stage, and as it opens up it reveals the gusto and humour of Brisbane physical theatre company Circa.

Clad in black suits, sky-high heels, red underwear and occasionally fishnets, they use their latest piece, Wunderkammer (meaning wonder-room), to highlight the importance of costume and music in a varied, visually effective show. Much more than shocking, their acrobatics are by turns romantic, toe-curling, and just plain funny – all tied together with a soundtrack that has as much personality as the visual aspect. They hint at sexuality, conflict and gender politics but you could easily ignore all that and gape at the talent (and the shoes).

The sheer range of skill is continuously impressive; from hula hooping to floor work and seemingly painful stunts, we're presented with a smattering of sinister clowning and a frightening game of twister among mind-boggling aerial and trapeze work. The performers look at relationships and ideas of support and structure, but when you least expect it, the songs turn nostalgic and the lighting shed its complexity while a lone performer explores ascension and balance using only a rope, or moves mournfully on a suspended beam. They understand the emotional influence that music has and the pulsating dramatic compositions are just as evocative as the sweet romantic tunes.

With no desire to sequence things neatly, the ensemble happily present episodes of acrobatic awe and quiet finesse alongside each other with running themes in the costumes which are by turns colourful and flashy – we're talking tassles and g-strings – and plain and figurative: a simple grey vest passed over two interlocked bodies.

There are, however, moments that don't quite fit. Perhaps it's because I don't get contortion but watching a performer squeeze through a ring, for example, falls flat in comparison to what comes before and after. It's impressive but it feels like it belongs in a different show. Nonetheless, Circa have established that they're back with more to say and a great understanding of how to enthral an audience.

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Naima Khan