Cirquework is a relatively new name in contemporary circus and, in their debut show at the Fringe, have brought a slice of Japanese inspired mythology combined with some spectacular visuals.
Well worth seeing as an example of contemporary Japanese circus
YOAH tells the tale of a young dreamer travelling through a magical realm, encountering wonders and dangers as they go. These wonders are, of course, presented as several circus performances, but the use of genuinely amazing lighting effects via projection creates some stunning visuals as a backdrop to the skilled acts.
The routines are well performed and it’s clear that the cast are talented in their relative art forms. After an opening involving an intriguing movement piece, the first silks routine by Tsumugi Masui is beautiful but seems intentionally brief. We then get the first of what turns out to be a lot of diabolo performance. Director Yusaku Mochizuki is talented with this dynamic skill – flicking the diabolo effortlessly around his body whilst interacting perfectly the light projections, but the constant exhortation for more applause for yet another trick drags it out to the extent that, when the diabolo returns later in the show, I’m less than excited to see it again. Anthony Weiss displays some death-defying stunts on the swinging trapeze that draw gasps and squeals from the audience before a beautiful mix of movement and contortion from Masui, who then moves to the aerial hoop in another routine that, although intense in its choreography, is again painfully short. A balance act by Yuya Takatori is perhaps drawn out a little too long and lacking in variety to truly be memorable before the aforementioned return of Mochizuki for more diabolo. This time they’re joined by Horomiki Torii who is equally talented, and between them they create some phenomenal tricks but, again, it’s drawn out a little too far. The final is a welcome return to the silks by Masui that is exquisite and enthralling.
YOAH is well worth seeing as an example of contemporary Japanese circus and there are moments that delight. Unfortunately, the pacing could be improved – some parts are too short while others drag on and, although the lighting design is impressive, it isn’t quite so effective from my seat on the side of the thrust stage, but I bet it’s incredible from the front.
