“Amidst the theatricality there is beauty and romance and, of course, comedy.”
Against a throbbing soundtrack, we are drawn into a dystopian future. An urban jungle where civilisation has broken down. Silhouetted figures scramble across racks of caged metal. Chaos reigns; and yet there is an underlying precision. An order. The Timbuktu Tumblers, The Khadgaa Troupe, and The Mighty Khaan govern the ground while Hulan, Duo Garcia, and the Berserk Dancers and Aerial Ballet rule the skies. Somewhere in between, the roar of motorcycles and smell of fuselage heralds The Lucius Team; defying gravity and fatality. Toni hurls knives and axes towards his fearless wife Nikol and a giant robot strides across the terrain. Elberel aims her arrow, perched on one hand, shooting from her feet. Antonio Garcia watches, atop his tower of chairs while Sarah Howard hovers like smoke, spinning webs of silk up in the flies.
Welcome to the Berserkus. The centuries-old tradition of circus skills is given the contemporary treatment as the acts unfold before us at breakneck speed. The company of thirty-five performers have converged, coming from all corners of the world. With Cirque Berserk they have no safety net. Yet still they come. Is it dedication, genius, or plain madness? We watch, with palpitating hearts and palms of cold sweat. Is that madness too? Yet as much as we can’t look – neither can we look away.
You think you’ve reached the pinnacle, but the acts get more extreme. Bodies become the skipping rope, the juggling batons. The acrobats are their own apparatus. Contortion is given a new definition in this world where gravity ceases to exist. The performers are not just elastic, they are fluid – their molecules move in mysterious ways.
There is the sense that the artists need a little more space than the Riverside Studios can offer. The traditional Big Top is missing. But they adapt. Just as Elberel somehow manages to distort and compress herself into a bell jar the size of a pickling jar, they work within the limits. Limits, however, that do little to constrain them and their boundary pushing. Nobody is going to envy the person who has to compile the risk assessment.
Amidst the theatricality there is beauty and romance and, of course, comedy. Paulo dos Santos is the giant of the show. All three feet six of him. The warmth of his personality and comic timing shields and then reveals an acrobatic genius – whether spinning in the rafters or being swallowed by an oversized balloon. There is no ringleader. No spoken word. There is no age limit either, upwards or downwards, for the show. The perfect family entertainment – experienced extremely up-close. Although please keep an eye on the little ones, and keep them in their seats. The backstage crew are busy enough as it is.
Enthralling and entertaining and often hair raising, ‘Cirque Berserk!’ mixes the classic and the contemporary. Mixes? It throws them together like an atom collider. And disproves the chaos theory. They make it seem haphazard, and many laws of physics appear to be broken; but one marvels at the sheer precision, timing, skill and concentration that is needed. It would be glib to say they make it look easy. They don’t. Which is why we come away pretty breathless, but thoroughly beguiled.
“It’s not quite bawdy enough to warrant its music hall credentials, although it does draw enough lascivious laughs to tip it over the watershed”
‘David Copperfield’ has come to be regarded as Charles Dicken’s favourite, mainly because it is his most autobiographical. Certain episodes of his life are thinly disguised. Dickens himself, however, was at pains to stress that the book was not pure documentary, but a “complicated weaving of truth and invention”. Simon Reade’s adaptation embraces this concept by presenting a faithful and true interpretation of the novel, interlaced with lavish threads of inventiveness.
Set in a music hall atmosphere, just three actors – Christopher Buckley, Katy Owen and James Peake – perform the many characters that burst from Dickens’ pages. To be more specific; Buckley plays the eponymous Copperfield, while the other two play everybody else. Owen and Peake open proceedings, gate-crashing into the auditorium at Riverside Studios, sweeping us back in time with their Victoriana attire and attitude, but also keeping us in contemporary reality with modern expletives. It’s a daring mix that informs the show, but the combination threatens sometimes to throw it off course.
First staged last summer at Frinton Summer Theatre, it has made the journey from the coast to the city, a little unsure of the audience it is expecting, or aiming for. “David Copperfield” shoots a little too high for the family crowd, but too low for an adult audience. It’s not quite bawdy enough to warrant its music hall credentials, although it does draw enough lascivious laughs to tip it over the watershed. Despite this, it still seems misplaced in the evening slot, yet it certainly wouldn’t slip into the school run schedule.
Yet the energy radiating from the performers would definitely outrun anyone a fraction of their age. Buckley is the calmer of the three, having the luxury of focusing on the main character, which doesn’t mean it makes his job easier. Throwing gender specifics out of the window (a necessary choice) Peake takes on – among others – the faithful maid Clara Peggotty, eccentric aunt Betsey Trotwood, love interest Dora and a deliciously camp Wilkins Micawber. Meanwhile Owen tears through – again among others – a cool James Steerforth, Agnes Wickfield, Emily, Uriah Heep, Ham Peggotty, and a show-stealing Emma Micawber. Owen has the skill to throw fresh light onto our preconceptions of Dickens’ characters. At times, however, the scale of the multi-rolling appears to be a challenge to the performers’ versatility, which paradoxically lessens the challenge for the audience so our attention slips.
But after interval, the game steps up, and the show starts to grow into itself. There is more nuance and more depth and, as the characters begin to win our sympathy, we find we start to care a little bit more. Conversely, there is a noticeable drop in the musical numbers, so when Buckley does finally break into song it is a bit of a jolt. Not always a seamless addition to the narrative, Chris Larner’s compositions serve up a nice portion of comedy and variety, accompanied by MD Tom Knowles; an enigmatic and charismatic presence behind his piano, observing with a deadpan intensity.
There are echoes of ‘Kneehigh’ in the performances, and particularly in Emily Raymond’s spirited staging. It takes a while, though, for us to appreciate all the subtlety and ingenuity of the production. It is as though the cast only really start to feel comfortable mid-way through. But we are left with a warm feeling in our hearts when the piece comes full circle and the troupe pack away the tale back into the trunk. The fourth wall is breached once more, and we are ready to meet these players in the bar and buy them a congratulatory pint.
