Circus cabaret loosely themed around a 1940s noir plot, narrated by a private detective who encounters various femmes fatales. It’s a great concept, and the circus acts are generally well executed, but Cirque Nocturne needs a good polish and an injection of charisma to fulfil its entertainment potential.
The cast (whose names are unavailable) is led by an MC-narrator, the sole male performer. He plays a PI who is rather softboiled, as his American accent is faint, his lines weak (he wants to crawl into a bottle of whisky but isn’t an inch high) and his acting is not confident.
The 50-minute show immediately gets a lift after his short opening monologue, when he removes his trenchcoat and takes to the vertical pole. Like pole-dancing-meets-acrobatics with an emphasis on strength, it’s an engaging, distinctly masculine opening routine.
Unsurprisingly fatigued, and also struggling to get his coat back on, the MC then delivers a breathless introduction to the first of several female performers. Each represent shadowy figures who may be able to point the gumshoe’s investigation in the right direction, but these silent artists are really here to demonstrate their diverse talents. They are accompanied by a fun soundtrack that includes Sarah Vaughan, Tom Waits and a contemporary remix of 1940s big band hit ‘Chattanooga Choo Choo’.
Some of the women double up: the client with a sultry way of belly dancing later appears as a potential informant, whose lithe dance is a showcase for upper-body contortions. Another dextrously swirls flaming fans, then returns as a beaming character adept at the aerial hoop. Other routines include some impressive juggling, a lively hula hoop act and the grand aerial-silk finale.
Unfortunately, the narrative climax directly following this final act was let down on opening night by a very late sound effect (not the first instance of the show’s lighting and audio cues causing pregnant pauses). The MC handled it with good grace, but it was indicative of Cirque Nocturne’s lack of polish – particularly in the theatrical snippets between routines, which need more rehearsal and a tighter monologue. With the exception of the hula hooper, who has genuine presence, the cast could also do more to sell the show to the audience.
Dazzling showmanship, tight scripts and flawlessly executed theatre aren’t always to be expected at the Fringe Festival of course. While Cirque Nocturne’s smart concept and promising talent could go far with some nurturing, for now it’s an enjoyable show, especially for audiences with a taste for nostalgic circus cabaret.
Rating: 3 stars out of 5
Cirque Nocturne
Director: Kate Lawrence
Wonderland Spiegeltent, Docklands
14-17 September
Melbourne Fringe Festival
www.melbournefringe.com.au
14 September – 1 October 2017
