61 Circus Acts in 60 Minutes

Transcription

“It all moves at break-neck speed, no
two routines are the same, and you’re
pretty much guaranteed to feel like
you’re out of shape afterwards.
Brilliant.” NBC NEW YORK
46 Circus Acts in 45 Minutes | 31 Circus Acts in 30 Minutes | 21 Circus Acts in 20 Minutes
Premiered 2006
Toured Australia, Canada, Singapore, UK, USA
Performers 4-7 Crew 2
Duration 65 minutes / 50 minutes / 35 minutes / 25 minutes
Same day set up and open
61/46/31/21 Circus Acts Presenter Pack
June 2013
CO NTENT
About the show(s)
P3
Company profile (Short)
P4
Company profile (Long)
P4
Extracts from reviews
P5
Reviews and Articles
P5 - P13
Acknowledgements
P14
Image Sheet
P15 - P18
Technical Specifications
P19 – P26
Risk Assessment
P27 – P29
Marketing Examples
P30 – P35
Please note:
This Presenter Pack relates to 61 Circus Acts in 60 Minutes, 46 Circus Acts in
45 Minutes, 31 Circus Acts in 30 Minutes and 21 Circus Acts in 20 Minutes.
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June 2013
ABO UT THE SHO W
61 Acts.
60 Minutes.
Two words – SOLD OUT
Wherever Circa has taken its breathtaking, heart stopping show, audiences
have flocked to see the impossible happen. Watch as intrepid acrobats battle
the clock. Marvel at the astounding ways they bend, fly, juggle and balance. Be
dazzled by their skills.
Circa is Australia’s most innovative circus and 61 Circus Acts in 60 Minutes is
its all time favourite family show. Fast, furious fun for everyone. Set to upbeat
music and featuring four multi-skilled performers, this is circus without the
boring bits.
This show and its smaller siblings – 46 Circus Acts in 45 Minutes, 31 in 30 and
the itty-bitty 21 in 20 are a worldwide phenomenon.
61 Circus Acts in 60 Minutes has been performed in over 26 regional
performing arts centres across Australia, at the Noosa Long Weekend,
Gladstone Sunfest and Brisbane Festival Spiegeltent and internationally at the
Brighton Dome, Oxford Playhouse, PuSh Festival in Vancouver, the Seattle
International Children’s Festival and at Victoria’s Intrepid Theatre, Canada.
Be quick, as the only thing faster than this show is its ticket sales.
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June 2013
ABO UT THE CO M PANY
CO M PANY PRO FILE (SHO RT)
From Brisbane, Australia comes a bold new vision of contemporary circus. A
blending of bodies, light, sound and skills. A place where acrobats and
movement meld into a seamless whole. A celebration of the expressive
possibilities of the human body at its extremes.
Since 2006 Circa has toured to 24 countries across five continents. Critics
have raved about its shows calling the work “stunning...exquisite... heartstopping” and “electrically charged”.
CO M PANY PRO FILE (LO NG)
From Brisbane, Australia comes a bold new vision of contemporary
circus. A blending of bodies, light, sound and skills. A place where
acrobatics and movement meld into a seamless whole. A celebration of
the expressive possibilities of the human body at its extremes. Since
2006 Circa has toured to 24 countries across five continents. Circa’s
work has been rapturously received by audiences, presenters and critics
around the world. Critics have raved about Circa calling the work
“stunning...exquisite... heart‐stopping” and “electrically charged”.
Circa’s current touring shows span diverse contexts from works for
families in traditional arts centres to European contemporary arts
festivals. Its works are highly innovative genre‐bending pieces that
stretch the practice and perceptions of circus. Circa features a full time
ensemble, a concentrated administrative team and a dedicated circus
studio. Circa’s touring program in 2012 reached over 145,000 audience
members locally, nationally and internationally.
Circa also runs a Training Centre with an impressive workshop program
in Brisbane at our professional studio, in schools and with partners
throughout Queensland and beyond. On top of our term based and one‐
off training activities, Circa has an impressive track record of producing
quality workshops for children, young people and adults in a range of
community contexts. In 2012 Circa’s Training Centre programs reached
an audience of over 26,000 people.
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June 2013
EXTRACTS FROM REVIEW S
“It all moves at breakneck speed, no two routines are the same, and you’re
pretty much guaranteed to feel like you’re out of shape afterwards. Brilliant”.
nbcnewyork.com, USA
“This is great family entertainment, delivered at a fast and furious pace.”
The Manly Daily, Brisbane
_________________________________________________________________
…these 60 minutes equal an hour of hilarity, incredible stunts, and five people
entertaining everyone from toddlers to grandparents. “
Oz Baby Boomers, Sydney
_________________________________________________________________
“The combination of acts…together with the likeable performers, audience
participation and breathless pace, made for a greatly entertaining and highly
recommended family show.”
The Argus, Brighton, UK
REVIEW S & ARTICLES
Kellie B. Gorm ly, Pittsburgh Tribune-Review , “Circa acrobats feel
the rush of perform ing stunts”, published M arch 10, 2011
http://www.pittsburghlive.com/x/pittsburghtrib/ae/more/s_726587.html ixzz1V9lIUTrr
The title of Circa's production this weekend at the Byham Theater gives a
straightforward and literal summary: The audience will see exactly 46
acrobatic circus acts in a brief, 45-minute show.
And the time element creates an exciting rush for the audience and the
performers, as four acrobats race against the clock onstage to complete their
acts within the time limit, performer Freyja Edney says. "It's exactly what the
title suggests: we have a big clock at the end of the stage," says Edney, 21, of
Melbourne, Australia. "It's a lot of fun.”
"The most impressive thing is just the fact that we do all of them," she says.
"There are so many different acts, and there are only four people onstage."
In "46 Circus Acts in 45 Minutes" -- a production of Brisbane, Australia-based
CIRCA, known for re-imagining circus as contemporary art -- the performers
bend, fly, juggle and balance, while upbeat, energetic music plays in the
background. The Aussie performers do all kinds of acrobatics like trapeze acts
and free-falls at a breakneck speed that thrills the audience, says Pam
Lieberman, executive director of Pittsburgh International Children's Theater,
which is presenting the show in its Family Series.
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"They're really talented circus artists, and it's impressive what they can do in a
normal time frame," Lieberman says. "Then, they do this piece when they're
racing against the clock to perform as many circus acts as they can. It just
adds another layer of excitement.
She saw the Circa troupe perform in New York, and says the show was
exciting and fast-paced, and that the performers feed off of the energy of the
audience.
"I was definitely on the edge of my seat when I saw it," Lieberman says.
"The audience is really into it," she says. "The performers need some
encouragement for some of the pieces. That really helps, when someone is
cheering you on. Everyone is really involved. ... You feel like you're part of the
team, and part of the circus.
"I think it's one not to miss," Lieberman says about the show. "They're here
from Australia, so they won't be back anytime soon."
Edney calls "46 Circus Acts in 45 Minutes" a "circus without the boring bits.
We just do the tricks."
And her quirky, unusual job?
"Well, it's the best," Edney says. "I think this is my dream job. There's not really
anything else like it."
Elizabeth Bougerol, nbcnewyork.com, “3/26: 46 Circus Acts in 45 Minutes”,
published March 25, 2010 http://www.nbcnewyork.com/aroundtown/events/326-46-Circus-Acts-in-45-Minutes-89047937.html
PANDEMONIUM: The four wackadoo members of Australia’s Circa company
perform the (near-) impossible: “46 Circus Acts in 45 Minutes.” It all moves at
breakneck speed, no two routines are the same, and you’re pretty much
guaranteed to feel like you’re out of shape afterwards. Brilliant. 7pm, through
April 4 (times vary) at the New Victory.
Laurel Graeber, The New York Times, “46 Circus Acts in 45 Minutes”, published
March 25, 2010
http://www.nytimes.com/2010/03/26/arts/26bkids.html?scp=1&sq=46%20Cir
cus%20Acts%20in%2045%20Minutes&st=cse
Where’s Jack Bauer?
Audience members might find themselves wondering that when the lights go
up at the New Victory Theater. In the center of the stage’s back wall is a huge
illuminated digital clock face, reminiscent of the signature timepiece in “24.”
But this clock won’t count down an hour in the day of a counterterrorism
agent; it will tick off 45 minutes in the lives of four performers.
They’re members of Circa, an Australian troupe presenting “46 Circus Acts in
45 Minutes.” The show is what it says it is, and more: some acts have multiple
parts, as in “33 Different Three-Ball Tricks.” And when I saw the production,
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Circa finished with 19.6 seconds to spare. A more accurate title might be “101
Circus Acts in 44 minutes 40.4 Seconds,” but why be technical?
The staging certainly isn’t. Conceived and directed by Yaron Lifschitz, the
entertainment combines vaudeville and slapstick with acrobatics, juggling,
balancing feats, a bit of magic and aerial work involving silks (long swaths of
fabric). Circa does not offer trapezes, tightropes, human cannonballs,
pyrotechnics or animals (not live ones, anyway). Ringling Brothers it’s not.
That said, the performers — Darcy Grant, Lewis West, Emma McGovern and
Emma Serjeant — display other talents seldom seen in a three-ring
extravaganza. Consider “Symphony No. 39,” in which Ms. Serjeant plays “When
the Saints Go Marching In” on a keyboard while balancing on one hand. Or
“Tongue-Twisting Handstands,” featuring Mr. Grant reciting the “Peter Piper”
twister while upside down.
Children seem especially to enjoy “Mental Floss”: Ms. McGovern inserts a
flaccid balloon up her nose and then extracts it from her mouth. (She’s no
slouch as an aerialist either.) And an award for inspiration should go to “It’s
Time for a Song,” in which Mr. Grant and Mr. West turn the periodic table into
a full-fledged, hyper-speed rap.
The show, best for unjaded souls under 12, lasts an hour. (The clock stops for
an “intermission” with a special guest, whose identity I won’t reveal.) As for
performing under the gun, the stars prove that they can cover amazing
ground in under two minutes. If they ever tire of circus arts, they should try
out for the N.F.L.
(Through April 4 at 209 West 42nd Street, Manhattan, 646-223-3010,
newvictory.org; $12.50 to $35; $8.75 to $24.50 for members. This week: Friday
at 7 p.m.; Saturday and Thursday at 2 and 7 p.m.; Sunday at noon and 5 p.m.;
Wednesday at 2 p.m.)
Mark Blankenship, tdf STAGES, “So M uch Circus, So Little Tim e”,
published M arch 19, 2010
http://wp.tdf.org/?s=so+much+circus+so+little+time
“An Australian troupe finds m eaning in the circus (in less than an
hour)”.
When you hear the title 46 Circus Acts in 45 Minutes, you may think you know
what you’re getting. And in a way, you do.
After all, this family-friendly spectacle, now playing at New Victory Theatre,
does feature four members of Circa, an Australian troupe, performing fortyfive circus routines in three quarters of an hour. They even bring a clock on
stage to prove they’re true to their time-sensitive word. “As far as we’re
concerned, there is no life after this if we don’t do what we say we’re going to
do,” says Yaron Lifschitz, Circa’s artistic director.
However, the show is more than a gimmick, and the time limit has an
intentional significance. “It’s a joyously open contract with the audience,”
Lifschitz says. “We all follow the same clock. Having an allotted amount of
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June 2013
time and racing against it, yet knowing how to have joy within that, and
repose, is now a fairly common process around the world. This show wouldn’t
have made sense thirty years ago. Our relationship to time has changed.”
In other words, as they flip and bounce and bend, the Circa performers
embody all of us. They’re on stage accomplishing impossible things in an
impossibly short amount of time, just like so many of us are forced to do if we
want to stay afloat in our hyper-connected world. And if they can have fun
while they’re doing it, if they can find occasional moments for stillness or
beauty within their constraints, then maybe so can we.
But as Lifschitz notes, the performers can’t do anything in isolation. They need
each other’s bodies—actual, physical bodies, not computer-screen images—for
balance and support. Their work is a reminder that contact, touch, and
proximity are often necessary to achieve things, even in 2010.
For Lifschitz, circus is exciting precisely because it delivers this kind of
message. “If you treat contemporary circus right, it puts the audience in very
direct connection with their mortality, their sense of possibility,” he says.
“You’ve got extraordinary bodies doing impressive things. You’ve got
performers giving of their spirits in all sorts of ways, and you actually have to
be there to see it, to really feel the risk. When you see a performance later on
YouTube, it’s already happened. The act has already been performed. But
when you’re there, sharing space with the performers, the risk becomes
palpable. It’s kind of existential: People stop existing if they screw it up.”
Not everyone thinks of circus this way, of course. For some audiences—and
some performers—spectacular tricks, often accompanied by elaborate
costumes and music, are more than satisfying.
Lifschitz acknowledges that this type of circus has its place, but he prefers
minimal sets and costumes, limited special effects, and spaces that keep the
audience and the performers close together. He refers to the other, flashier
style as “dessert,” and he jokingly adds, “I see us as the Whole Foods of circus.
We’re looking for what’s nourishing in this medium.”
Maura Kelley, nytheatre.com , “46 Circus Acts in 45 Minutes” ,
published M arch 19, 2010
http://www.nytheatre.com/showpage.aspx?s=46ci8670
46 Circus Acts in 45 Minutes is exactly what the title says though they did stop
the clock a couple times to add to the tension. The show is done in a very
presentational way by a young cast of Australian-born performers: Darcy
Grant, Lewis West, and the "Two Emmas," Emma McGovern and Emma
Serjeant. The acts combine a little of everything from skilled athleticism to just
plain silliness. One interesting quote I overhead from a neighboring sevenyear-old was, "Did he really fart?"
West, the gymnast of the bunch, does the bulk of the juggling and tumbling.
Some of his tricks are "Four of his Favorite Tumbles," "33 Juggling Tricks," and
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his impressive "Lightning Fast Head Spin." He also has an impressively skilled
strap act. West is one of those athletic performers who makes everything look
easy, which I even overheard one little girl comment. I did however, take heed
to the repeated warnings from the cast, "Don't try this at home!"
"The Emmas" are two of the shortest red-headed powerhouses I've ever seen.
McGovern does an amazing tissue act or silks act, as we call it in America.
Basically, she dangles upside down from the ceiling 20 feet up, manipulating
herself into various superhuman poses using two long hanging silks as her only
support. McGovern also is blessed with "Abs of Steel" which she uses in a trick
later on. One of the most hilarious moments is when Emma Serjeant brings out
her pig dance act, which you're just going to have to see for yourself. Grant, a
balancer of all things, does an impressive "Highly Dangerous Ladder Balance"
with one of the tallest ladders I've ever seen. Grant's entertaining "Bubble
Wrap Tap Dance" routine is side-splitting as well.
The audience was a combination of adults and children, but mostly the adults
were accompanied by children. Since I don't have a child, I brought a former
Ringling Bros. clown and skilled circus skill performer because I had an inkling
that he might appreciate the show. In his words, the show was "adrenalinefilled fun!"
There are a couple acts where the performers describe circus routines in step
by step instructions but don't really do them. I would have loved to have seen
Lewis West and Darcy Grant actually execute an all out slab-board routine or
incorporate more slapstick in general. These two are certainly skilled and silly
enough to do it.
In the end, this young talented cast did accomplish all 46 acts with 20 seconds
to spare.
Opened: March 19, 2010 Closed: April 4, 2010
Richard W ood 2009, No elephants in the room , The M anly Daily, 21
M ay 2009
http://manly-daily.whereilive.com.au/lifestyle/story/no-elephants-in-theroom/
ROLL up, roll up, the circus is here, but forget the traditional offerings under a
big top of stilt acts, clowns and performing animals.
Australian company Circa is taking a refreshing and innovative approach at
the Glen St Theatre, where five multi-skilled performers take the audience
through a dazzling array of routines, battling against the clock.
The result is a cut-down, high speed version of the traditional circus; think
cricket’s shorter Twenty20 format.
There are many of the old circus favourites, including plate juggling, knife
throwing, a range of stunning acrobatics, extreme tumbling, bed of nails and
contortions, but also a smattering of more unusual offerings such as
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“Interpretive Australian Tragedies’’ and two that really appealed to younger
audience members: “Up the nose and out the mouth’’, which has plenty of yuk
value, and the “Amazing underpants escape’’.
The five players, under Yaron Lifschitz’s artistic direction, deliver highly
physical and crisp performances.
Glen St Theatre’s intimate setting ensures audience interaction is high,
spurring on the players as they battle the clock to complete the 61 tricks.
This is great family entertainment, delivered at a fast and furious pace.
The show runs until Saturday, May 30. For bookings, contact the Glen St
Theatre’s box office on 99751455.
Sandra Bow den, O z Baby Boom ers, “ 61 Circus Acts in 60 Minutes” ,
published M ay 21 2009
This title is not a metaphor. Like Snakes on a Plane, what you see is what you
get. And these 60 minutes equal an hour of hilarity, incredible stunts, and five
people entertaining everyone from toddlers to grandparents.
David Sampford, Mali de Goey, Freyja Edney, Lachlan McAuley and Lewis
West belong to Circa, a troupe redefining the concept of circus performance.
They perform an astounding range of acts including juggling, acrobatics,
balancing, and tumbling. They add lovely touches of humour, silliness and
surprise. A screen on the side of the stage counts down the seconds ... the
performers count through the acts. Some last a few seconds, some more than
a minute. Can they really make it in time?
The action doesn’t let up, and you will find yourself in a state of almost
permanent applause. You will laugh, cheer and, if you’re very lucky, even
become part of the show. Occasional boo-boos were skillfully blended into the
performances in a funny, charming way. In fact, it added to the experience to
see that these incredibly accomplished and talented young people were able
to slip up and keep going.
Enhanced by clever mixes of music, the performers banter and engage with
each other and the audience. They look like they are having enormous fun.
There are many wonderful moments, but as a great deal of the magic is in the
unexpected, I won’t give away too much. But I must acknowledge “Great
Australian Tragedies as Expressed Through Interpretive Balance” (or words to
that effect)!
On a serious note, it is a wonderful opportunity for Boomers to take grandkids
to see just how amazing, powerful, versatile and beautiful the human body can
be. In a world of CGI, instant gratification and reality television, it’s also a
potent reminder of what the individual can achieve with dedication,
perseverance and passion — and no doubt, a fair bit of pain.
It made me want to run away and join the Circa.
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M ike Pathos, Beat Route M agazine, Canada, “ Dazzling daring-do on
a deadline” , published 2009
So you've got no time to run away to the circus? Coming to prove you wrong,
fresh from Brisbane, Australia comes Circa's 61 Circus Acts in 60 Minutes, an
innovatively postmodern take on entertainment most of us remember as kids,
and/or as Cirque du Soleil.
But unlike Cirque, Circa's production is free from pretension – maybe because
the performers lack time. As the title suggests, a small cast is tasked with
performing sixty-one acts in a sixty-minute-long performance. Props and sets
are pretty minimal (understandably – no time for those, either!), but the
performers' physical pyrotechnics are more than captivating.
Circa draws its cast of three for this show from 7,000 annual workshop spaces,
and run year-round circus training programs from its base in Brisbane. Besides
touring 30 venues in its native Australia, the show is stopping in spots
throughout the United Kingdom, United States, and Canada, and touching
down in Calgary at The Grand from April 29th to May 3rd.
The cast may be small, but each member is a powerhouse. Chelsea and David
perform much of the acrobatics, including some extremely difficult maneuvers
such as Chelsea balancing on David's head, or David juggling with five clubs
and performing handstands while simultaneously rolling across the length of
the stage on a skateboard, or even Chelsea keeping a hoop spinning on her
foot while rolling and freezing different positions on the floor.
But there is also a healthy dose of campy humor to the show, as skits are
announced with titles like "Pleasure And Pain" and "Squeeze Bum Through
Hoop". The ensemble's third member Darcy, meanwhile, not only gets in on
the acrobatics but also DJs, producing a soundtrack for the event including
remixes of circus classics like New Order's "Blue Monday" and Survivor's "Eye
of the Tiger". And the whole thing gets performed amidst frantic checking of
the timepiece, counting down at the side of the stage.
Circa has a unique vision of circus as a delightful, challenging and
contemporary artform. Their committed ensemble of multi-skilled performers
work year round to explore (and extend) the limits of what circus can do.
Difficult to describe but impossible to forget, the show features amazing skills
pulled apart and re-invigorated. In this production, the combination of acts –
some unbelievable, others humorously naff or botched – together with likeable
performers, audience participation and breathless pace, make for a fun,
minimalist and punchy show that keeps the action rolling.
Circuses have come a long way from ancient Rome. But if Cirque du Soleil are
bringing back the excesses of the Circus Maximus of 2000+ years ago for
modern times, Circa is bringing back the fun of vaudeville carnival for the
grotesque burlesque of an aesthetically and morally exhausted era, like "61
Circus Acts" itself minding the minutes and eagerly anticipating an
inevitable end.
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June 2013
Alison M ayers, W innipeg Free Press, “ Troupe bends over backwards
to entertain” , published 2009
Spring break is about to start, and that can mean restless kids climbing the
walls.Pack 'em in the van and take 'em to Manitoba Theatre for Young People,
where they can watch goofy grown-ups do an all-ages show that might inspire
them to put on a circus of their own. The central gimmick employed by Circa,
a troupe from Australia, is proclaimed in the show's title: 46 Circus Acts in 45
Minutes.
A digital clock counts down as the quartet attempts to blitz through 46 feats
of juggling, gymnastics, acrobatics, trapeze, slapstick comedy, dance and just
plain silliness.
Circa doesn't take itself at all seriously. The costumes are deliberately cheesy:
striped pants on the guys and an old-fashioned leotard with a ruffled skirt on
the lone female.
Although the performers obviously have many years of training and a high
level of skill, the show has a pleasantly casual, street-theatre feeling.
There's a huge helping of irony in the over-hyped buildup to some of the
stunts, which have grandiose names and turn out to be as groan-inducing as
David Letterman's stupid human tricks. But that's part of the fun for parents.
The quartet frequently engages with the audience, demanding oohs, ahhs and
applause for encouragement. Many of the feats display extraordinary balance
and strength. In one of the most memorable, one guy puts on a tuque and
another climbs up and stands perfectly upright, balanced, with both feet
planted on the first guy's head.
There's one dude who can tumble and breakdance like a demon. He pulls off
dazzling handsprings and headspins. At the opening school show on Thursday,
six kids from the audience got to squeeze together on their hands and knees
to form an obstacle for the guy's Evel Knievel-like attempt at a "flying
sideward somersault" over them.
As the clock ticks down and the circus folk appear desperate to make their
deadline, they trot out parlour tricks that aren't always marvels of creativity,
and the show isn't structured with as much escalation of risk and daring as you
might expect.
But overall, 46 Circus Acts in 45 Minutes is kind of like hanging out with your
elementary school buddies, trying to outdo each other with dumb stunts.
In other words, it's ideal spring-break entertainment.
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June 2013
Nicole Greatrex 2006, 46 Circus Acts in 45 Minutes, Pavilion
Theatre, Brighton , The Argus, 4 July 2006
http://w w w .theargus.co.uk/the_argus/the_guide/THEATRE_REVIE
W S5.htm l
Many circus style performances begin with the easiest act first, gradually
building up the wow factor to the finale.
But dancer Chelsea, of three-strong Australian company Circa, started as she
intended to go on by climbing on to fellow performer David’s head, balancing
there unaided for several seconds and then gracefully hopping down.
The trio constantly checked the time-piece visible at the side of the stage and
took turns to announce the often-humorous title of each act, such as “pleasure
and pain” and “squeeze bum through hoop”.
Third member Darcy also manned the decks, providing a soundtrack of fastpaced remixes including New Order’s Blue Monday and Survivor’s Eye of the
Tiger, plus scratching and sound effects fitting the facial expressions of the
performers during the more daring stunts.
Uber-fit Chelsea continued with a high-wire walk on tiptoes, followed by the
splits atop the same tightrope. Also a mater of trapeze and hula-hooping, she
swung around like a monkey and kept a hoop spinning on her foot as she
rolled into different positions on the floor.
Darcy’s skills included juggling with five clubs and performing handstands
while simultaneously rolling across the length of the stage on a skateboard.
Particularly amazing was his ability to dislocate his shoulder and wrap his arm
around his neck.
David demonstrated astonishing balance and muscle strength with a unicycle
skipping act and a handstand on three fingers.
The trio finished in a frantic race against the clock, locking limbs and revolving
round the stage in a feat which lifted Chelsea off the ground.
The combination of acts – some unbelievable, others humorously naff or
botched – together with the likeable performers, audience participation and
breathless pace, made for a greatly entertaining and highly-recommended
family show.
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June 2013
ACKNO W LEDGEM ENTS
Created by Yaron Lifschitz with the Circa Ensemble
Performed by: (Specific cast will be made up from the following – please
request actual cast closer to performance, head shots of performers are also
available)
Nathan Boyle, Jessica Connell, Robbie Curtis, Jarred Dewey, Casey
Douglas, Freyja Edney, Scott Grove, Darcy Grant, Bridie Hooper, Rowan
Heydon-White, Todd Kilby, Melissa Knowles, Emma McGovern, Rudi
Mineur, Alice Muntz, Kathryn O’Keeffe, Paul O’Keeffe, Brittannie Portelli,
Kimberley Rossi, Skip Walker-Milne, Duncan West, Lewis West
Director Yaron Lifschitz
Producer Danielle Kellie
Technical Director/Lighting Designer Jason Organ
Costume Design Libby McDonnell
USA Agent Tommy Kriegsmann, ArKtype (please credit as
appropriate)
International Agent Paul Tanguay (please credit as appropriate)
W ebsite www.circa.org.au
Facebook http://www.facebook.com/circacontemporarycircus
Logos Required:
1.
Circa
2.
Queensland Government
3.
Australia Council for the Arts
With the text to follow:
Circa acknowledges the assistance of the Australian Government through the
Australia Council, its arts funding and advisory body and the Queensland
Government through Arts Queensland.
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June 2013
61/46/31/21 Circus Acts Images
L‐R
Lewis West, Emma Serjeant,
Jesse Scott, Darcy Grant
Photographer
Justin Nicholas, Atmosphere
Photography
Image number
61_IMG_01.jpg
©Circa 2010
L‐R
Emma Serjeant
Photographer
Photography
Image number
61_IMG_02.jpg
©Circa 2010
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June 2013
L‐R
Emma Serjeant, Darcy Grant,
Lewis West, Jesse Scott
Photographer
Photography
Image number
61_IMG_03.jpg
©Circa 2010
L‐R
Darcy Grant, Lewis West
Photographer
Photography
Image number
61_IMG_04.jpg
©Circa 2010
16
June 2013
L‐R
Lewis West, Darcy Grant, Emma
Serjeant, Jesse Scott
Photographer
Photography
Image number
61_IMG_05.jpg
©Circa 2010
L‐R
Lewis West
Photographer
Photography
Image number
61_IMG_06.jpg
©Circa 2010
17
June 2013
L‐R
Jesse Scott
Photographer
Photography
Image number
61_IMG_07.jpg
©Circa 2010
L‐R
Darcy Grant
Photographer
Photography
Image number
61_IMG_08.jpg
©Circa 2010
18
TECHNICAL SPECIFICATIONS
M arch 2012
Contact
Jason Organ
Technical Director
[email protected]
+61 7 3852 3110
19
General Opening Notes
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The following document contains the optimum requirements for the
production, however Circa is open to working with presenters in
managing these requirements; details and variations can be
negotiated during the contract phase
Depending on the version being performed, the performance will last
between 5-15 minutes longer than its title
There will be No Interval in the show, however at venue request,
interval can be conducted approximately half way through the
performance if required
The touring company will consist of:
• 5 Performers (61), 4 performers (46), 3 performers (31 and 21)
• Production Manager
• Show Director
Schedule
Example – same day open, evening show
0800-1200 Rig lights, rig circus apparatus, patch and sound check audio, patch
and check video, set masking, unload and lay mats
1200-1300 Break
1300-1700 Focus lights, plot show. Tech/safety run
1700-1800 Crew Break
1600-1915
Warm up onstage (performers only)
1915
Doors
1930-2030 Performance 2
2030-2130 Bump out, load truck
Example – same day open, 2 show day – extremely tight – not ideal
0800-1200 Rig & focus lights, rig circus apparatus, patch and sound check audio,
patch and check video, set masking, unload and lay mats
1100-1345
Cast onstage (warm up / props set)
1345
Doors
1400-1515
Performance 1
1515-1530
Reset onstage
1530-1630
Break
1630-1845
Warm up onstage
1845
Doors
1900 – 2015 Performance 2
2015 – 2130 Bump out, load truck
These times vary according to show times – please contact Circa’s production
manager to discuss exact schedule for proposed show times.
20
Crew
Morning
• Rigger x 1
• Stage Crew x 2
• Lighting x 2 (depending on venue requirements)
• Audio/Vision x 1
Technical Rehearsal and Show Call
• Audio Operator x 1
• Lighting Operator x 1
Bump Out
Minimum required to strike and load Circa’s equipment
• Rigger x 1
• Stage Crew x 2
• Lighting x 1
Stage
Playing Area
All shows needs a minimum stage area of 8m wide by 6m deep.
The Staging consists of 2, 6000mm x 2000mm Acrobatic Mats 30mm thick
orientated across stage within the performance area. The mats are joined
together by velcro strips.
Depending on the size of stage and the venues sightlines, the mats are usually set
2-4 metres from the downstage edge of stage.
Stage must be a flat level surface. Raked stages are not acceptable.
Masking
Existing venue legs and borders are used frame the performance space. Non
pleated flat masking and ‘Italian’ style legs and borders are preferred where
available.
An upstage flat black smother should hang at least 2m from the upstage edge of
the mats. Should the venue have a clean black back wall, Circa may decide not to
use the upstage smother.
The stage surface should be black.
Stage should be swept and mopped prior to Circa’s arrival.
Circa Supplies:
• 2, 6m x 2m acrobatic mats
• Velcro strips to join acrobatic mats
Venue Supplies:
• Stable, clean, level stage of 8m x 6m or larger
• Crew to unload and lay acrobatic mats
• Minimum 4 Legs per side to create mask. (Flat masking preferred)
• Upstage black smother (flat preferred) or clean black back wall of theatre
• Stage to be mopped by house crew prior to performance at time specified
by Production Manager
21
Rigging
The venue M UST supply a suitably qualified and experienced rigger for the bump
in/load in.
Aerial acts vary depending on shows, casts and safety factors. The production
manager will have detailed correspondence with the technical director/ Head
rigger about some or all of the following positions.
2 static trapezes (not swinging) and straps may be used during the performance.
For the first trapeze, two points should be located in the midstage right area and
be 600mm to 1100mm apart and be rated to a minimum of 1 ton each. The points
should be orientated across stage. For the second trapeze, two points should be
located in the midstage left area and be 600mm to 1100mm apart and be rated to
a minimum of 1 ton each. The points should be orientated across stage.
Acrobatic straps and/or tissue may be used, which would require one point
located upstage centre and be rated to a minimum of 1 ton.
Each apparatus may require a pull out line which consists of a single line running
through a pulley off stage, usually rigged of an existing point from a fly gallery or
a spare head batten. They carry minimal weight and are used to keep the
apparatus off stage until required.
Rigging equipment is supplied by Circa and is designed to fit a variety of grid
heights. Circa can accommodate points rigged from 8 meters to 25 meters from
the stage floor.
5 Banners hang directly down stage of black smother. The banners have a
sleeved pocket large enough to accommodate 48 OD pipe, which can then be
underslung under the flown batten. Each banner is 1000mm wide with a 500mm
gap between banners. The banners are 6000mm long. There is a pocket in the
bottom as well, but they can be weighted by sandbag individually or by batten or
pipe.
It is extremely important that the venue discuss the rigging of the trapeze, straps
or any other aerial apparatuses’ with Circa’s Technical Director prior to the
company arriving.
Circa
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Supplies:
Trapeze
Straps
5 Banners
Adjustable straps
Extension straps
Slings
Shackles
Venue Supplies:
• Fully qualified and experienced rigger
• Up to 5 x rated points from grid or stable truss. Rated points as detailed on
plans/discussions (one ton per point) with Circa’s Technical Director or
production manager.
• 8m x 48 OD pipe with suitable joiners and rigging to undersling from flown
batten
22
Control Position
The Circa production manager operates sound and video for the performance
from front of house. This position should have clear view of the stage and at back
of auditorium or booth WITHOUT glass. Venue operators need to operate lighting
from front of house with a clear view of the full stage.
Circa Supplies:
• Sound and Video Control equipment
Venue Supplies:
• 1 x AC mains power, 110V or 240V, for equipment
• Talkback to venue operators and to side stage
• Tannoy broadcast from FOH Position to Dressing rooms
• 2000mm x 1000mm trestle table
Lighting
Overstage
Eight profiles are required for specials. Five are focussed to the five banners.
Three are for onstage specials. The break up gobo wash should also be overhead.
FOH
Two even full stage washes – one warm / one cool. Please note that these will be
required to supply face light 10ft high, at least 16 feet from the apron edge.
Floor
Side light in a central corridor in line with mats. This can be from booms,
panoramas or floor.
Control
The show is run off submasters on the venue desk by the venue operator under
instruction from Circa’s production manager. States include: Warm wash; Cool
wash; Gobo Wash; DSL special; DSR special; DJ special; Banners; Aerial state;
Juggling state. The intro out of preshow into show state can either be controlled
via bump switches or programmed as a random chase. If moving lights are inhouse, these can be used for an auditorium ballyhoo in this sequence.
If time permits the touring Production Manager may chose to plot the show into a
cue-stack.
Venue Supplies:
• Lighting Operator
• 5 profiles focussed to a banner each
• 3 profiles for specials onstage
• 2 even full stage washes – one warm / one cool
• Gobo wash (break up) in OW
• Side light for aerial acts
• Suitable blue work light in side wings and upstage crossover (must not spill
onto stage)
• Pre rigged lights when one day bump in and open required
• Elevated work platform with a 10m reach for lighting focus and rigging of
circus apparatus
23
Audio
Circa tours with its own laptop based audio system outputting to a sound card.
The sound card outputs 2 XLR lines L & R patched to the house desk. As a backup,
Circa used an Ipod with dual RCA sends to be patched to the house desk. The
venue should supply cabling from Circa’s outputs to the house desk. The PA
should be rigged and tuned prior to Circa’s arrival.
Circa Supplies:
• Laptop based audio system with dual XLR output to house system
• Ipod for backup
Venue Supplies:
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Sound operator
FOH PA with even distribution to all parts of Auditorium rigged and tuned
prior to Circa’s arrival
Onstage foldback minimum 1 per side mid stage on separate send post
fader
Patching from Circa’s equipment
1 x Vocal microphone at control position for rehearsals and performance
3 x Handheld Radio microphones on straight stands (onstage)
1 x mono xlr feed from stage to FOH (instrument line in)
1 clean 240V or 110v power feed (separate from lighting) – at FOH
Operation position
1 clean 240V or 110v power feed (separate from lighting) upstage left.
Vision
Circa
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Supplies:
Laptop running “Powerpoint”
Scan Rate Converters
Minimal BNC coax cables
Venue Supplies:
• Two coax tie lines from Operation Position FOH to stage
• 2 x video monitors viewable from stage by performers (they can be
conductor view monitors or single monitors placed downstage similar to
audio wedges; in the orchestra pit; or in the bottom of box booms)
• 1 x Widescreen TV on plinth (minimum 42”) placed up stage and visible by
the entire audience [incl. coax cabling to reach tie line to ops]
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Props
Circa tours props required for all variations of this show. There are, however, a
few items venue will need to provide depending on final act selection. The
Technical Director will be in contact with the venue to arrange these. They may be
any or all of the following:
Venue Supplies as per a clarified tour/production specific list, please discuss with
Circa:
• 1000mm x 2000mm piece of bubble wrap (20-25mm bubbles) per show
• Piece of timber (like a painter’s plank) – approx 2000mm x 280mm x
20mm
• 2 pieces tissue wrapping paper per show (colour does not matter)
• 2 of 2000mm x 1000mm trestle table for props
• 2 of small props table – milk crate or similar
• Black or red fabric to dress all tables
• A ladder for ladder balance act single run 10' or 3m aluminium ladder (as
used in scaffold tower) is best or a short step ladder 2 – 3m
Wardrobe
If in season, Circa requires daily wardrobe maintenance for 5 costumes which
consist of 3 shirts, 3 pairs of pants, 2 leotards and underwear (costumes need to
be hand washed and air-dried on a need basis).
Circa Supplies:
• All costumes
Venue Supplies:
• Wash/Iron and return to dressing room if in season
• Wardrobe facilities in venue including Washing Machine/Dryer and
Iron/Ironing Board if one or two performances
• Circa requires the use of venue washing and drying machines for touring
crew and cast personal use.
Hospitality
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Separate clean towels per performer per performance
2 large dressing room to accommodate performers, with showers
Ample amount of filtered water for each performance
2 litres of cold, fresh low fat milk (1% or 2% fat - not skim/not whole milk)
Combination of high energy snacks such as muesli bars, chocolate, fruit and
nuts
Powdered Gatorade
General
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Ice available near stage to immediately treat injury and for warming down
Clear unobstructed sight lines to all parts of stage. It is preferable that the
audience can see the stage floor
Air-conditioning/ Heating set and running at 22 Degrees Celsius for 4 hours
prior to performance to the conclusion of performance
No unauthorised personnel not cleared with Circa’s Touring Production
Manager allowed in the wings during performance or warm up
25
Circa casting and show developm ent
A note from Circa’s Artistic Director
Circa is committed to providing our clients with the best possible productions for
their audiences. Our practice is improvisational and based in the bodies and
personalities of its performers. All our shows evolve and change over time. In
circus, matters are complicated by injuries, cast turnover and changes in bodies,
skill sets and acts. Additionally we continually train, rehearse and refine acts and
skills so things tend to evolve and improve over time.
Circa casts shows from within its ensemble wherever possible but we do not
finalise casts until each tour is confirmed. As tours are often booked in advance
and videos of shows are made in the past, it is often the case that the show that
will arrive at your venue will have a significantly different cast and range of acts to
the one you viewed on the video.
We understand that this may cause a degree of concern. To help ease this, our
commitment to our clients is that we:
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Cast from our ensemble wherever possible
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Provide a finalised cast list as soon as practical
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Carefully prepare and rehearse all productions
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Inform clients of any changes as soon as we can
Ultimately we believe in providing the most true and authentic realisation of our
creations each and every time they go on stage. This means being true to the
spirit, the inner life and the heart of the piece rather than recreating the shell.
Every Circa artist takes the stage owning and inhabiting their material,
improvising and communicating their inner lives. This is at the heart of the Circa
experience and it is why we focus our planning on bringing the best artists to you
believing in and passionately presenting their own works, rather than simply
presenting acts. In any given show, most of the music, acts and set-pieces will
stay the same but to make them true and amazing, they must change and grow
with the artists involved.
Yaron Lifschitz
Artistic Director
26
June 2013
CIRCA RISK ASSESSMENT
SHOW: 61 CIRCUS ACTS IN 60 MINUTES
AREA OF RISK
TYPE OF RISK
IDENTIFIED
Rigging
Equipment breaks
Falls from height
Physical/Acrobatic
Physical injury due to
acrobatic mistakes
Electrical
Electrocuted
For further information contact: [email protected]
RISK
LEVEL
(L, M, H)
CONSEQUENCES
1 -5
(1=minimal,
5=catastrophic)
RISK MANAGEMENT STRATEGIES
L
2-4
Suitably trained and ticketed riggers with
circus experience;
Gear checked pre-tour and on weekly basis;
All venue equipment is rate and/or engineer
certified.
M-H
1-3
Ensure adequate warm up and
safety/technical under lights;
Appropriate levels of training;
Appropriate management of fatigue, minor
injury management and nutrition.
L
4-5
All equipment is coded;
All operators are experienced/licensed;
Water is kept away from equipment;
Emergency procedures are in place.
27
June 2013
Bump in/out
Falling equipment
Trips
General accidents
Asphyxiation
Electrocution
L
2-4
Ensure appropriate safety equipment
including helmets and harnesses;
Healthy and rested crew with appropriate
breaks;
Well-lit and ventilated working conditions;
Safety barricades for working at height;
No unauthorized personnel in space;
Safety briefing;
First aid kits;
Fire extinguishers;
Experienced Technical Director and
Production Managers.
Fire
Electrical
Chemical
Open Flame
L
1-5
No open flame in show
Regularly check cables and other electrical
devices
Ensure proper clean-up of chemicals where
used by venue;
No smoking in building;
Alarms;
Smoke detectors;
Well-promoted evacuation procedures and
training;
Material data safety sheets, equipment
registers and fire retardant where
appropriate.
28
June 2013
Audience
Trips
Medical Emergency
Terrorist or other Act
of God
L
1-5
Ensure appropriate briefing and touring;
Adequate first aid;
Appropriate evacuation and emergency
protocols;
Venue compliant with relevant codes and
standards;
Cables secured;
No public access to stage or backstage
areas;
Appropriate venue and security staffing.
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June 2013
M ARKETING EXAM PLES
Marketing Examples
P30 – P35
Flyer, Hancher Auditorium
P31
Brochure, Pittsburgh International Children’s Festival
P32
Brochure, Playhouse Square
P33
Brochure, Purchase College
P34
Program, The Kennedy Centre
P35
30
Circa
public performance
“46 Circus Acts in 45 minutes”
Wed., May 11 at 7 p.m.,
McGregor School Big Gym
918 W. Main St. McGregor
Circa is
coming
Circa, a contemporary Australian circus
performing group, is coming to McGregor
Monday, May 9 - Wed. May 11, and
there are lots of ways your family can get
involved in this very unique experience.
Monday through Wednesday there are
FREE, FUN circus training workshops
every day for students of all ages. These
workshops are filling up, but some spaces
are still available. All workshops are led by
Circa’s professional circus trainers.
• Tiny Tumblers is a play-based learning
experience for children ages 3-5
• Elementary age students can learn 4
Circus Acts in 3 Minutes: Learn circus
skills and create your very own performance in this workshop for grades 1-6.
• Circus Mix: An encouraging, creative
workshop that’s challenging and loads of
fun For students grades, 7-12, gymnasts
cheerleaders and dancers invited!
Call the Chamber at 873-2186 for more
information and to register.
Circa events are sponsored by the McGregorMarquette Center for the Arts, Community Partners,
and Hancher Auditorium at the University of Iowa
Tickets at the door,
doors open at 5:30 p.m.
Adults $6
Kids (12 and Under) $3
Don’t miss your chance to see these world-class
performers in their fun, fast-paced show that
includes acrobatics, plate spinning, watermelons
and whipped cream!
Workshop Schedule:
Monday, May 9
2 p.m. Tiny Tumblers Ages: 3-5 at McGregor
Center small gym
4 p.m. Circus Acts at McGregor Center School
Gym 5:30 p.m.
Circus Mix at McGregor Center School Gym
Tuesday, May 10
10 a.m. Tiny Tumblers Ages: 3-5 at McGregor
Center small gym
4 p.m. Circus Acts at McGregor Center School
Gym
5:30 p.m. Circus Mix Ages: Middle & High School
at McGregor Center School Gym
Wednesday, May 11
10 a.m. Tiny Tumblers Ages: 3-5 at McGregor
Center small gym

61 Circus Acts in 60 Minutes

Transcription

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