Starting rehearsals in Brisbane for Circa’s new show, Duck Pond, Artistic Director Yaron Lifschitz is excited to share his thoughts about the work.
‘The show differs from other productions in that we’ve specifically generated it to resonate across all ages,’ he says. ‘There will be something for everyone, no matter who you are and where you’re from – whether you’re nostalgic for your ballet days or looking to be blown away with some awe-inspiring acrobatics.
‘I chose Swan Lake as the basis because it has everything – good and evil, black and white, and of course a lot of tutus,’ he continues. ‘Ballet, fairy tale and circus lovers alike will be transfixed as Duck Pond draws upon the worlds of Swan Lake and The Ugly Duckling, as well as a variety of different acrobatic languages.’
Circa is known for being one of the world’s leading performance companies. Since it was established in 2004, the company has toured the world, performed shows in over 40 countries and reached more than 1.5 million people. At the forefront of a new wave of contemporary Australian circus, Circa blurs the lines between movement, dance, theatre and circus. And with Duck Pond, circus visionary Lifschitz takes it to a new level.
The origins of Duck Pond
Duck Pond came about through Lifschitz’s many diverse interests and the genres that can be used to express his ideas. He tells ArtsHub: ‘I’m particularly interested in fairy tale myths that have resonance today. I started to look at Swan Lake, perhaps the greatest romantic ballet of all time. And I thought about it in relation to the story of The Ugly Duckling. I came up with the formula of a swan who is cursed to be a human, or conversely a human who is cursed to be a swan, who thinks it’s a duck. Those two stories seem to be tales of identity, of discovery and of self-knowledge, all with resonance. And I wondered what might happen if we put them together?’
He continues: ‘At the same time, I’m really interested in how circus can read, interrogate and reinvigorate the canon. Grappling musically with the work of composer, Tchaikovsky, with the performance tradition of classical ballet and the fairy tale traditions of Hans Christian Andersen, I wanted to see where we landed. It seemed to me to be a really resonant space because I wanted to do something that was unashamedly glossy and beautiful. Our recent work has been physically muscular in body and a little bit gritty and tough. I thought it would be nice to scrub up for a while.
‘I wanted to make something beautiful, funny, sophisticated and accessible – a kind of mythical unicorn that reaches across ages and artistic preferences,’ he adds.
Yaron Lifschitz’s philosophy
How will this new work help advance Circa’s programming and overall appeal to audiences? This question touches on Lifschitz’s philosophy and vision, and his own journey as a performer and creator.
He tells ArtsHub: ‘I frustrate everyone. I’m not very interested in creating any sort of programming trends. We did one show with a string quartet, for example, but have never done another one since. If we do another ballet or fairy tale-inspired show after this, it is because the idea at that moment is potentially right. Not because it’s a kind of calculated attempt to create a new wing of ballet-infused productions. I was really conscious that there are many acrobatic Swan Lakes, but that is not what I wanted to do. This is much more than that, offering a different perspective.’
Additionally, he says, ‘Of course, I hope that this show will attract fresh audiences, allowing us to have new conversations. The really interesting thing about working in circus, and the reason I’ve stayed doing it as long as I have, is that for me it feels like I can do almost anything in this art form. It’s a freedom that most art forms don’t have.
‘Most of my professional career has been pretty much as close to the opposite of ballet as you can get. I mean it’s not my background, but I am fascinated by it. And I watch it like an anthropologist. It’s really fresh to me and exciting.’
Lifschitz says he approached the collaboration with ballet with a great deal of cultural respect. ‘There is humour in Duck Pond, but none of the humour is at the expense of ballet. If a ballet audience comes to the show, I want them to be more interested in ballet, more interested in what sits behind it, how it might be rethought or offer new perspectives. What we are offering here is just part of the cultural conversation, a piece not with attitude but with respect,’ he says.
The show and production
One of Circa’s most ambitious works yet, Duck Pond is ultimately a tale of identity and finding your true self. However, Lifschitz is naturally cautious about describing the production in too great a detail, as rehearsals have only recently commenced and things can develop and change during the process. It is the nature of the art form and also the way the Circa company works with his ensemble of 10 acrobats as well as his creative team, who are involved every step of the way.
Swan Lake is here reimagined, but with Circa’s prominent signature physicality and aerial performances centre stage. Lifschitz says, ‘The story has been reinterpreted to take place in the magical world of a film set, with a fantastical mash-up of bringing together the worlds of ballet, circus, film and theatre for an acrobatic spectacular. Set within this fairy tale world, the narrative begins roughly around the pre-birthday celebrations of Act One of Swan Lake with a cupid character who [propels] the action. Two major characters, the Ugly Duckling, who then becomes the White Swan, and the vampy burlesque character of the Black Swan, eventually hook up. There is also a clumsy film crew and clowning associated with a sequinned flipper-wearing Duck Army, among other additions.’
While using Tchaikovsky’s famous ballet score as a basis for the work, the music by Jethro Woodward contains only hints of the original. Lifschitz says: ‘There should be plenty to recognise, smile at and be warmed by, but it is a fresh interpretation, inspired by Tchaikovsky. It’s Tchaikovsky deconstructed, if you will.’
Lighting is by Alexander Berlage. Highlighting the aerial and other key acrobatic routines is intrinsic to creating mood and atmosphere, with digital components and visual imagery providing many of the scenic elements. Additionally, Libby McDonnell is creating some splendid haute couture costumes that will add to a sense of glamour and pizzazz.
World premiere in Brisbane
Circa performs all over the world, but is is always happy to return home to Brisbane and to premiere new works at the Queensland Performing Arts Centre (QPAC). Lifschitz says: ‘It is always special to be playing at QPAC and more so than ever with this being a world premiere. It’s game-changing for us to have this level of support, allowing us to build and grow our audiences here. We can’t wait to share Duck Pond with Brisbane audiences and are excited to be working with the QPAC team to bring this show to life.’
READ: Circus Review: On by Circa
Duck Pond is the latest in a series of successful collaborations between QPAC and Circa, building on such previous works as Humans 2.0, Peepshow and On, as well as the playful comedy of Carnival of the Animals.
Executive Director – Curatorial at QPAC, Jono Perry, says QPAC always welcomes a collaboration with Circa. ‘We cherish our relationship with the company, and love making new work with them and then see that work travel the world over the coming years,’ he says. ‘When it comes to physical theatre and circus, Circa is the benchmark. I think the athleticism and the precision in their work is quite extraordinary. They have a fabulous way of connecting with audiences and telling interesting stories using incredible music. Duck Pond is really going to take them to a new level by turning a well-known ballet and its music on its head with a revitalised energy,’ he adds.
As Lifschitz rushes off to attend a production meeting for Duck Pond, he seems quietly optimistic about his new work and concludes: ‘I really want this show to be a strong piece of contemporary circus that anyone can watch and enjoy. And I am pretty excited to do it.’
Circa’s Duck Pond plays at the Playhouse, QPAC, Brisbane from 5 to 8 July 2023 and in centres around Australia later in 2023 and 2024.
