Saturday 10 January 2026
Circa is one of the world’s leading touring circus ensembles based in Brisbane. They generally tour three shows internationally at one time and the current show Duck Pond has been travelling the globe since 2023. Lead by Yaron Lifschitz, they stay true to their core values of “quality, audacity, humanity” – they are literally a travelling circus.
Last night’s performance in the Concert Hall of the Sydney Opera House had all three in spades and then some special magic that is beyond mere words. The cast of 14 incredibly fit, talented and highly entertaining elite athletes, tumbled, dived, and climbed impossible human mountains to soar through the air, telling a story full of pathos, love and above all humour.
That story combines the well-known tales of Tchaikovsky’s Swan Lake with Hans Christian Anderson’s The Ugly Duckling. When I asked Tour Director, Eve Beck (listen to the interview below) how do these two disparate tales work together, she replied with one word, “Ducks”. And yes we were entertained with many circus tropes – aerials, hoola hoops, and our lighter ‘pens’ being thrown through the air by caring well-muscled ‘cobs’ ensuring their safe landing – but these were just the manifestations of the expertly crafted story-telling.
I can’t praise the music soundtrack by Jethro Woodward enough. His ability to take snippets or samples of the well-known movements of Tchaikovsky’s ballet score and turn them into a 21st century masterpiece was awe-inspiring. One thought, ‘I know that bit of music’, and just before you could put a name to it, it disappeared into the air like cold mist on a lake. That famous oboe note that introduces the main theme flitted in and out of the score time and time again, to suddenly morph into a techno beat with distorted guitar. Brilliant!
The Dance of the Cygnets was hilarious. The baby swans became the janitors who were only too self-conscious of their ungainliness, made even funnier by their incessant quacking. This was referenced again later with two swans trying to embrace arms the way they do in the vey famous dance, but being too fussy or selfish to accomplish the position, swatting each others hands away.
And what we saw was not unlike classical ballet, but more a mesmerising hybrid of uber athletic choreography and high-risk circus (Dramaturg/Associate Choreographer: Rani Luther); the expert balance and counter balance of the players’ different holds and lifts made it all look so effortless, if it wasn’t so in sync it would be almost impossible to endure the physicality beyond just a few minutes. The result – incredibly beautiful structures of sculpted bodies and costumes (Costume Designer: Libby McDonnell) The lighting (Alexander Berlage) and stage design (Yaron Lifschitz) transported us to on and under the lake and to the skies above using the simple device of large blue silk sheets that shimmered and billowed as required.
Like much contemporary dance, the ideas and themes are told through suggestion and referencing. For example the ambiguity of Cupid’s costume – one black and one white wing – said much about her ability to unite opposites – and perhaps a hint of gender fluidity? The Prince’s awkward dance when he realised he was not going to win either the white or the black swan brought the house down.
And just when you thought it was all over, the illusion evaporated like that lake mist all over again. But this time to reveal the humans behind the feathers. As they ripped up the staging, and removed their already too-revealing outer costumes, the 4th wall was completely smashed to pieces, swept up with oversized brooms and thrown out with the balls of used gaffa tape.
It is no wonder Circa has achieved the international reputation they hold. The level of creativity, the high degree of risk-taking, and the endearing humanity and humour can delight the toughest of audiences everywhere from the most remote theatres on the planet to the major international concert halls of the world – it deserved its rapturous applause.
And bravo to the performers – Asha Colless, Maya Davies, Jordan Hensley-Twartz, Lucy Hunterland, Gerramy Marsden, Anisa Monsour, Clara Scudder-Davis, Sophie Seccombe, Tristan St John, Anais Stewart-Long, Adam Strom, Darby Sullivan, Rose Symons, Harley Timmermans.
Season runs at the Sydney Opera House until 12 January.
You can listen to a recent interview with Tour Director, Eve Beck below: