The Underbelly Southbank festival is in full swing and combines the best of Udderbelly Festival and London Wonderground, to bring you the best in circus, comedy and family entertainment.
Taking over Underbelly’s spiegeltent with a night club vibe is Circa’s Peepshow. Most of Peepshow’s music is an original track written by Ori Lichtik (Batsheeva Dance Company) with an interlude of Sweet Dreams (originally by Eurythmics). Peepshow lets audiences see the world from the other side of the mirror and turns cabaret on its head, literally.
Playing with the extreme physicality of this troupe of phenomenal acrobats, Circa blur lines between movement, dance, theatre and circus. Exploring the concept of looking and being looked at, Peepshow uses circus to explore themes of gender and sexuality on the stage.
Millennial London spoke to one of Peepshow’s performers, acrobat Ela Bartilomo to find out more about the production:
Describe the show in three words.
Perception, Reality, the-space in-between
What part of the show amazes audiences the most?
Whilst the solo moments allow the audience to get to know each performer, and vice versa, the large pyramids of people stacked on top of one another seems to astound the audience. Especially when they appear under the stunning lights designed by Jason Organ.
What do you enjoy about being part of the production?
There is so much I enjoy about the show – the shift of worlds, the challenging of expectations and the representation gender. Most of all I enjoy having the ability to truly be myself onstage. Though it’s great to step into a show someone else has performed before you and experience their world, there is something awesome about knowing you can show the audience as much of you as you want.
What does being an acrobat as part of Circa mean to you?
Being a Circa acrobat to me means being part of a family with one unanimous goal which is to make our audiences feel something. I am honored to be part of a company that is so respectful, kind and caring to one another, though there isn’t really another way to be in this kind of work. As our director Yaron Lifschitz said, “we are not male, female, young, LGBT, old, experienced, or new; we are all just acrobats, unique acrobats of course, but equal”.
What current themes are reflected in Peepshow? How are they explored?
The biggest subject we explore throughout the show is the way that our society perceives women, and men. Inspired by the world of a Peepshow, where men come to look at women to fulfill their own sexual desires and women come to make money and pay the rent. Through a cabaret/ burlesque inspired first half we portray an image of beauty and desire. However, in the second half of the show, we learn that our perceptions are not our realities and come to the great realisation that the image of sex is a façade, and that sexuality is not what we see when we look for it, but something that we find when we express ourselves. This is where our acrobatics have the ability to be raw and unfazed by any expectations we have set up earlier. In fact, we don’t even give our audience a chance to see the fast-paced toss sequences, or 3 back saults in a row as things move fast, that’s reality.
What do you want the audience to take away from the show?
In an ideal world I would love the audience to look back at the show, obviously impressed by the skills throughout, but more importantly, inspired to look at things differently, and realise that things that conflict our existing beliefs are genuine opportunities. Uncertainty and discomfort should be places to dwell and let your perceptions explore, like visiting a marketplace in a foreign country, our assumptions are our greatest downfall.
Circa’s Peepshow runs at Underbelly Festival until 18 August 2018