Clammy Glamour from the Curio-Cabinet

Published On:October 13, 2010

This post is in: articles head slider, Event Reports

Report by Trevor Connell

Aerialize have captivated audiences at many corporate events. They have also been great supporters of RSVP and MEA with memorable performances at various industry events, so I was keen to see their new theatrical production being staged as part of the Sydney Fringe Festival.

“Clammy Glamour from the Curio-Cabinet” featured a cast of 10 performers and was directed by Simone O’Brien and Annabel Lines, both of whom have extensive and varied experience in physical theatre and other live performance (Legs on the Wall and Machine Gun Fellatio to name a couple).

This show is the second for the performance company formed by Aerialize in 2008.

The show follows a rough narrative – a maniac with a meat cleaver whose attempts to terrorise the other participants are sometimes thwarted, sometime not – is in the tradition of theatre melodrama.

The particular skills of each performer are featured – trapeze, pole climbing, rope climbing, rings, stiltwalking, etc. This was no take-a-bow after each feature act type of show but one in which each act segued into or overlapped the next, which kept the show flowing and the storyline evolving .

This is circus as theatre – no dialogue, just lots of action to carry the storyline.

The musical score by Ross Johnston fully supported the narrative and gave the show a great dynamic without being overbearing or inaccessible.

The lighting design by Neil Fisher focussed the audience attention on the action as it moved around the relatively small space and allowed for the setup of the next element to be done undercover. The result was quite effective and also avoided overdone theatrics, quite an achievement given that he had to use a multipurpose rig that had to cater for half a dozen different shows that are running in the venue on any one day.

Overall a very entertaining show that showcased many skills. The programme didn’t credit set and costume design, but it should have because although the set was simple (it had to pack away for other performances in the venue) the costuming worked exceptionally well.

I look forward to future performances by this group whether it be in a theatre or at corporate events.

This was also my first visit to Carriageworks (long overdue) and I was very impressed with the complex – huge potential there for corporate events.

The Sydney Fringe provides a great opportunity for event producers to check out some great new acts for both corporate and public events. I encourage readers to share their observations, experiences and recommendations.