Flip Fabrique: Attrape Moi

Catch em if you can!

All the way from Quebec – although in this case, Quebec City rather than Montreal – come Flip Fabrique, with a feel-good street-wise circus show that gets down with the kids. There’s a bunch of friends reunited,  there’s beat-boxing, there’s trampolining, there’s big red bouncy balls, there’s chalking on walls., there’s camping chairs, and there’s ‘dancing slug’ sleeping bags – an ingenious take on what someone (somewhere away from this cheery teenager-y world) might describe as whole-body-mask performance. 

Most of the show is upbeat – I Like to Move It, Move It – with plenty of zippy juggling and hooping (I’m reminded of Circus Oz quite often in the frenetic cheeriness of the whole thing). There’s a fantastic diabolo act – one of the best I’ve seen – in the form of a kind of diabolo duel. But there are some moments of calm, including a stunning straps act to Cinematic Orchestra’s melancholic To Build a Home. There is also a very lovely clowning-morphs-into hand-to-hand scene that is funny and tender all at once. The trampoline-and-wall bounce-off finale is stunning. I start off a little resistant to the show’s vibe, but they win me over with their brilliant technique and charming stage characters.

The team of six – five men and a single jaunty female (Jade Dussault) who flies like an angel in the acro scenes, and is a great hula hooper – all have prestigious pedigrees, having between them chalked up work with all the Quebecois big names: Cirque du Soleil, Les Sept Doigts, and Cirque Eloize. Under the direction of founder-member Bruno Gagnon, the team have come together because they genuinely are a group of friends who wanted to be reunited. Hence the show. Here are a bunch of young adults who want to resurrect the art of play – to retain and celebrate all they loved best as children.

This is circus with a young heart. It’s clear that they are here to have fun, and the fun is infectious. You can’t help but love them.

 

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Dorothy Max Prior

About Dorothy Max Prior

Dorothy Max Prior is the editor of Total Theatre Magazine, and is also a performer, writer, dramaturg and choreographer/director working in theatre, dance, installation and outdoor arts. Much of her work is sited in public spaces or in venues other than regular theatres. She also writes essays and stories, some of which are published and some of which languish in bottom drawers – and she teaches drama, dance and creative non-fiction writing. www.dorothymaxprior.com