Circus-theatre show Raven by Berlin-based Still Hungry was an enormous hit of the Edinburgh Festival Fringe 2019 and the London International Mime Festival 2020. Now the company are back with Show Pony, again created in collaboration with Bryony Kimmings. Ellie Higgins was there for Total Theatre Magazine
A darkened, bare stage and three performers warming up. They stretch, bend, circle and swing until the music begins, calling them together to trot out across the stage. The music jumps and their bodies jerk in sync, rupturing the opening routine, then one moves towards the mic and addresses us candidly.
From the beginning, we know what’s to come. This is not a traditional circus show. We will see beneath the veneer of the big top; witness the fractured reality of life in the circus.
Show Pony is a new piece from Berlin-based company Still Hungry, created with director and performance artist Bryony Kimmings. It follows the success of their previous collaboration Raven (2019) – a show about modern motherhood which was co-directed by Rachel Hameleers, with creative input in its early stages from Bryony Kimmings.
The show expertly interweaves circus and theatre in a vulnerable and honest exploration of ageing. This performance is centred around the careers of the Still Hungry trio: Anke van Engelshoven (straps, trapeze, silks & chains); Lena Ries (contortion, arial hoop & dance); and Romy Seibt (vertical rope, juggling rope & silks). Reflecting on their lives so far, they ask: What’s next for the self-proclaimed show ponies?
The dramaturgy cleverly divides the show into four chapters. Part 1, titled The Rules, introduces the audience to the strict, often patriarchal practices of the circus world: ‘Don’t talk about your problems; don’t have period pains; don’t be out of breath, unless you’re a man – then it’s attractive.’ As the performers proceed to break these rules at will, they simultaneously showcase their chosen skill and openly reveal their honed techniques.
Parts 2 and 3 reflect on the women’s childhoods, what led them to circus, and where they are now; with Part 4 focusing on the future. Each chapter is fragmented by projections live-streamed from backstage, where the performers divulge their inner fears and worries, illustrating the metaphor of seeing behind the curtain. In contrast, out on stage, they present their fears in a jovial and tongue-in-cheek manner – such as a silly song and dance routine about having no transferrable skills, and donning big grey wigs to dance hunched over in a jazzercise class. These make their backstage, projected confessions all the more poignant.
The strength of this piece lies in the ease of the performers’ presence. It’s clear that they have worked for many years to make the stage their home. The three are a tight ensemble, who hold space for each to express themselves individually. We learn that they have always been reliant on each other in a professional capacity, in terms of setting up equipment and helping with tricks. This bond of trust is reflected in the way they gently act out memories and attentively listen to each other’s stories. The space between sections is rich in friendship. Rather than rushing from one part to another, they take their time, supporting and preparing with care.
Towards the end they ask if all the work was worth it, now they are classed as ‘too old’ to perform. But the answer seems obvious – it was. All three perform their specialisms with such joy and have built a kinship that will last far beyond any physical skill. Still Hungry have carved out a feminist journey. Where patriarchy ruled too long, they have now been set free. Long live the show pony!
Show Pony is one of a number of experimental, cross-artform circus works at this year’s Fringe. It was presented at Summerhall, which also played host to Cosmos by Total Theatre Award winning Palestinian aerialist Ashtar Muallem in collaboration with French director Clement Dazin (reviewed here), and to B.L.I.P.S by Margot Mansfield and Jess Love, which described itself as ‘a wild ride of real-life circus psychosis, acrobatic madness, hula-hoop hope and radical resilience’. Over at Zoo Southside, Sawdust Symphony (from Michael Zandl, David Eisele and Kolja Huneck) combined circus with carpentry, exploring the human desire to create.
All of these artists and companies are paving the way for innovative, interdisciplinary performance while actualising the versatility of circus. As Show Pony demonstrates, when you push beyond traditional rules there are endless possibilities to be explored.
All images: Still Hungry: Show Pony. Photos by Matteo Blau.
For further information on all shows seen at Edinburgh Festival Fringe 2024, see www.edfringe.com
Ellie Higgins took part in the Total Theatre Artists as Writers 2024 programme, which was delivered June to August 2024, in collaboration with Queen Margaret University in Edinburgh.