Echo's Reach Review

By Judy Finelli and Justin LaneLutter

Echo’s Reach Reaches New Heights

An urban landscape atop a city building with disembodied tree branches and monolithic towers set the tone for this years’ City Circus. The best thing about the show is the driving pace and abundant energy, which never lag for even a nanosecond. It is performed by an enthusiastic, sincere and animated group of young people alongside a talented live band, a virtuoso beatboxer, Carlos Aguirre, and a mellifluous spoken word narrator, Delina Brooks.
This aspires to be a circus with a message, actually three messages, all intertwined. Here is a circus that sets out to change the world. The narrator and some of the cast convey the themes of the show: conquer internal limitations, build communication within society and that freedom without love is worthless.
The show centers on Echo, whose toughness belies her vulnerability, and is a penniless artist that excels as a circus performer. Echo is played touchingly by Chloe Bowie, who brings vitality and an ironic twist to the role. She displays a plethora of skills – aerially, as a juggler and as a silent actor. In keeping with its urban circus sensibility, the show encompasses breakdancing and parkour, although their parkour star was out with a back injury the afternoon I saw the show. Parkour is a newer form of acrobatics that consists of performing athletic stunts in urban environments.
The two breakdancers pop. B-Boy Black and B-Boy Iron Monkey (Ed Johnson and Shawn Hallman) are dynamic performers. They are among the best I’ve ever seen. One does a seemingly endless, eye-popping, hands-free head-spin that must be seen to be believed. In addition, they have many repeating asymmetrical, complex twisting moves. As if that wasn’t enough, they executed those moves effortlessly and flawlessly. These movers and shakers choose to cover their faces, emphasizing the spiritual nature of their Shaolin monk connections. These breakers are, at once, physical and mystical.
Jan Damm and Olivia Weinstein share a successful clown partnership that really adds to the show. These two have enough energy to be plugged into the PG&E grid. They are never on too long and seem to intuit exactly what the show needs. They use their formidable acrobatic skills to advantage in a knock-about, break-neck style. The words “Clown Transaction” are projected on the backdrop whenever they appear. One even “murders” the other and performs an impromptu Latin gibberish in an attempt at a funeral service. Olivia performs once again with her uncooperative tire, but this time they have obviously had some couples counseling and seem to communicate better.
Olivia will be attending the National Circus School of Canada in Montreal this fall as a clown student. What a coup for AcroSports! Jan also returns with a rola bola board/bucket stack that is well played and well-presented. He has tremendous potential. I would be glad to see what else he is capable of.
The aerial work is inventive and well executed with some new twists. Aerialists include Chloe Gordon-Murer, Chloe Bowie, Sasha Harrington, Chris Lee and Stephanie Haber. They did duo and solo work on circeau, tissu and rope. The aerial action is sometimes performed above the breakdancers.
The contortionists have also grown in skill, namely Nancy Kate Siefker, Nicolas Torres-Labarca, Wren Aubry and Allton Vogel-Denebeim. Joining them unexpectedly is Fleeky Flux from Circus Center. He single-handedly boosts the level of the act, literally. His act now features three one-arms: one on each arm and another in piked position.
Echo somehow manages to fall in love with Glass Slipper, the daughter of a high society couple who do not appreciate Echo’s advances. However, her sincere circus artistry wins them over. Echo and Glass Slipper unite at last and true love triumphs against all odds.
Circuses, in my experience, can easily drag or become bogged down in spots. However, City Circus has found the key to keeping the action bouncing and the audience entertained. A nod must go to director Tim Barsky and choreographer Shannon Gaines for their achievements. Weaving traditional circus acts together with modern elements is no mean feat, but what makes Echo’s Reach so successful is that it has something to say.