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.

Jane's Hula Hoop Act

A student of mine turned me on to Circus Guide Entertainment, an agency that books high end circus acts. I found this little gem on their youtube channel. Jane is a hula hoop juggler who also toss juggles the hoops and rolls them across her back a la Nichols, etc. The act looks original and is brimming with creative ideas. Since she is restricted to a tiny pedestal, her throws need to be perfect, and they are!
I did not understand the ripped out heart, but I'm sure she did.

Jen Slaw

I came across Jen today and wanted to post her on this blog. She is a good illustration of a fine commercial act with great movement, a sense of fun, originality (incorporating contact, club swinging, toss juggling, and moves with single objects.) Her act is very enjoyable to watch and I wish her great success. She has the skill to juggle five balls, but that just serves to make her that much more confident. She is a juggler who is really able to deliver the goods.

Les Kiriki Acrobates Japonais

This is a very interesting idea.
We are looking down on the acrobats as they lie on the floor and go into what looks like multiple, impossible acrobatic poses. Very inventive. Very engaging and entertaining. Only on film, though.
Lovely body configurations. I haven't seen this before.

Solid Potato Salad

Here are some tricks that aren't being done anymore. The Mystic Pixies do the running around the circle on chest. However, the three person pull from back bend is not done. It is only done with two people. The fact that they sing like the Andrew Sisters AND do acrobatics is unusual. It is usually either one or the other. So, they are new circus in feel and temperament. There are many acrobatic vaudeville tricks that used to be done by female acrobats or "close-benders," as they were called in vaudeville.
Illusions, changing walk-overs, swing-throughs, tinsicas, walking in splits and changing legs with each step (very difficult) and aerial forwards (or walk-overs) done in place is another great trick.

Human Shadow Puppets

A friend just sent me a clip of Pilobolus. This company has been around since the 1970's, I believe. They started in Connecticut under the direction of Moses Pendleton. Originally they were an innovative combination of dance and mime. I was impressed by this foray into human shadow puppetry. They use their bodies and some objects to create amusing and effective images. I am glad they are still working. There just aren't that many mime companies doing such creative work.

New Trends in Juggling

Here is an example of the new style in juggling as exemplified by Wes Peden. On a video it is hard to tell much in the way of stage presence or style, but technically one can see what this new juggling is all about. The props "dance," not necessarily the juggler. The patterns are difficult and intricate. Numbers are used. I am told he can pass 13 clubs, a record I think. This act goes beyond the work of the jugglers in Finland, who juggle difficult patterns but don't project much in the way of audience connection. The style is slightly choppy or, perhaps, it is just how it is photographed and presented. I would have to see him in person. However, it is clear that he has worked long and hard on perfecting these tricks. I'm impressed by the new style. It is clear that juggling will continue to evolve and expand.