Shining a light on the rituals that tie a cast of performers together. The in-jokes, songs, love affairs and tensions that are so often left behind on the dressing room floor in Flipside Circus' latest production – 'Luster'.
After 8 weeks of intensive, full-time circus, theatre and dance training, 11 performers from different performance backgrounds have developed this show under the direction of Natano Fa'anana (Briefs, Casus, Polytoxic). Growing together – muscles, friendships, and new skills – the performers of 'Luster' completely diverted their performing arts careers with an intensive experience that will see them travel to the Adelaide Fringe Festival in 2015.
Inspired by the underworld of the carnival, 'Luster' is a collision of physicalities: circus, physical theatre and dance, a microcosm of contemporary physical expression. What brings a person to the stage to bare all in front of an audience? Who are the individuals behind the make up, under the fabulous costumes, sharing their hearts and dreams night after night?Having grown up in a Samoan family immersed in traditional song and dance, it wasn’t until the age of thirty that Natano decided to pursue a career as a performer. The sixth member of Polytoxic Theatre Company, Natano is also the co-founder of Briefs and contemporary circus company, Casus.
What is Flipside Circus?
Flipside Circus is Queensland’s largest youth circus company with a national reputation for training and shows. My role at Flipside is acting Creative Director as well as the director for upcoming show, 'Luster'.
How long have you been a performer?
7 years.
What is the story behind 'Luster'?
'Luster' allows the audience to witness some of the happenings back-stage. Having toured extensively with my companies Polytoxic, Briefs and Casus you witness many interesting and unique moments. The play, the tension, the comradery, the in-jokes,the envy, the hard work, the frustrations. 'Luster' doesn't tell these stories through conventional theatre. My creative brain resembles a fruit salad. I come from a performance world that fuses traditional Samoan dance, cabaret and contemporary circus. The stories in 'Luster' are told with all this heavy influencing this aesthetic
Fill in the blanks: 'Luster' will … give you dance, comedy, circus … and leaves you … with the taste of backstage in your mouth …but won't … offer you listerine.
What's it like teaching others something you're so passionate about?
Priceless. I love teaching people skills to help become performers, but I am more passionate about teaching being people to self sustainable artists. With the massive funding cuts to the Arts Industry we artists are less supported than most other workers in their respective industries. But it means we have to be more creative. 'Luster' came about as a result of 'Backstage Pass', which is a Flipside Circus initiative which empowers emerging artists to be more self sustainable. Teach a man to fish.....
Talk us through the process of teaching someone difficult tricks?
Mmm, depends. Circus world has so many dangerous skills. As an aerialist one of the methods I teach – a big drop on Tissu for example – is that I get the student to do it on the ground first. It's a pretty funny image watching someone demonstrate the climb, the wrap and then the drop on their back on the ground. Like a dog scratching their back. But it's necessary to know what you are doing at such heights. Once up there it's often the case you can't reverse the process.
Are you more of a tough-love director or a calming mentor?The middle. I have high expectations but I'm not a dick about it. I don't understand why directors feel the need to demoralize their performers. I get killer results from my performers because I respect them. If a director went all Spielberg and screamed at me I'd tell them to get fed... because obviously they're hungry.
Do you get more nervous as a performer or a director?
Same, same. I'm at home on stage and directing. I've come to a place where I can only do so much and I've found enjoying every moment of the process produces great results. I'm zen with the panic during show development and/or pre-show. In fact I'm in the middle of it now with no costumes made, the sound track not finalized and some of the skills require safety lines still. But we got this. However it's important to know that I am always learning and looking to grow. I am far from an accomplished performer or director. Constantly finding ways to be a better acrobat and striving for ways to deliver all these shows I have in my head.
What is the most intricate trick you've pulled off?It's not particularly massive to the circus sector but it's big to me because I got it first go and that is having 3 other performers hang off me whilst hanging from an aerial apparatus upside down.
Is there anything you're scared of that you won't do?
No. That's the problem. I'm constantly being told to slow down or say no to things but why when this world needs more colour. I love making work that makes people smile, laugh, cry, be moved, inspire. If us artists stopped creating, people are left with Playstations and DVD box sets. Live theatre is exciting. Even though I've recently been taken off tour due to a spinal injury, I'm back on stage in 4 months time. In the meantime I'm directing shows or developing new work. Sleep when you're dead.
You co-directed 'Knee Deep' with Casus, tell us the story of this production...
Crazy. Well Casus means 'a culmination of circumstances'. This was poignant because my housemates at the time – Jesse Scott and Lachy McAulay – and good mates, Tim Lamacraft (who later left Casus) and Emma Serjeant, and I wanted to make a show together but we were scattered all of the globe. Jesse and Emma touring South America with Circa, Lachy and Tim were working in Brisbane and I was touring Briefs in Europe. Despite these circumstances we Facebook'd ideas and Skype rehearsed. We eventually spent three weeks together later that year and by the end of that 'Knee Deep' was born as well as our company – Casus. The result 'Knee Deep' is so special. The combination of contemporary circus, culture and four individuals who explore and share our deep relationship with each other to the audience was a winning formula. But not a planned one, rather an organic one.
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What do you want audiences to say as they leave?
I want audiences leaving knowing that behind every show is a great team of unsung heroes who help make that one hour a special one. That, that one hour takes weeks, months, sometimes years to make happen and that leading up to, during and after that show we are just people being people. Only with access to stage lights, costumes and fabulous make up.
What will you be saying to yourself on opening night?
Breathe.
Anything else readers should know?'Luster' premiers at 'Wonderland' ... Ten amazing performers pushing the boundaries of art live on stage.
