Open Letter From Knee Deep Natano Fa’anana

“A core inspiration for the creation of 'Knee Deep' is due to a memory of Jesse Scott, my house mate at the time and Co-Director of Casus Circus, the third Co-Director being Lachlan McAulay. Jesse recalls growing up with a photo on his fridge which shows his mother Mara, sitting on the shoulders of Jesse’s father Rob, who is standing on two cartons of eggs. A dare Mr Lu, Jesse’s then circus trainer, had coerced them to do at Rob’s 40th birthday party.

It was from this photograph that spurned the theme of ‘strength and fragility’, that is threaded through 'Knee Deep'. The correlation of the strength and fragility of the human body compared to that of the common egg has been an exciting exploration. Especially when we do so via contemporary circus.

First thing's first! To truly appreciate 'Knee Deep' you must understand how to stand on a carton of eggs (see the show and you’ll appreciate why): Place two cartons of free range eggs (the browner the better) on an even surface, make sure they are placed neatly up right. Place your first foot gently yet confidently on the first carton. Slowly shift your weight on top of the eggs ensuring your weight is evenly distributed through out your foot. Avoid jumping or any sudden movements, do so by pouring your weight in and over the eggs. The big toe of the second foot should be the last thing that leaves the ground and as soon as this has left place your second foot on the second carton of eggs, again ensuring your weight is evenly distributed. Voila, you are standing on eggs.

Note: Have one egg slightly on an angle or apply pressure to your heels or the ball of your foot or move too suddenly and most likely you will find yourself standing in egg.

We discovered the parallels of the egg and the human body are quite similar. We found through acrobatics the human body is a magnificent machine that can withstand some incredible feats. But, like an egg, we can break. During the creation and whilst touring 'Knee Deep' for the last four years we have experienced a healthy dose of cracks, falls and even serious injury. So the fine balance of strength and fragility is one that is constantly renewed dependent on how energetic or fatigued our bodies are. It differs from show to show keeping it both fresh for the audience and us the performers.

Casus Circus is a company that is constantly evolving. The goal posts shift constantly often unintentionally and sometimes on purpose depending on how outlandish we feel or where life has taken us. It takes a certain sort of controlled craziness to create the kind of work we do and reach the level of success we have achieved.

More recently Casus has been touring 'Knee Deep' in Europe while back home in Australia Jesse, Lachlan and Abbey Church (an ex-student of ours, now a Casus member), created ‘Tolu ma..’ in collaboration with Spaghetti Circus, a new Casus production which premiered at Woodford Folk Festival.

For the upcoming Judith Wright Centre season of 'Knee Deep' it will be a fresh new cast except myself, the only Co-Director. Emma Serjeant who co-directed 'Knee Deep' has moved on to new pastures and Jesse and Lachy will be performing 'Knee Deep' at the Adelaide Fringe Festival making two 'Knee Deep's running simultaneously, a first for this little independent circus company from Norman Park, Brisbane.

Despite many factors that impact Casus – the sudden growth of Casus (4 members to 11), the knock backs, the fatigue that comes with touring, the constant work required to maintain being current – there are some core values that Casus has maintained since day one which has contributed largely to our success. To have a strong work ethic that is sincere, honest and human, we place emphasis on caring for one another. We work hard at the quality of performance but the connection and bond of the performers is an element Casus work at diligently. We have a philosophy at Casus that has helped maintain our signature style of performance and positive reputation.

The no wanker policy.

There are 23 hours outside that 1-hour show and those 23 hours are vital for a healthy ongoing work place. An eight-hour car trip in the Netherlands with someone you dislike can be awkward.

We place value and care not just for the performers but our general managers, our technical crew, our students, the rigger, the usher, the bar staff, our students, the circus community and our supporters. This essence essentially will filter through our art and onto our audiences.

No faking here at Casus.”
– Natano Fa’anana