If it walks like a duck and quacks like a duck, you may be at Circa’s fantastic production 'Duck Pond', now playing at Melbourne’s Princess Theatre.
Except for a brief voice introduction, is a dialogue-free show, save for quacking and occasional bird noise calamity brought to life in an ambitious, visually striking reimagining that fuses two enduring fairytales — 'Swan Lake' and 'The Ugly Duckling'. This contemporary circus work is rich in physicality, theatrical invention and emotional clarity and it’s more fun than you can wave a mop at!
Instead of retelling either story directly, 'Duck Pond' draws on their shared emotional DNA. From 'Swan Lake' comes the tragedy of transformation and obsession; from 'The Ugly Duckling', the pain of exclusion and the longing for belonging. These narratives intersect through recurring ideas of flight, vulnerability and self-discovery, all articulated through Circa’s signature circus language. Here, circus is not only flashy decoration (although it is extraordinarily flashy) but storytelling in perfect, exuberant motion.
The acrobatics are deeply embedded in the narrative fabric of the work. Silks, lifts, throws and balances do more than dazzle – they communicate emotional states and character relationships. Bodies are carried, launched, caught and released in ways that mirror inner journeys, particularly those of the The Prince, The Black Swan and the Duckling. The choreography emphasises both fragility and strength, reminding us that transformation is as perilous as it is liberating. Movement is motivated and precise, always serving the story rather than overwhelming it. The absolute trust these performers have in the abilities of themselves and each other is moving and awe-inspiring in itself, as bodies are stacked four high, creating living sculptures that hover between strength and fragility.
Sound and lighting play a vital role in shaping the atmosphere. Jethro Woodward’s score subtly weaves fragments of Tchaikovsky’s 'Swan Lake' into a contemporary, textured soundscape, grounding the production in familiarity while allowing it to drift into darker, more abstract territory. Alexander Berlage’s lighting design works in close dialogue with the music, sculpting space and emotion through sudden shifts and saturated colour. If you haven’t heard Tchaikovsky as surf guitar and thundering drum beats, you’re in for a treat.
Image © Daniel Boud
Director Yaron Lifschitz’s impressively steady hand is evident throughout. The production moves seamlessly between intimacy and spectacle, balancing humour, elegance and menace without missing a beat. This tonal control allows the audience to remain emotionally oriented, even as the work traverses wildly different moods.
The ensemble delivers exceptional performances across the board, marked by strong physical partnerships and expressive clarity. Duets and group sequences reveal both technical mastery and emotional intent, with characters clearly differentiated through weight, rhythm and posture. Costume design by Libby McDonnell further enhances this clarity. The swan costumes — starkly black or white, with subtle variations in shimmer and texture — are visually arresting, while the duck outfits introduce an element of playful absurdity. Glittering visors, flippers and exaggerated silhouettes provide moments of humour and utter hilarity. You haven’t seen true comedic spectacle until you’ve seen 14 mop-wielding acrobats wearing duck costumes cleaning up the feathers that remain on the stage from a fabulous pillow fight!
Structured in three acts, 'Duck Pond' reaches a powerful emotional peak at the end of Act Two. Music, lighting and movement align with precision to deliver a life-affirming, deeply satisfying and unexpected ending for our Duckling, The Black Swan and The Prince. The Prince learns something about life choices and the Duckling learns something about belonging.
Having completed the original tale, Act Three shifts into a confident showcase for the performers. It is playful, funny and unexpectedly intimate. As the acrobats dismantle and pack away the stage, the mechanics of the show are laid bare, transforming practicality into performance. What might feel utilitarian becomes celebratory, as each artist is given space to reveal their individual talents and personalities. Costumes are stripped away and the performers reappear inside brilliantly-designed light boxes, striking bold poses and voguing for the audience with infectious confidence. The fourth wall softens, inviting the audience into a shared moment of warmth and connection.
It leaves us breathless and not only dazzled, but included. Bold, inventive and physically thrilling, Circa’s 'Duck Pond' proves that even the most familiar stories can still surprise – and soar – when reimagined with such generosity, talent and imagination.
