Circus is the clickbait of the Fringe and ‘Rouge’ is optimised to within an inch of its life.
That’s not necessarily a bad thing, as long as you know what you’re in for.
While many circus shows have a tenuous narrative tying them together, ‘Rouge’ dispenses with that fiction entirely. Instead, the themes of a highly-sexualised clown and an operatic diva are recurring themes interspersed between routines showing off the performers’ stunning core strength and agility.
The humour, though somewhat risqué, is gentle enough to bring an elderly relative to– a light shock rather than a full electrocution. And the lascivious clown who delivers these shocks is one of the most memorable aspects of the show, even if some of the skits drag a little.
It’s no surprise that the performers need time to catch their breath, though. The acrobatics and feats of strength are genuinely impressive, especially when the female performers are tossed around with ease by their male counterparts. The one aspect in which ‘Rouge’ genuinely differs from its counterparts is the addition of live singing, which slows the pace down and adds a welcome dynamic by interspersing the gasps and giggles with a more thoughtful element.
But despite this, an hour is a long time when there’s no narrative arc and nothing more profound than the next stunt to hold one’s attention.
