After dazzling audiences across the globe – including performances for Pope Francis and at the Royal Variety Performance – 'The Black Blues Brothers' are set to electrify Adelaide Fringe once again.
Blending jaw-dropping acrobatics with the timeless rhythm and soul of 'The Blues Brothers' soundtrack, this high-octane show transforms a stylish Cotton Club-inspired lounge into a stage for breathtaking stunts, comedy, and audience interaction.
Expect everything from human pyramids to fire-lit limbo dancing, all performed with infectious energy and showmanship. They're returning to Gluttony for the first time since 2020!
Ahead of their Fringe season, we caught up with acrobat Bilal Musa Huka to talk about the show’s universal appeal, its unique fusion of African circus traditions with pop culture, and what makes Adelaide such a special stop on their tour.
What makes 'The Black Blues Brothers' unique compared to other circus shows, and how do you think it will resonate with audiences at Adelaide Fringe?
There are many circus shows, and some of them take inspiration from African traditions, but there are no shows like 'The Black Blues Brothers'! The concept is as simple as it is original: taking the classic repertoire of physical virtuosity typical of Kenyan acrobatics and transposing it into a pop framework, using the imagery of the film 'The Blues Brothers' and its unforgettable soundtrack. The result is an hour of entertainment and we're sure Adelaide audiences will be amazed.
The show has been performed in prestigious venues and for distinguished audiences. How does performing at the Adelaide Fringe differ from these experiences?
It's true, we have performed in the most important Italian theatres, at the Edinburgh Festival and in numerous other prestigious contexts, such as the Royal Variety Performance. Recently during our tour in France we performed at the Paris Opera and at the Palais des Festival in Cannes, an immense emotion. But Adelaide is special, because there is a unique festive climate, with its parks full of tents ready to welcome the most varied shows from all over the world. It's like a big continuous party. We were there in 2020 and expect to find the energy of the audience again.
The elegant lounge bar setting plays a big role in the performance. How does this atmosphere enhance the audience’s connection to the show?
The show doesn't tell a real story, but it still manages to tell the public many things. The setting in the Cotton Club style venue helps to tune artists and spectators: everyone can recognise themselves in such a scene, and perhaps everyone has fantasised about jumping on tables, chairs and using all the objects in the bar for increasingly complicated tricks. Well, the Black Blues Brothers really do it!
With such an international track record, how do you adapt 'The Black Blues Brothers' to suit different cultural contexts and audience expectations?
In reality, acrobatics is a universal language, which is enjoyed all over the world. Our show is accessible to everyone, from the little ones to the older ones. We have performed in Europe, in Saudi Arabia, in Australia. . . And it's fantastic to discover that some things are common to everyone, like the amazement in front of the human pyramids. It is also true, however, that every audience is different, there are more exuberant spectators and others less expansive, spectators who laugh more and others who start dancing! The beauty of our work is precisely intercepting the public's taste, understanding how to connect to the spectators. When we are on stage, the show is always new, because it lives on the moment and on the relationship we manage to establish with the audience.
The show features impressive acrobatics, humour, and a nod to 'The Blues Brothers' movie. How do these elements come together to create a cohesive performance?
We've found that the Blues Brothers' music lends itself very well to supporting the acrobatics we do on stage. It gives us the right energy; it puts us in a mood that we transmit to the public and thus involve them in an acrobatic celebration of a cult film. If you think about it, it's not strange that rhythm'n'blues music goes well with our performances: after all, it's a musical genre with deep Afro-descendant roots and this somehow comes to us when we're on stage, it's as if we had re-discovered a link between two traditions, that of the blues and that of African acrobatics. As for humour, it's always present in our shows. First, because we enjoy ourselves. And then because comedy is a very powerful tool for connecting people. Those who laughed with us will remain forever linked to us.
How do you ensure the safety and precision of the acrobatic stunts, especially in a live festival environment like Adelaide Fringe?
We do hours and hours of rehearsals and training. It is essential in this type of work, not only for safety. At a festival things can be more complicated: there is chaos, rush and a lot of pressure. But I must say that in 2020 the Gluttony staff was invaluable in creating a positive environment and we are sure that it will be the same this year. For our part, we know that some exercises are 'dangerous' but we also know that together we are strong and safe. The trust built over the years also makes us more confident.
What has been the most memorable moment for the cast or crew in touring 'The Black Blues Brothers', and how does it inform your approach to the Fringe?
In so many years of performing we have experienced several special moments. Among the most intense memories, certainly when we performed for Pope Francis, twice! But also the first time we were at the Edinburgh Festival: we arrived fearful and instead we recorded many sold-outs and standing ovations every night, what emotions! Recently we also had the honour of performing at the Moulin Rouge in Paris, a true temple of world live entertainment. Every show we do adds a piece to our adventure, but these steps have certainly allowed us to gain even more confidence in the show and awareness of the energy we are able to transmit, which in turn allows us to do better and better.
The show celebrates music and culture from 'The Blues Brothers' era. How do you balance nostalgia with a fresh, innovative circus experience?
The music of 'The Blues Brothers' is timeless! It certainly appeals to those who have seen the film and feel nostalgic for the rhythm'n'blues era, but at our shows there are always also many young people who have fun with this irresistible music. Plus, our acrobatics add a layer to the performance, and somehow freshen up the songs. Seeing human pyramids, somersaults, limbo with fire and breathtaking exercises live just a few steps away from you makes everything immediately very current and concrete!
What challenges have you faced in putting a show like 'The Black Blues Brothers' together, and how have you overcome them to ensure a standout performance?
The show is based on physical virtuosity and years of training are needed to reach the high level we want to offer the public. Even now we haven't stopped working to improve the show's acts. At the beginning, then, it was not easy to adapt the typical Kenyan acrobatics to the rhythms of the 'Blues Brothers' songs. Little by little it became natural, but behind it there was study and dedication on the part of us and the creative staff. A further aspect we had to address was that relating to direction: to be cohesive, the show must have a unique mood and fluid transitions between one act and another. From acrobats, we also had to become actors and dancers, thanks to rehearsals and workshops with specialised trainers.
What do you hope audiences take away from 'The Black Blues Brothers', and how does it align with the broader goals of your company?
We want every viewer to have an hour of fun with us. That leaves the venue with its mouth open in amazement. Let them go wild, like we go wild on stage. It will be a party between us and the audience, a moment of joy with the best possible soundtrack. The company's goal is this: to continue to travel the world bringing a smile.
'The Black Blues Brothers' plays The Virago at Gluttony - Rymill Park (Adelaide Fringe) 21 February-23 March.
