More Circus Flora

As promised, I have more Circus Flora comments. I wish I'd gotten to these earlier this week, but between travel on Monday and Tuesday to Arizona for the final round of interviews for the potential new job, then coming back to my regular stuff plus everything I missed, I didn't have time to catch up. I'd originally intended to take care of the blogs while I was in Arizona, but my internet connection was almost non-existent while I was there, so nothing got done in the little bit of spare time I had.

After the performance last week, while I was talking with Giovanni Zoppe, I said I was going to try to get out to another performance before it closed. He said, "good, hopefully it will be better next time." I told him I thought the show had been wonderful. He made a very disgusted look and waved his hand as if to say "the whole thing was awful."

I can sort of see his point. Having had a week to "think on it," there were definite flaws in the show. My first disappointment was how little Nino got to interact with the audience. Most of his roles were completely ancillary, he was there in appearance only but had no role in what was going on. The few times he was actually there and could have done something, he was given literally only a few seconds to do it. What could have been a rather promising trampoline act lasted about 20 seconds. He performed with his sister Tosca in a bareback presentation, but that was limited, as well. And in fact that did not appear where it was slated for in the first act, but in the second. I found that odd, and the shortened nature of it was strange. Both Nino and Tosca are well-trained bareback performers (it is what Nino first learned as a child and his father is probably the best bareback rider in the world).

There were some amazing acts, no doubt about that. Andrew Adams and Erika Gilfether, who performed an amazing aerial ballet on straps and crimson silk, took my breath away. I have never seen a circus act so deeply moving. The St. Louis Arches, long-time Flora performers, were top-notch this year, relying less and less on the "cute kid factor" and instead relying on their impressive acrobatic skills. Sacha Nevidonski's combined equestrian and aerial act was breathtaking. And the Flying Pages never disappoint; Willy Pages' 8 year old daughter was in this year's act, and she shows great promise. And there's nothing bad to say about the Flying Wallendas, either. The new elephant, Dondi (trainer Phil Schacht), performed quite well in the tiny ring. Joshua Schacht, son of Phil, leapt around on top of Dondi as if she were a platform stage; his steadiness was a wonder to behold. So there was plenty of good.

But there was plenty of lame, too. Pino was billed as a "physical comedienne," but I didn't see much comedic in her performance. Hard to believe she was with Pickle Family Circus for 10 years, and Cirque's "Mystere." Her act lasted maybe four minutes, and consisted of her bending over so her dog could hop on her back and she could walk with the dog perched on her shoulders while she fed it treats. I was not impressed, and if there was "physical comedy" in that act, I sure didn't see it. My husband's tried-and-true clown stage show has more physical comedy in the first minute than I saw in the entirety of Pino's presentation. And as far as Katja Schumann, if you've seen her act once, you've seen it enough. Her liberty horse act (horses without harness or bridle led by voice command only) are pretty, but lethargic, as if swimming rather than running. I've never been impressed with liberty acts. And if I add in how I feel about Nino's "under-use" in this show, well, then this show was half good and half lame.

But it's still Flora, and I still enjoyed it. I am going to try to squeeze in one more attendance tomorrow; the last show is at 5:00. Have to see if hubby is interested in going after my gig in the early afternoon.