More stories

  • in

    Big Apple Circus Review: A Show That Bends Over Backward for You

    The extraordinary within the everyday: A holiday season rite returns with aerialists, trapeze acts, funny clowns (really!) and cotton candy too.If confetti supplies have plummeted, if a spangle shortage now afflicts Manhattan, blame a tent at the southwestern corner of Lincoln Center. Yes, the Big Apple Circus has returned and for a little over a month New York will glimmer more brightly.In recent years, a return has been less certain. In 2016, after operating as a nonprofit for nearly 40 years, the original outfit shut down and filed for bankruptcy. An affiliate of a corporate restructuring firm bought it in 2017, then switched out its management and character several times. In 2021, it was sold again, to a corporation that counts the famed aerialist Nik Wallenda as a minority owner, and became a bit more death-defying.The German troupe Circus Theater Roncalli has given up using live animals but in one routine three performers pretended to be trained polar bears.Ye Fan for The New York TimesThis season, Big Apple has imported the German troupe Circus Theater Roncalli, which is mostly a cause for rejoicing. Roncalli stands as a skillful and endearing example of the form, a company steeped in circus classics, yet capable in most if not all ways, of moving with the times.It is sad that New York can no longer support a circus of its own and that Big Apple has become an intellectual property asset rather than a group enmeshed in the life of the city. But there’s nothing like an aerial balance act — or two, as is the case in “Circus Theater Roncalli: Journey to the Rainbow” — to make audiences forget all of that. Besides, this is New York. Who is from here anyway? Call it sequin diplomacy.Last weekend the mood in the tent was giddy and rapturous, with the younger spectators revved up on cotton candy and the older ones excited perhaps by the sight of at least four prestige TV stars sitting near the ring. A clown meandered amid the rows as an orchestra played frisky versions of classical and popular songs.Iryna Galenchyk’s aerial act with her partner is a wonder of strength and grace.Ye Fan for The New York TimesThe Roncalli company is steeped in circus classics, with acts like the Kirichenko acrobatic group.Ye Fan for The New York TimesThe show proper opens with Noel Aguilar’s fizzy juggling act, which began with batons and continued with Ping-Pong balls. (Ever caught a kernel of popcorn in your mouth? Imagine that, but in time to the music.) The finale involved straw hats, thrown like Frisbees. Aguilar dropped the odd baton and missed the occasional hat, which made the routine more impressive, because it showed what it took to excel.He ceded the stage to Andrey Romanovsky’s rubber leg contortionist act, in which Romanovsky skipped rope while bent over backward. He was replaced by a tightrope walker (the tightropes were, thankfully, near to the ground) and then by an acrobatics act in which the performers were dressed like members of Marie Antoinette’s court. They gave way to Iryna Galenchyk and Vladyslav Drobinko, whose romantic paired aerial act is a wonder of strength and grace. Throughout there were appearances by four clowns, all of whom were legitimately funny, a circus rarity. One, Paquin Jr., had great success with a routine that may have sacrificed a Cabbage Patch doll.The gift of the circus, wherever it’s from, our critic writes, is that it gives a glimpse of the extraordinary within the everyday.Ye Fan for The New York TimesRoncalli has given up using live animals (a sensible and respectable choice for any circus, though I do miss the Big Apple’s former dog and cat acts). But the second half began with a puzzling routine in which three performers in fur suits pretended to be trained polar bears. This was followed by a bicycle act and a sequence in which three gold-painted performers balanced atop one another, like statues come to life. No less singular, if much more hectic, was Emma Phillips’s foot juggling routine, in which she made an end table and a couple of antimacassars revolve atop her toes. A steampunk bubble routine delighted the children; a trapeze act, featuring Christoph Gobet and Julian Kaiser balancing, impossibly, foot to foot, made their mothers gasp.This is the gift of the circus, wherever it’s from: a glimpse of the extraordinary within the everyday, a vision of what time, tenacity and a heedless approach to muscle strain can achieve. And cotton candy, too? What glitter. What joy.Big Apple CircusThrough Jan. 1 at Damrosch Park, Lincoln Center, Manhattan; bigapplecircus.com. Running time: 2 hours 20 minutes. More

  • in

    Review: At the Big Apple Circus, It’s a Family Affair

    Nepotism babies, performers who were launched into the entertainment industry with a boost from a family member or two, have a bad reputation. Maybe they deserve a better one. During the Big Apple Circus’s “Dream Big,” the latest splendid show to alight beneath its lavish tent in a corner of Lincoln Center’s plaza, second-, third- and fourth-generation performers swoop, swing, somersault and traverse a high wire 20 feet in the air. In the short videos that precede the acts, each credits their success to the mothers, fathers, uncles or grandparents who went into the ring before them. Nik Wallenda, the headliner, can trace his big top lineage back nearly 250 years, as can his 69-year-old mother, Delilah Wallenda, who helps him onto that wire.The Wallenda family executes a truncated version of their signature pyramid tightrope trick.Seth Caplan for The New York TimesRokardy Rodríguez performing a precarious balancing act.Irina Akimova twirls the hula hoops.Sure, these performers started their careers a couple of rungs up the ladder. Then again, that ladder is unstable and balanced atop a tottering platform. So who’s complaining? And who has time to complain when one’s mouth is too busy shrieking in terror and delight?In the past decade, the Big Apple Circus has undergone a few contortions of its own. It filed for bankruptcy in 2016 and re-emerged a year later as a for-profit enterprise. The 2019 show delivered a more grown-up experience, with a ringmistress imported from the adults-only Bindlestiff Family Cirkus and the introduction of some sexed-up acts. The Covid-19 pandemic foreclosed the 2020 season. And though the tent opened again in November 2021, this was weeks before anyone in the 5-to-12 crowd could have been considered fully vaccinated. But now vaccines are available to all, making the one-ring a more comfortable space, and the lineup is meaningfully similar to last year’s, a gesture that assuages any feelings of having missed out.The circus reopened in November 2021, before young children could be considered fully vaccinated. This year’s show is more family-friendly.Seth Caplan for The New York TimesMy family is among those who gave the circus a pass last year. And I had wondered how it would feel to be back — at close quarters, with no masking or vaccine requirements — at the big top again. Would a modifier like “death-defying” mean less when everyone in the tent — performers, spectators — had lived through a global pandemic? Shouldn’t we get spangled costumes, too? And in truth, the evening didn’t begin especially well. There were long lines — in the rain — to walk through metal detectors, and the promised preshow performances never materialized. The main event started 20 minutes late, 15 minutes after an $8 bag of cotton candy had been consumed.But as soon as the curtain opens, wonder makes a swift return. “Dream Big,” directed by Philip Wm. McKinley, is a brisk, back-to-basics experience, smaller and less glitzy than the Ringling Bros. and Barnum & Bailey extravaganzas of years past, but brimming with pizazz. There is no Wheel of Death this time, and even the Wallendas seem to fly with just a bit more care. If the show doesn’t tell a story — “Dream Big” is the organizing theme in only the loosest sense — it suggests, welcomingly, that anyone might want to grow up and join the circus, particularly those performers who grew up in it.Johnny Rockett the clown.Seth Caplan for The New York TimesElli Huber on the trapeze.Johnny Rockett up to his antics.After the opening song and dance, the performers desert the petite, red-curtained ring and Elli Huber rises above it, spinning atop a trapeze. The safety wire strapped to her waist is clearly visible, but those, like me, who run a little anxious, may consider that a relief. She is followed by Veranica, a cheerful tween who leads a quintet of trained dogs through a frolicsome routine. Two of her poodles can pilot scooters. Bliss. Gena Cristiani juggles pin upon pin; Rokardy Rodríguez performs a precarious balancing act. Axel Perez, his nephew, swings and sways atop the rolla bola, a platform balanced atop one or more rolling cylinders. TanBA, a magician who had surprising success on “Britain’s Got Talent,” presents a frantic, pop-eyed act in which he swallows a dozen or more razor blades. (“DO NOT EVER TRY THIS,” I whispered to my children.) After the intermission, Irina Akimova performs a hoop act, and Nik Wallenda and his family perform a truncated version of their famous pyramid act, in which two of them traverse the wire while balancing a third Wallenda — without nets. Truncated is fine!The ringmaster, Alan Silva.Seth Caplan for The New York TimesIn between the defter displays, Johnny Rockett, the clown, lampoons various circus skills. His character is a janitor and general roustabout, angling for a spot in the show. Rockett is of course a third-generation clown and a practiced comedian. But his routine pokes fun at a popular alternative to the nepo baby route — the overconfidence of the mediocre white man. The character he plays can’t do handstands or hula hoop or train dogs with any dexterity. (At the performance I attended, the dog in his act defecated on the stage, an apparent improvisation.) But the show keeps giving him the space to try. Arguably too much space. Three appearances might have been enough. Then again, he dropped a prop light bulb on me to general laughter. So maybe that’s just my wounded dignity talking.The most extraordinary act is among the simplest, an unpretentious silks routine performed by the ringmaster, Alan Silva, a sixth-generation circus performer. Silva is a little person, standing at 3 feet 10 inches. In his early life, as he says in the video that precedes his act, he was bullied for his height and urged toward clowning. But he dreamed of an aerial act instead. When he removes his frock coat and abandons himself to the silks, he really seems to fly. It’s a dream come true, through practice and audacity. And it’s as big as anything.Big Apple CircusThrough Jan. 1 at Lincoln Center, Manhattan; bigapplecircus.com. More