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Page 8 May 1982
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Circus - The Way It Seldom Ever Is Michael Moschen Under New York's Big Apple Big Top Ever
since someone coined the now hackneyed phrase "less is
more," society has been heaping "more" upon the
general public, yielding continually diminishing returns.
Due
to the influence of P.T. Barnum, American circus has been no
exception to this folly, as pageantry and spectaculars dominate its
three rings, often numbing audiences with an overdose of
simultaneous activity. So it comes as quite a surprise that, in the
midst of this trend toward 'bigness' and hyperbole, in the center of
America's largest and most garish city, there emerges an intimate,
traditional onering circus.
That
is the essence of the Big Apple Circus. As I approached my seat, a
quick look at the program dilated my eyes with delight. It said,
"Circus performance is about human grace and grandeur, and
about stretching the limits of what is possible. It is, above all,
real."
...So
refreshing to see the circus approached as a refined cultural
concept rather than an amorphous mindless event.
Glancing
around the inside of the 40-foot high orange and blue tent, I
immediately sense that this circus experience would be special.
There
was a warmth in the atmosphere that blended with a special aroma of
hay and live animals. I was profoundly moved by the majesty and
focus that a single performance ring could command even while at
rest. As the 1,600 seats rapidly filled with enthusiastic
spectators, the level of anticipation rose. Then
suddenly the spotlights awoke, the band swung into its theme... The
Big Apple Circus was ready to shine!
Why
such a buildup to this review? Because in many ways the approach and
style of the Big Apple Circus is its major impact. This is a circus
with a purpose. It is the only non-profit circus in the United
States and the first resident circus in New York City since 1905.
After
only four years, the Big Apple Circus has succeeded in the
unprecedented accomplishment of bringing circus entertainment to the
cultural mecca of Lincoln Center.
The show itself had its ups and downs but never lost its charming spirit. The Big Apple Circus Band kept everything moving, providing tinny background music for each act and upbeat jazz interludes during equipment changes.
If
there was a fundamental weakness in the show, it was the lack of
dynamic and creative clowning during the changes. Although the
audience never grew impatient, the clown routines between acts were
uninspiring. However, the overall quality of talent in the Big Apple
Circus was excellent and the intimate seating arrangement provided an
opportunity to experience the imperfections and struggles of each act,
adding a very human dimension to all performances.
Paul
Binder and Michael Christensen, cofounders of Big Apple, kicked off
the show with a delightful "Juggling Clowns" routine in
which they pass three clubs along with a cleverly manipulated
assortment of props including a chicken a shoe and a hat. Then
Philippe Petit enthralled everyone with his unique style of tightrope
walking that included some very difficult balancing tricks as well
as juggling.
But
the act that stole the first half of the show was Tarra, the 7 -year
old baby elephant. Billed as the "world's only rollerskating
pachyderm," Tarra demonstrated a most endearing sense of humor
while dancing the hula, playing a tambourine and a harmonica, and
then finishing things off by
drinking a bottle of Vodka. This elephant seems to truly love her work
and responded to the audience's applause in a manner reminiscent of
Milton Berle.
Intermission
left the audience thirsting for more, and after a standard breather
for popcorn and paraphernalia, the second act began.
The
show seemed to lose pace for a moment until Michael Moschen began his
three ball juggling routine. Moschen's exceptional body movement
combined with his impish characterization made for a delightful
routine. He then proceeded to change shirts and personality to
seriously perform fire juggling and torch swinging. Both fire routines
were performed flawlessly, leaving the audience awestruck.
The
Bertinis followed Michael Moschen with a creditable unicycle and
teterboard act, and then after numerous dramatic drumrolls, it was
time for the headline act of the Big Apple Circus The Flying Gaonas.
The
Flying Gaonas are truly one of the great trapeze acts in the world
today, having been featured for years in Ringling Brothers Barnum and
Bailey Circus. Their gravity-defying routines electrified the crowd
and ended the show on a note of triumph.
As
the band played its final melodies, it was time to saunter backstage
for a chat with Michael Moschen... |
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