Review: DUCK POND, Southbank Centre

When circus is performed well, it is as high an art form as perfectly executed ballet or impeccable Shakespearean oratory. When it lacks in sharp execution, it falls hard. Australian circus company Circa's production Duck Pond unfortunately belongs in the latter camp.

The company calls itself contemporary; blending modern dance, movement and circus. There are no clowns with red noses here, but there are dancing ducks, complete with yellow visors for bills and large, structured dungarees. Duck Pond presents a story that is a mixture of Swan Lake and The Ugly Ducking. It is an interesting premise and has loads of potential, but the result is discordant mess.

Under the leadership of Yaron Lifschitz since 2004, the company has already toured China, the US, Canada and the United Arab Emirates with this show. Circa's show Humans 2.0 was very well received in Edinburgh back in 2022, and again when it came to the Southbank Centre the following year, but the acrobatic prowess and theatrical storytelling present in that production seems limited here. 

In Duck Pond we have a sort of love triangle between an ugly duckling, a BLACK SWAN and a prince. When the prince falls in love with the ugly duckling, the BLACK SWAN intervenes and the ugly ducking is revealed to be a swan. A charming premise, but it falls short on both emotion and technical ability.

The company continue to work well as a group; there is a lot of trust involved as various performers are catapuled across the stage into each other's arms. Much of the aeriel strap work is fluent and smooth, but there is a general lack of excitement, thrill and jeopardy necessary to make a visually arresting show. A lacklustre pillow fight is dull and the "dance of the ducklings" is anything but elegant or innovative.

The execution of balance in the human towers is possibly the weakest element here, with several overbalances and a couple of actual falls. Perhaps the team is tired from their hectic schedule, but with so much shaking within the towers, I am surprised anyone could stay atop of them at all. Sections with hula hoops and a Cyr Wheel are also performed with rather listless energy.

The best work comes from the performers playing the roles of BLACK SWAN and Ugly Duckling, particularly their contortions and languidly fluid movement. There is a lovely twist in the traditional tale at the end of act two from the pair and the show would have benefitted from ending at that point.

However, an oddly placed third act sees the company packing up the theatre, rolling up flooring and pulling down curtains. Apparently this is to show "true identities being revealed", but it makes little sense and adds nothing to the rest of the show.

The age recommendation for the show is 5+, implying this is a suitable show for young children. I am no prude, but I would argue that seeing a dominatrix-like BLACK SWAN walking over a man in sharp red stilettos, as well as seeing nearly naked company members displayed in various provocative poses in moving boxes is not really family-friendly viewing.

Tchaikovsky’s incredible score is largely absent, but Jethro Woodward's interesting composition melds echoes from Tchaikovsky with Ibiza chillout, African drums and Middle Eastern beats.

The programme notes call the show "neither quite circus nor ballet". This sums up a show that struggles to find its identity; lacking the exhilaration and daring of good circus and the poise and strength of ballet. Circa have shown they can do much better. Hopefully next time they will succeed again.

Circa's Duck Pond is at the Southbank Centre until 30 December

Photo Credit: Pia Johnson