The perfect aperitif for a debaucherous summer.
As the days get longer and the nights get warmer, La Ronde offers a steamy, saucy cabaret experience. Produced by Strut & Fret and featuring the company’s trade mark fun and wit, the production is a cause célèbre.
La Ronde is simply entertaining cabaret. The international cast of dancers, singers and performers each perform highly stylised and unique pieces, from circus acts to live music to comedy. These pieces range from the incredibly technical, to the immensely physical, to the thoroughly comic and soulful. The intent is to delight, charm, occasionally shock, but above all else enjoy. And with the line between these thinner than the casts’ G strings, you never want to miss a second.
The pieces show off each performer’s strengths. The dazzlingly dressed Gigi McFarlane, the de facto “host” of the show, kicks things off with an eloquent melodic performance. This is an act she repeats throughout the night with sophistication and grace. British talent Sam Goodburn, on a unicycle, bares almost all as he rides around the stage and de-robes. He does robe up again, with the help of an enthusiastic audience member or two. Ukrainian performers Diana Bondarenko and Sergiy Mishchurenko stun in complex trapeze and pole acts. Australian Adam Malone serves with fun hoops – it’s unclear whether his biceps or his high heels are bigger – and Felipe Reyes shows off immense strength balancing atop a ladder on fire, making it look easy.
As usual, Strut & Fret creates a lively atmosphere. The company are back at Surry Hills’ The Grand Electric again, and again use the space well. Pulsating beats play throughout the night, and sultry red lighting keeps things ribald. The stage is in the centre of the room, ensuring audiences get a 360-degree view of the action. The bar at the back of the space works overtime, churning out themed cocktails and bougie charcuterie. Recording and photography are allowed at all times. It’s great.
Yet, despite its excitement, La Ronde could do more. The acts occur with minimal interaction between each other or any notable sequence, meaning the show’s momentum constantly shifts. A more obvious or integrated structure would keep the momentum constant. Also, the performances are risque, but Strut & Fret have toed the line more closely and memorably in the past. It’s unclear why they’ve held back this time. Finally, a sense of predictability develops. The acts feel repetitive as the show goes on, limiting the overall “wow” factor. This is a shame; the performers very clearly can do more, but are not given the opportunity to do so.
Nevertheless, La Ronde achieves what it sets out to do. The vibe is set, the acts often slay, and the drinks flow. Summer has officially started.
