Following last year’s Blanc de Blanc Encore (read our five-star review here), Strut and Fret’s latest offering La Ronde is an equally ambitious production that combines exquisite costumes, stunning cabaret, clever comedy and jaw dropping circus acts.
Under Scott Maidment’s skilful direction, La Ronde is masterfully crafted. While other shows might rush to get to the next spectacle, La Ronde’s tight production highlight seemingly small acts like removing shows or bringing fire on stage and turns it into a memorable moment. It’s these minute details that elevate Strut and Fret’s shows above similar, albeit inferior, copies.
Maidment, who doubles as the show’s musical curator, has selected a sharp and punchy mix of songs ranging from Karise Eden’s It’s A Man’s World to Moai’s I Love You Like La La La.
You can listen to the show’s soundtrack via Spotify here.
Combined with Harry O’Meara’s dramatic lighting, which although dark at times is flashy, moody and sensual, is a winning combination alongside Melanie Hawkins’ dynamic choreography.
Cuban/Spanish dancer, singer and performer Dorival Junco leads the highly skilled, international cast. His rendition of Norah Jones’ Turn Me On was beautiful and soulful, matched by his infectious version of the Danger Twins’ So Marvelous.
Sweden’s David Eriksson (whose chaotic and erratic intensity kind of scared me in the beginning) brought some crazed spontaneity to what is otherwise a well restrained show. His interactions with three unsuspecting audience members were a highlight. I’m only glad I wasn’t chosen to go up on stage. It was all in good fun of course, with Eriksson’s brilliant comedic skills firmly on display.
A true showman who feeds off the crowd, Australian Danik Abishe’s hand/ladder balancing takes on an unexpected cheekiness and blends his incredible strength, movement and theatricality.
Australian Adam Malone’s dazzling hoop swirling and poised balancing acts marvelled (done in six-inch stilettos, mind you), while Diana Bondarenko (who hails from Berlin, Germany) was ethereal on the truly original pyramid trapeze, as was Kiwi Zoe Kelly’s daring hairhanging.
However, Ukrainian Sergiy Mishchurenko was my favourite. He was somewhat teased throughout the show before wowing the crowd with his gravity defying moves on the Aerial Pole.
A lot tamer than Encore, with only a brief flash of nudity spurred on by the enthusiastic opening night crowd, the cast stayed clothed for the majority of the 90-minute performance. Although don’t be fooled, there’s still a lot of skin, skimpy outfits and suggested sexual acts throughout this adult’s only show.
La Ronde is the perfect show for the person who thinks they’ve seen it all. I didn’t think anything could top Encore, but La Ronde is mesmerising and brings something new and unique where many similar (yet, again, inferior) shows already exist.
This is a special production worth seeing!
5/5 STARS
In the press released, Strut & Fret and La Ronde Producer, Jess Copas said:
“Every act in La Ronde pushes the boundaries of what the human body can do, combining extraordinary technique with humour, sensuality, danger and a healthy dose of irreverence.”
The Melbourne season follows hot on the heels of an extended 260-show residency in Sydney where La Ronde has racked up more than 1600 five-star audience reviews.
Playing at Spiegel Haus Melbourne until January 31, 2027.
More information and tickets via spiegelhausmelb.com
