The Empire Pitches A Tent

As sophisticated as we think we are, somehow we still love feats of raw physical prowess. What else could explain the phenomenal punter-pleasing, critic-dazzling success of New York superstar circus Empire?

When the Spiegelworld crew pitch their 700-seat mirror-panelled tent on Australian soil for their 2013 summer tour, they will do so in the knowledge that they have the guns to pull it off. With top shelf acts like Elena Lev and the utterly astounding Addis Brothers, Empire is taking the already epic circus revival to new heights.

Partly it's because, behind the scenes, they work exhaustively on detail; and Australian choreographer John 'Cha-Cha' O'Connell is very much part of that backstage effort. Having collaborated with Baz Luhrmann on everything from Strictly to Moulin and Gatsby, working with non-dancers in a tent might seem a little leftfield; until you scratch a little.

“I worked a lot on the various transitions between the acts,” he explains, “So, for instance, while one act is doing his German Wheel routine another act will come out with ostrich feathers and do a bit of a Vegas showgirl routine.”

In addition to smoothing out the segues O'Connell has also been working closely with hula star Elena Lev on Empire's bubble act. “She had not actually worked in the bubble before so we had to pull all that together, combining her skills with some very un-traditional bubble work.”

Ultimately though it's all still circus and we've all seen it before. So why Empire? For O'Connell, the answer is obvious. “I have to say that it's the calibre of the acts, which is extremely high. For instance, we've got the Addis Brothers from Ethiopia, who are foot jugglers. It's one of the most amazing acts I've ever seen. On opening night it got something like five standing ovations; and that was during the act.”

Indeed, the show's Big Apple debut saw Spiegelworld pitch their antique tent on a prime lot “just down from” Times Square. As John O'Connell recalls, they were playing opposite the theatre in which the musical Once was struggling for audiences. “At first of course it hadn't won the Tony Award and business was a bit slow but we had quite big crowds outside ours. Then it won the Tony and you couldn't get a seat. It was just crazy after that.”

Of course, part of Empire's allure is the tailored venue. Although it has room for 700 (and attendant bar facilities) the show happens on a handkerchief stage. “We've got these roller-skaters who are so fast and you're, like, one foot away,” O'Connell enthuses. “Y'know, the sweat of the acrobats is coming off in your face.”

Even if a shower of carny sweat isn't your idea of a great night out, Empire not only has spectacular bells and whistles (Oscar & Fanny, Gorilla Girls, Carrot Man) but a rowdy, intimate atmos. “It's like being someone's living room, but a very classy one. In fact, it looks a bit like Moulin Rouge with the mirrored panels and the velvet. It gives you something that you can't get at a typical circus show. It's a got a bit more of an 'anything's up for grabs' kinda feel to it.”

Who said the Age of Empire was over?