Carnation showcases the creative commitment and cohesion of the cast but its concept of ‘revolution’ is not consistently communicated.
This performance, directed by Firenza Guidi and produced by Welsh circus company NoFit State, left me with mixed thoughts.
The set and stage mechanics are impressive, especially the original sculptural apparatus the show opens with. The pure physicality and skill displayed by the performers, but more importantly the joy they clearly take in performing, makes this company one of the best around. The performers really shine in each respective discipline, whether aerials, or the clowning – which is delightfully inventive and artistic: no gaudy makeup, just genuine comedy and interesting visual gags.
I really enjoyed the gritter acts – some of the music is reminiscent of a band called the Unsettlers that played at a carnival I worked on as a child. Composed and performed by David Murray with others, the live music is superb. Ranging from gravelly, vocal pieces to upbeat guitar, trumpet and fiddle, Murray and the other musicians (some of whom were also part of the physical performance ) carry the more confusing parts of the show.
Costumes include some distinct animal heads, beautifully stylized, but most are mundane (although I did like the ‘revolutionary’ newsboy hats and red sashes ). While some sets of attire – retro seventies, black tie — connect in some way to the theme, there are too many costume changes that confuse the understanding of the narrative. Some standalone costumes are even more perplexing (what do ‘twins’ have to do with the revolution? Is that a priest? ).
This was the issue plaguing the whole production: too many different elements to be coherent.
Some acts had a similar tone; some made sense together thematically; and some madcap scenes left us baffled as to what connection they had to each other. Last year’s show, Sabotage, did not have the same struggle communicating its central idea. The show order could have do with some concentrated editing for clarity and runtime (the sweet spot for physical performance is really no more than 90 minutes ).
Guidi’s theme – tagline, the revolution is coming and I have nothing to wear – seems to be drawing from the current political mood and taking a position.
The title, Carnation, nods to the Carnation Revolution in Portugal circa 1974 (a largely peaceful coup that dawned the third wave of democracy worldwide ).
One of the most visually interesting acts makes direct references to Animal Farm by George Orwell – ‘all people are equal and all people have rights / but some people are so much more equal than others, that’s not right’ sang Murray. An ensemble scene has graffiti’d mats with contemporary political slogans like ‘no one is illegal on stolen land’ and ‘eat the rich’. Other acts muddy the concept.
Subversive political messaging aside, NoFit genuinely does break barriers, specifically in terms of whose bodies are allowed to be seen as beautiful, powerful, and sensual.
It is also rare in the circus world to see the levels of gender equality NoFit displays, from the physical (women basing men ) to the visual (men in dresses ) and the psychological (women winning a ‘fight’, men dancing provocatively ). Even today, traditional strongman–showgirl gender roles remain unchallenged in most shows, so it is refreshing to see a company this progressive.
The strength of the ensemble and its many acts at times overshadow Guidi’s message, but the physical artistry more than makes it worth the watch.
Carnation is playing at Nimmos Pier until the end of the GIAF. Tickets can be bought at https://www.giaf.ie/festival/event/carnation
