Expect to be charmed by 42FT—A Menagerie of Mechanical Marvels, a lovely little circus show aimed for kids aged five and up, but very likely to beguile their elders even more.
Currently in residence at the New Victory Theater through early January, 42FT is a non-verbal mix of handsome visuals, eccentric machinery, flavorful music, and old-school circus feats.
The production’s vintage characteristics and charismatic troupe suggest a traveling European circus of the 1920s or ‘30s. A strongman, aerialists, jugglers, and acrobats are featured among the two-act show’s classical exploits.
No live animals, however. The show’s maker, Cirque Mechanics, explores the dynamic between machines and performers. Among the mechanical marvels appearing here is a wooden horse on wheels that placidly travels around the ring as Tatiana Vasilenko juggles tennis balls atop its black and white back.
Other specialized items in the show include a revolving 14 foot-long ladder that vertically spins four performers around and around, as well as a Russian-style swing that rockets half a dozen capering troupers high into the air.
The production’s chief setting is a dome-like gantry frame that smoothly rotates as it houses the curious devices crafted by company founder Chris Lashua. (Incidentally, the 42FT title refers to the historic diameter of a standard circus ring.) Designed by Sean Riley, the junior steampunk picturesqueness of the show looks perfect within the New Victory’s venerable circumstances.
A simple two-act scenario devised by Steven Ragatz presents a nice wanderer in a Tyrolean hat, drolly embodied by Justin Therrien, stumbling upon the circus and getting involved in its doings.
Therrien demonstrates a startling sword-swallowing ability later, but in the meantime he raises laughs through his comical relationships with inanimate things such as a suitcase and a feather. His character also silently strikes up a little romance with an aerialist portrayed by Esther De Monteflores, who prettily glides through a graceful slack wire routine.
The most formidable artist is Mongolian strongman Battulga Battogtokh, an amiable hunk who juggles bowling balls, hoists half a dozen acrobats upon his mighty shoulders, and in one terrific feat swiftly twirls a huge log, looking like the Hindu god Bhima showing off his powers.
A trapeze act, a knife-throwing bit that turns into a Cyr Wheel spin, a crazy seesaw contraption that revolves as its passengers toss Indian Clubs at each other, and a sharp example of cracking a bullwhip by Austin Bradley are other notable sequences.
With its lively tarantellas and foxtrots, the prerecorded orchestral music composed by Michael Picton nicely evokes interwar Europe. The vintage looks of designer Caroline Rogers’ costumes further reinforce this period mood. Co-directed by Lashua with choreographer Aloysia Gavre, the show’s delicate charm never turns twee because the production remains focused upon the sharp circus skills of the 13-member company who look to be having fun as they perform their feats.
42FT is one of those charmers that appeals to kids of all ages. Well, probably it’s not something appreciated by teens—they are far more sophisticated and cynical than the rest of us—so best leave them at home. Everybody else is guaranteed to enjoy a fine old-fashioned time at the New Victory.
42FT – A Menagerie of Mechanical Marvels opened December 6, 2019, at the New Victory Theater and runs through January 5, 2020. Tickets and information: newvictorytheater.org
